Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks ... more Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks new ground by bringing together recent empirical approaches to Kubrick with earlier, formalist approaches to arrive at a broader understanding of the ways in which Kubrick’s methods were developed to create the unique aesthetic creation that is 2001: A Space Odyssey. As the fiftieth anniversary of the film nears, the contributors explore its still striking design, vision, and philosophical structure, offering new insights and analyses that will give even dedicated Kubrick fans new ways of thinking about the director and his masterpiece.
to get at Leitch's ''triangular notion of intertextuality''-but only because a friend alerted him... more to get at Leitch's ''triangular notion of intertextuality''-but only because a friend alerted him to the Leitch essay (see footnote 4 of Chapter 4). This book will not take the reader in obvious directions toward obvious conclusion. Its purpose is rather a dazzling adventure in cultural studies writ large, and then collapsed. If we must recall the tragedy of September 11, readers would be better advised to turn to a more sensible book that thinks more precisely (and compassionately) on the Event, such as writerfilmmaker Peter Josyph's Liberty Street: Encounters at Ground Zero (2006). But that, to be sure, would involve a whole different mentality. Moving back to the book at hand, the second chapter turns to Don DeLillo's novel Underworld and the ''Periodization of the Cold War''; Chapter 3, ''I'll Be Back,'' revisits the Terminator series; Chapter 4 discusses the ''Remaking of the United States'' by means of discussing (interestingly enough) the remaking of a scary movie, Cape Fear; Chapter 5, ''Naturalism, Dystopia, and Politics'' in Fight Club and Ghost Dog; Chapter 6 the ''Nightmare'' of Independence Day, and so it goes, right up to the final chapter, which concludes (of course) with Buffy the Vampire Slayer. This book knows how to push buttons for cultural relevance. One can only conclude that Wegner really wants to devote the brunt of his book (some 230 pages) to his favorite novels, films, and television programs of the 1990s, considering them ''significant works of American popular culture,'' in the words of one consigned to tout the book on its back cover, the slug-writer who seems to confuse Don DeLillo's White Noise (barely mentioned) with Underworld (which dominates a whole chapter). Doubtless some may read this book with more joy and pleasure than I was able to muster. Of course, some may even turn to it for illumination as well. Good luck to them.
Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks ... more Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks new ground by bringing together recent empirical approaches to Kubrick with earlier, formalist approaches to arrive at a broader understanding of the ways in which Kubrick’s methods were developed to create the unique aesthetic creation that is 2001: A Space Odyssey. As the fiftieth anniversary of the film nears, the contributors explore its still striking design, vision, and philosophical structure, offering new insights and analyses that will give even dedicated Kubrick fans new ways of thinking about the director and his masterpiece.
to get at Leitch's ''triangular notion of intertextuality''-but only because a friend alerted him... more to get at Leitch's ''triangular notion of intertextuality''-but only because a friend alerted him to the Leitch essay (see footnote 4 of Chapter 4). This book will not take the reader in obvious directions toward obvious conclusion. Its purpose is rather a dazzling adventure in cultural studies writ large, and then collapsed. If we must recall the tragedy of September 11, readers would be better advised to turn to a more sensible book that thinks more precisely (and compassionately) on the Event, such as writerfilmmaker Peter Josyph's Liberty Street: Encounters at Ground Zero (2006). But that, to be sure, would involve a whole different mentality. Moving back to the book at hand, the second chapter turns to Don DeLillo's novel Underworld and the ''Periodization of the Cold War''; Chapter 3, ''I'll Be Back,'' revisits the Terminator series; Chapter 4 discusses the ''Remaking of the United States'' by means of discussing (interestingly enough) the remaking of a scary movie, Cape Fear; Chapter 5, ''Naturalism, Dystopia, and Politics'' in Fight Club and Ghost Dog; Chapter 6 the ''Nightmare'' of Independence Day, and so it goes, right up to the final chapter, which concludes (of course) with Buffy the Vampire Slayer. This book knows how to push buttons for cultural relevance. One can only conclude that Wegner really wants to devote the brunt of his book (some 230 pages) to his favorite novels, films, and television programs of the 1990s, considering them ''significant works of American popular culture,'' in the words of one consigned to tout the book on its back cover, the slug-writer who seems to confuse Don DeLillo's White Noise (barely mentioned) with Underworld (which dominates a whole chapter). Doubtless some may read this book with more joy and pleasure than I was able to muster. Of course, some may even turn to it for illumination as well. Good luck to them.
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