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Suivant la méthode freudienne de la surinterprétation, l'auteur analyse le film Shining de S. Kubrick en s'attachant à des détails apparemment insignifiants ainsi que par le prisme de ses transpositions, de sa genèse et de sa réception. ©Electre 2017 Shining est l'unique film d'horreur de Stanley Kubrick. Il aura d'abord déçu les amateurs et décontenancé la plupart des spectateurs puis bénéficié d'une progressive réévaluation jusqu'à devenir une référence majeure. Désorientant ses premiers commentateurs, sa sublime énigmaticité a suscité une puissante et longue vague d'interprétations. Parmi celles-ci deux ont acquis force d'évidence. Soit l'hôtel Overlook et son labyrinthe sont envisagés comme un lieu mythologique, voire métaphysique - la réplique d'un autre lieu cérébral et confiné : le vaisseau Discovery de 2001 : l'odyssée de l'espace. Soit l'hôtel Overlook, fondé sur un cimetière indien, est considéré comme un reflet des Etats-Unis. Le livre cherche à expliquer Shining au miroir de ses transpositions (les roman et téléfilm de Stephen King, les trois versions du film de Kubrick), de sa genèse (reconstituée grâce aux témoignages comme aux documents conservés aux Archives Stanley Kubrick), de sa réception (les principales propositions interprétatives engagées des deux côtés de l'Atlantique). En s'appuyant sur une riche iconographie, il revient sur les conditions dans lesquelles certaines interprétations ont pu germer et convaincre, et comment d'autres, délirantes dans leur construction, s'ancrent dans le repérage de détails triviaux (des boîtes de conserve, une machine à écrire, un pull-over) qui finissent par devenir étranges à force de surdétermination. La voie choisie pour rendre compte de la complexité de cette oeuvre magistrale sera bien celle de la surinterprétation.

Horror films --- Films d'horreur --- Kubrick, Stanley --- The shining (Motion picture) --- Kubrick, Stanley, --- Critique et interprétation --- The shining (film) --- Critique et interprétation. --- Shining (Motion picture)

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"Is There God After Prince? is a book about loving things (books, songs, poems, people) in the shadow of looming disaster. Coviello's dazzling, highly personal essays address pieces of contemporary culture across an expansive range--songs by Prince, Joni Mitchell, SZA, and Phoebe Bridgers, writings by Sam Lipsyte, Paula Fox, Paul Beatty, and Dana Spiotta, movies like Heathers, TV shows like The Sopranos, as well as videos, poems, and other pop artefacts. Coviello places these artefacts back in the scenes where he first found them and traces what they did there, whether private (a kid's graduation, an aging parent, a divorce) or public (an election, a pandemic). Laced throughout is a queasy fascination with signs that so much is now coming to an end. It is on this terrain of endstrickenness, as Coviello calls it, that the book lingers, though it does so often in the mood of a startled joyousness, one that these pieces are at pains to understand. Cumulatively, Is There God After Prince? wants to be a model for what criticism can do--what it can sound like, how much sorrow and delight it can get into one place--in an era of Last Things"--

Popular culture --- Popular music --- History and criticism. --- cultural history, emotions, essays, lyrical, humor, romance, grief, friendship, movies, film criticism, love story, comedy, music, literature, relationships, art, songs, The Shining, sopranos, Joni Mitchell, Steely Dan, poems, novels.

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Stanley Kubrick is generally acknowledged as one of the world's great directors. Yet few critics or scholars have considered how he emerged from a unique and vibrant cultural milieu: the New York Jewish intelligentsia. Stanley Kubrick reexamines the director's work in context of his ethnic and cultural origins. Focusing on several of Kubrick's key themes-including masculinity, ethical responsibility, and the nature of evil-it demonstrates how his films were in conversation with contemporary New York Jewish intellectuals who grappled with the same concerns. At the same time, it explores Kubrick's fraught relationship with his Jewish identity and his reluctance to be pegged as an ethnic director, manifest in his removal of Jewish references and characters from stories he adapted. As he digs deep into rare Kubrick archives to reveal insights about the director's life and times, film scholar Nathan Abrams also provides a nuanced account of Kubrick's cinematic artistry. Each chapter offers a detailed analysis of one of Kubrick's major films, including Lolita, Dr. Strangelove, 2001, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut. Stanley Kubrick thus presents an illuminating look at one of the twentieth century's most renowned and yet misunderstood directors.

Motion picture producers and directors --- Kubrick, Stanley. --- Ḳubriḳ, Sṭanli --- Ḳubriḳ, Sṭenli --- קובריק , סטנלי --- 2001. --- 2001: Space Odyssey. --- A Clockwork Orange. --- Barry Lyndon. --- Dr. Strangelove. --- Eyes Wide Shut. --- Full Metal Jacket. --- Intellectual. --- Jewish. --- Lolita. --- New York. --- Stanley Kubrick. --- The Shining. --- cinema. --- director. --- ethnic. --- film. --- identity. --- kubrick. --- shining. --- space odyssey. --- strangelove. --- Kubrick, Stanley

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American literature --- Caribbean Area --- 791.43.03 --- Fantasy films --- -#SBIB:309H1326 --- fantastische film --- sciencefictionfilm --- Alien --- Scott Ridley --- An American Werewolf in London --- The Black Hole --- Nelson Gary --- Landis John --- The Empire Strikes Back --- Kershner Irvin --- The Elephant Man --- Lynch David --- Escape from New York --- Carpenter John --- Excalibur --- Boorman John --- Die Fälschung --- Schlöndorff Volker --- Flash Gordon --- Hodges Michael --- Heavy Metal --- Potterton Gerald --- Lili Marleen --- Fassbinder Rainer Werner --- Outside In --- Dwoskin Stephen --- Raiders of the Lost Ark --- Spielberg Steven --- Scanners --- Cronenberg David --- The Shining --- Kubrick Stanley --- Stalker --- Star Wars --- Lucas George --- Star --- Luk De Vos, Mark Holthof --- Fantastic films --- Filmstijlen --- 791.43.03 Filmstijlen --- sciencefiction --- Tarkovski Andrej --- #SBIB:309H1326 --- 791.41 --- 791.43 --- film --- History and criticism --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Film --- Amerikaanse letterkunde --- Caraïbisch gebied --- Caribbean area --- Films