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Adapting tone from novel to film: Vladimir Nabokov’s Lolita and its film adaptation by Stanley Kubrick

100%
Piwińska M.
Literatura i Kultura Popularna
|
2018
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vol. 24
199 - 207
EN
The article deals with Vladimir Nabokov’s Lolita and its film adaptation by Stanley Kubrick. The tone of the novel makes a simple transfer from novel to film impossible without losing characteristics of the novel. These consist of unreliable narration, wordplays, satire and numerous examples of parody. Kubrick suggests a range of devices to convey the tone of the novel.
2
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Demoniczna transcendencja. Motyw faustowski w „Lśnieniu” Stanleya Kubricka

99%
Kościelski K.
Przestrzenie Teorii
|
2013
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issue 19
153-170
EN
The interrelationship between literature and cinema is usually reduced merely to the connection between a book and its screen adaptation. Thus, a great many of the viewers of Stanley Kubrick’s The Shining would analyze its relation and fidelity to Stephen King’s novel. The reasoning presented in this essay stands in opposition to this tendency because various minor details of a movie may refer to other literary texts as well. In addition, a link to other works of art is often more meaningful and relevant than a reference to a book which was the basis of an adaptation. Therefore, it can be demonstrated that Kubrick alludes to Johann Wolfgang’s Faust in a variety of ways in The Shining. The comparison of the movie’s protagonist with the eponymous character of the play makes it easier to comprehend the cinematic character’s complex personality. This explains the content of The Shining even though the plot is based upon another literary text.
3
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„Człowiek jest czemś, co przezwyciężone być powinno”. Dyskurs historiozoficzny 2001: Odysei kosmicznej

98%
Klejsa K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 28
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issue 37
35-60
EN
Drawing upon classic works on Kubrick’s 2001, the author ponders various strategies of interpretation which have been adopted to decipher the film’s discourse. The title category of historiosophy indicates one of the possible interpretational paths: the one associated with the Nietzschean notion of humankind stuck in a liminal stage between an animal and the overman. The author claims that such an understanding was typical of the late 1960s, and he pursues his argument with a close analysis of several sequences from the film, focusing on the formal devices which present the human protagonists as weak and lackluster, while the animal, the technological and the extraterrestrial characters are depicted as vital and irrepressible.
4
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Spartakus: prawda czasu czy prawda ekranu?

85%
Piskorz A.
Media – Kultura – Komunikacja Społeczna
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2013
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issue 9
131-141
EN
This paper discusses the film adaptation of Howard Fast’s novel Spartacus. The text focuses on the various problems its makers had to face while filming the story of the uprising by an army of slaves under the leadership of the eponymous hero. The final version of the film appears to be the result of innumerable conflicts and compromises amongst the artists themselves as well as with the production company. The complexity of the whole situation is additionally emphasised by the ideological incompatibility between the message of the film and the official rhetoric of the US authorities. Effectively, Spartacus seems to fall victim to both the internal bickering of its makers and the external pressures of the authorities.
5
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Muzyka i horror. "Lśnienie" Stanleya Kubricka

71%
Kozłowski K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2009
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vol. 7
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issue 13-14
47-64
EN
This article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap). The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music. On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue. In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films. This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick.
PL
The Kubrick Horror Show: making music in “The Shining” This article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap). The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music. On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue. In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films. This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick.
6
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Warstwa werbalna ścieżki dźwiękowej jako element współbudowania przestrzeni w filmie

62%
Skowronek B.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 27
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issue 36
EN
The article presents the most typical ways of co-building various types of film space through the verbal layer of the soundtrack: inside the frame and outside of it, diegetic and non-diegetic, and narrative and non-narrative. In order to discuss linguistic ways of co-creating space, the author used the tenets of mediolinguistics and the ideas of the textual image of the world and the linguistic image of the world.
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