Bibliographie
Abrams 2007: Jerold J. Abrams (ed.), The Philosophy of Stanley Kubrick, Kentucky: The University Press of Kentucky, 2007.
Anderson 2017: Ellie Anderson, “Autoeroticism: Rethinking Self-Love with Derrida and Irigaray”, PhænEx, 2017, p. 53-70. [vol.12, No.1]
Altman 1987: Rick Altman, American Film Musical, Bloomington: Indiana University Press, 1987.
Barsam 1973: Richard Meran Barsam, “’This Is America’: Documentaries for Theaters.1942-1951”, Cinema Journal, 1973. [Vol.12, Spring]
Baxter 1997: John Baxter, Stanley Kubrick: a biography, London, HarperCollins Publishers, 1997. Normand Berlin, “Traffic of Our Stage: Boxing as Theater”, The Massachussets Review, 2006, p. 22-32. [Spring, Vol.47, No.1]
Black 1989: Gregory D. Black, “Hollywood Censored: The Production Code Administration and the Hollywood Film Industry, 1930-1940”, Film History, Bloomington:Indiana University Press, 1989, p. 167-189. [Vol.3, No.3]
Dixon 2009: Wheeler Winston Dixon, Film Noir and the Cinema of Paranoia, Edinburgh: Edinburgh University Press, 2009.
Doherty 1999: Thomas Doherty, Pre-Code Hollywood. Sex, Immorality, and Insurrection in American Cinema 1930-1934, New York: Columbia University Press, 1999, p. 111.
Döpp 2002: Hans-Jürgen Döpp, Objects of Desire - The Eroticism of Touch, New York, Parkstone International, 2002.
Gilbert & Gubar 2020: Sandra M. Gilbert & Susan Gubar, The Madwoman in The Attic. The Woman Writer and the Nineteenth-Century Literary Imagination, London:Yale University Press, 2020.
Grindon 2013: Leger Grindon, Knockout: The Boxer and Boxing in American Cinema, Jackson: University Press of Mississippi, 2013.
Kuberski 2012: Philip Kuberski, Kubrick’s Total Cinema. Philosophical Themes and Formal Qualities, Continuum International Publishing Group, 2012.
Kubrick 1961: Stanley Kubrick, Sight & Sound, p. 14 [vol.30,1960/61] <http://www.visual-memory.co.uk/amk/doc/0072.html>
Letort 2010 : Delphine Letort, Du film noir au néo-noir : mythes et stéréotypes de l’Amérique, 1941-2008, Paris : L’Harmattan, coll. « Sang maudit », 2010.
Mather 2013: Philippe Mather, Stanley Kubrick at Look Magazine. Authorship and Genre in Photojournalism and Film, Bristol, UK/Chicago, USA: Intellect, 2013.
Mulvey 2016: Laura Mulvey, « Visual pleasure and narrative cinema » 1975, London, Afterall, coll. « Two works », 2016.
Naremore 2007: James Naremore, On Kubrick, London: British Film Institute, 2007.
Nelson 2007: Thomas Allen Nelson, Kubrick, Inside a Film Artist’s Maze, Bloomington, Indiana University Press, 2007.
Noriega 1990: Chon Noriega, “‘Something’s Missing Here!’: Homosexuality and Film, Reviews during the Production Code Era, 1934-1962.”, Journal of Cinema and Media Studies, Cinema Journal Retrospective, 1990. [30, No.1]
Oates 2007: Joyce Carol Oates, On Boxing, The Ontario Review Inc. EPub Edition, 2007.
Orbach 2009: Barak Y. Orbach, “Prizefighting and the Birth of Movie Censorship”, Yale Journal of Law and Humanities, 2009. [Vol.21, 2009]
Phillips & Hill 2002: Gene D. Phillips and Rodney Hill, The Encyclopedia of Stanley Kubrick, New York, NY, Facts on File, coll. « Great filmmakers », 2002.
Prince 2003: Stephen Prince, Classical Film Violence. Designing and Regulating Brutality in Hollywood Cinema, 1930-1968, New Jersey:Rutgers University Press, 2003.
Scott 2009: David Scott, The Art and Aesthetics of Boxing, University of Nebraska Press, 2009.
Snowdon 2011: David Snowdon, ‘Hazlitt’s Prizefight Revisited: Pierce Egan and Jon Bee’s Boxiana-Style Perspective’, Romantic Textualities: Literature and Print Culture, 1780–1840, 2011. [20, Winter]
Roche & Schmitt-Pitiot 2014: David Roche & Isabelle Schmitt-Pitiot (ed.), Intimacy in Cinema, McFarland & Company, Inc., Publishers, 2014.
Ruchti 2000: Ulrich Ruchti, Sybil Taylor, Alexander Walker, Stanley Kubrick, Director: A Visual Analysis, New York:W.W. Norton & Company, 2000.
Shurlock 1947: Geoffrey Shurlock, “The Motion Picture Production Code,” The Annals of the American Academy of Political and Social Science, 1947, p. 140-146. [Vol.254, Nov.]
Streible 2008: Daniel Streible, Fight Pictures, Berkeley:University of California Press, 2008.
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Note de fin
1 From Raff https://www.loc.gov/item/00694121
2 Daniel Streible, Fight Pictures, University of California Press, 2008, p. 6.
3 Leger Grindon, “Knockout: The Boxer and Boxing in American Cinema”, University Press of Mississippi, p. 6.
4 Rick Altman, American Film Musical, Bloomington: Indiana University Press, 1987, p. 334. Quoted by Leger Grindon, Knockout. Bloomington: Indiana University Press, p. 6.
5 Philippe Mather, p. 229-230 : “Photographic moments will include the presence of photographs within the story, the freeze-frame as an explicit reminder of cinema’s photogrammatic basis, the zoom as a means of analyzing a static composition and further flattening the visual field, and specific features of Kubrick’s photographic style such as deliberate forms of mise-en-scène involving sets and props, symmetrical framings, mirrors and frames within frames, unusual camera angles, composition in depth and naturalistic lighting. The photojournalistic dimensions of Kubrick’s films will highlight the rhetorical and categorical structure of his documentary shorts, descriptive montage sequences, didactic narration, title cards and diegetic signs as commentary, ironic relationships between image and sound/text, and journalistic themes and tropes including reflexivity and iconography directly related to Look Magazine photo-essays.”
6 James Naremore, On Kubrick, London: British Film Institute, 2007, p. 29.
7 James Naremore, “III- Aesthetics of the grotesque”, op. cit., p. 24-41.
8 Richard Meran Barsam, “’This Is America’: Documentaries for Theaters.1942-1951”, Cinema Journal, 1973, p. 23. [Vol.12, Spring]
9 K. R M Short., “‘The March of Time’, Time Inc. and the Berlin blockade, 1948-1949: Selling Americans on the ‘new’...”, Historical Journal of Film, Radio & Television, vol. 13, nᵒ 4, octobre 1993, p. 451.
10 Richard Meran Barsam, op. cit., p. 27.
11 Sergio Sánchez-Migallón, “Moral Consciousness and ‘Personal Truth’ according to Max Scheler”, Pensamiento. Revista de Investigación e Información Filosófica, vol. 63, no 237, 1 mars 2015, p. 475-486.
12 David Scott, The Art and Aesthetics of Boxing, University of Nebraska Press, 2009, p. 4.
13 David Scott, Ibid., p. 8.
14 Stanley Kubrick, Sight & Sound, [vol.30,1960/61], p. 14. http://www.visual-memory.co.uk/amk/doc/0072.html
15 One can remember the contrast between the extreme visual violence (rape and torture scenes) and the refinement of the Beethoven 9th Symphony that rhythmed the sequence in A Clockwork Orange.
16 In Killer’s Kiss, another movie of Stanley Kubrick – the 1955 full-length film borrows some of the fight shots from the short – Davey Gordon (Jamie Smith), an Irish-American boxer gets involved in criminal matters against his will by trying to save Gloria Price (Irene Kane) from the clutches of a violent mobster. The posters take part of the opening shots too and they are highly dramatized. A soft focus opens a close-up shot on a photograph of Davey. The piercing gaze of a man in a guard position stares at us. We discover a large picture stuck on a brick wall. It is damaged, as seems to be the spirit of Davey that we saw pacing in the train station in the first shot of Killer's Kiss. Words are missing in the written elements. The names of the two boxers are scratched, foreshadowing the scrapes to come on the boxers' bodies. As with all boxing posters highlighted by Stanley Kubrick, the plot of the fight is foreshadowed by the poster (“A Slugging Welterweight Natural – City Arena – Fri.Oct.25”). Several others follow: one is in a puddle and a man crushes it with his shoe; another hangs from a New York street lamp. Only one at the Hollywood 865 Barber Shop, the temple of virility, is preserved from the weather.
17 Ulrich Ruchti, Sybil Taylor, Alexander Walker, Stanley Kubrick, Director: A Visual Analysis, W.W.Norton & Company, 2000. For instance, the opening of A Clockwork Orange (1971)is in between painting and photography thanks to the rear tracking on Alex DeLarge (Malcolm McDowell) petrifying camera gaze. With Kubrick’s work on natural and candle lightning, Barry Lyndon (1975) looks like a succession of paintings. The mastering of stillness of Stanley Kubrick serves the boxing movie
18 Aaron Taylor, « Blind Spots And Mind Games: Performance, Motivation, and Emotion in the Films of Stanley Kubrick », The Velvet Light Trap, 2016, p. 5‑27. [vol. 77, nᵒ 77]
19 Mario Falsetto, Stanley Kubrick: A Narrative and Stylistic Analysis, Westport, CT: Praeger, 1994, p. 171.
20 Fr Benoît Andreu, « L’Esprit Saint, maître de silence », Nouvelle revue théologique, 2011, p. 584‑600 [vol. 133, no 4]
21 Françoise Biotti-Mache, « Aperçu sur les reliques chrétiennes », Études sur la mort, 2007, p. 115‑132. [vol. 131, no 1]
22 For instance, the “Hand of God” is the name given to Maradona and it is controversial. Indeed, he made a forbidden move in football because he scored thanks to his hand in the 1986 World Cup in Mexico. Simone Magalhães Britto, Jorge Ventura de Morais and Túlio Velho Barreto, « The Hand of God, the Hand of the Devil: a sociological interpretation of Maradona’s hand goal », Soccer and society, 2014, p. 671-684. [vol. 15, no 5]
23 John Baxter, op. cit., p. 39: “Jay Leyda’s translation of Sergei Eisenstein Film Form came out in 1949, to join Eisenstein’s earlier The Film Sense. In the same year Film Technique, by Vsevelod Pudovkin, director of Mother and other works of symbolic ‘realism’, was reissued in a new edition, combined with his book Film Acting. […] Kubrick devoured all of them, not without questioning some of their premises.”
24 John Baxter, op. cit., p. 40.
25 Mick Broderick “Kubrick on Screen”, The Kubrick Legacy, Milton, United Kingdom, Taylor & Francis Group, 2019, p. 100: “Regarded as a shy, awkward kid from the Bronx, Kubrick remained an avid filmgoer throughout his early childhood, often cutting school to double features at local cinemas. While working at Look magazine Kubrick would try to watch every movie shown in New York during the late 1940s to early 1950s. In preparation for his initial forays into filmmaking he began reading Pudovkin for film technique and Stanislavsky on working with actors. However, before embarking on his independent, self-taught motion picture work in the early 1950s, the young Stanley Kubrick appears, unremarkably, as an extra in the seminal experimental feature Dreams That Money Can Buy (1947), developed, produced, and directed by Hans Richter (1943–1947).”
26 Joyce Carol Oates, op. cit.
27 Sandra M.Gilbert & Susan Gubar, The Madwoman in The Attic. The Woman Writer and the Nineteenth-Century Literary Imagination, Yale University Press, 2020.
28 Stanley Kubrick filmed psychic deviance in Lolita (1962) and A Clockwork Orange (1971) and stretched the moral boundaries of the representation of sex and violence.
29 Howard S. Becker, Outsiders: studies in sociology of deviance, New York, NY, Free Press, 2018.
30 “On Mike Tyson” in Joyce Carol Oates, On Boxing, The Ontario Review Inc. EPub Edition, 2007, p. 130.
31 Barak Y.Orbach, “Prizefighting and the Birth of Movie Censorship”, Yale Journal of Law and Humanities, 2009. [Vol.21, 2009]
32 David Snowdon, ‘Hazlitt’s Prizefight Revisited: Pierce Egan and Jon Bee’s Boxiana-Style Perspective’, Romantic Textualities: Literature and Print Culture, 1780–1840, 2011. [20, Winter]
33 Geoffrey Shurlock, “The Motion Picture Production Code,” The Annals of the American Academy of Political and Social Science,1947, p. 140-146. [Vol.254, Nov.]
34 Geoffrey Shurlock, ibid. p. 142.
35 Stephen Prince, Classical Film Violence. Designing and Regulating Brutality in Hollywood Cinema, 1930-1968, Rutgers University Press, 2003.
36 Stanley Kubrick when called out for violent scenes in The Killing suppressed them quantitively but not qualitatively. In The Killing (1956), aware on the Special Regulations on Crime, they had to disguise a shotgun to look like an automatic weapon because that was strictly refused by the PCA. Moreover, the drama about a racetrack robbery included a scene where George Peatty (Elisha Cook, Jr.) kills his wife, Sherry (Marie Windsor) after a betrayal with another man. If the PCA rejected the multiple shots to her regard, Stanley Kubrick heightened the violence of the unique shot. He filmed George with blood streaming and made Sherry agonize. He shot her once but the violence was even more intense than the script’s in the finished film.
37 Normand Berlin, “Traffic of Our Stage: Boxing as Theater”, The Massachussets Review, 2006, p. 22-32, p. 23. [Spring, Vol.47, No.1]
38 Wheeler Winston Dixon, “Introduction”, Film Noir and the Cinema of Paranoia, Edinburgh University Press, 2009, p. 3. “[…] Noir functions as a literal and figurative zone of darkness, a place that must be illuminated so that we can see. In all noir films, darkness surrounds the characters within the narrative, threatening to engulf them at any moment.”
39 John Baxter, op. cit., p. 35. Quoting the sporting journalist Pete Hamill.
40 John Baxter, op. cit, p. 35.
41 Thomas Allen Nelson, “Kubrick and the Aesthetics of Contingency”, Kubrick, Inside a Film Artist’s Maze, Bloomington, Indiana University Press, 2007, p. 4.
42 Killer’s Kiss focuses less on the pugilistic violence than on the mafia operations of Rappallo (Frank Silvera) and the domestic violence that harms Gloria Price (Irene Kane) and is more of a film noir. Boxing is a theme and the boxer a modern knight figure for the maiden Gloria. The mannequins fight with axes and cut limbs infer a potential destroying violence.
43 John Baxter, op. cit., p. 34.
44 Leger Grindon, op. cit., p. 128: “Though the vamp may parade through the boxing world to entice the pugilist, the sweetheart must draw him from the ring for marriage to be realized. Boxing constrains the mingling of masculine and feminine traits necessary to establish a fruitful relationship between a man and a woman. As a result, a crisis of masculinity is characteristic of the genre. The boxer must choose between remaining loyal to the manly ethos of the ring, or compromise his masculine bravado to successfully court a woman. How that crisis is posed and resolved creates a pivotal dramatic conflict in these films. The evolution of this problem allows us to chart the shifting gender relations in our culture.”
45 Eroticism in Stanley Kubrick filmography is largely associated with a young and beautiful female character. Alice Harford (Nicole Kidman) in Eyes Wide Shut (1999) is identified with her flesh from the opening, as for its erotic aspect with the back nude she offers to the camera when she undresses her black dress than for its prosaic aspect when she is on the toilet seat and flushes the toilets. In his photograph’s career, Stanley Kubrick already photographed women strongly identified with their flesh, dancers like the ballerina Ingrid Secretan performing the opening number in the Broadway musical “Kiss Me, Kate.” See also John Baxter, op. cit., p. 36.
46 See James Naremore
47 See Laura Mulvey, “Visual pleasure and narrative cinema” 1975, London, Afterall, coll. “Two works”, 2016.
48 Loïc Artiaga, Rocky: la revanche rêvée des blancs, Paris, Les Prairies ordinaires, 2021. Translated from French, p. 205: «“La concupiscence pour le corps d'un homme ne pouvant être trop explicitement montrée et érotisée, les scènes de mise à nu répriment d'emblée le désir, voire forcent à détourner le regard, sauf à en inscrire la lecture dans une perspective sadomasochiste.”
49 The second and final version of the film.
50 Gerald R. Gems, « The Politics of Boxing: Resistance, Religion, and Working Class Assimilation », International Sports Journal, p. 89-103. [vol. 8, no 1, Winter 2004]
51 A similar shot in Killer’s Kiss shows Davey with his middle finger on the nose in front of the mirror after the fight.
52 Hans-Jürgen Döpp, Objects of Desire - the Eroticism of Touch, New York, Parkstone International, 2002, p. 32.
53 As we can see later in A Clockwork Orange with the portrait of Alex DeLarge, Stanley Kubrick does not draw Manichean characters.
54 Natacha Cyrulnik « The politics of the body or shared intimacy in documentary cinema », Cinema & Território, p. 13-29 [no 4, November 1 2019].
55 Marianne Kac-Vergne, “The Limits of Hypermasculinity. Intimacy in American Science Fiction Films of the 1980’s” in Intimacy in Cinema (ed.David Roche & Isabelle Schmitt-Pitiot), McFarland & Company, Inc., Publishers, 2014, p. 119-132.
56 Philip Kuberski, “Eros”, Kubrick’s Total Cinema.Philosophical Themes and Formal Qualities, Continuum International Publishing Group, 2012, p. 85-102.
57 The gaze is important in Stanley Kubrick’s filmography: it crystallizes emotions and desire. In Spartacus (1960), with the gladiator trainee Spartacus and the slave Varinia who is objectified into a sexual gratification for the trainee, the male is reduced to his fighting skills and the female to her “sexual purposes”. The voyeuristic gaze animalizes Spartacus (Kirk Douglas) and Varinia (Jean Simmons): for their first awkward and shy meeting, Marcellus and Lentillus who are in charge of the gladiatorial school spy on them from a grid on the top of his cell. Spartacus yells: “I’m not an animal!” In Killer’s Kiss (1955), the long gaze of Gloria Price (Irene Kane) drinking her coffee and standing by the window is worth a thousand words. She admires with a palpable desire Davey’s defined body contours through her window. The female dancer (ballet sequence danced by Ruth Sobotka, choreography by David Vaughan) and is symbolically a gaze, her name is Iris. She is Gloria’s sister and tells through her dance a tragic story about her ill father, her marriage and her suicide following her father’s death. For instance, she crosses her wrists when Gloria narrates: “she’d cut her wrists and she was dead.” Sensuality seems even more important than sexuality when Davey watches Gloria resting and sleeping and offers a sensual caress to her suspended underwear.
58 Gregory D.Black, “Hollywood Censored: The Production Code Admnistration and the Hollywood Film Industry, 1930-1940, Film History, Indiana University Press, 1989, p. 167-189. [Vol.3, No.3]
59 Joyce Carol Oates, “On boxing”, op. cit.
60 Salvatore Polito, « Because I also see: the masculine body in the limelight », Critica sociologica, 2007, p. 21-34. [vol. 164]
61 Chon Noriega, “‘Something’s Missing Here!’: Homosexuality and Film, Reviews during the Production Code Era, 1934-1962.”, Journal of Cinema and Media Studies, Cinema Journal Retrospective, 1990. [30, No.1]
62 Ellie Anderson, “Autoeroticism: Rethinking Self-Love with Derrida and Irigaray”, PhænEx , 2017, p. 53-70. [vol.12, No.1]
63 Hans-Jürgen Döpp, Objects of Desire, op. cit., p. 8.
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