By Michael McVey, Skiffleboom
In March of 2013, I won a film competition in Boston and flew out to Hollywood, California to see my film screen at the Chinese Theatre. During my stay, I visited the Stanley Kubrick Exhibit at the Los Angeles County Museum of Art, or LACMA. As a filmmaker and a film enthusiast, I was completely awestruck.
From November 1, 2012 through June 30, 2013, LACMA visitors got a glimpse at the genius responsible for some of the finest films ever made. I documented the extraordinary collection of all things Kubrick. I transcribed the exhibit in its entirety, word for word. It was an illuminating process.
Now that the exhibit is closed, I am posting my efforts here to share with those of you who could not make the trip. While there is no experience akin to seeing it in person, I hope these photographs and transcriptions further the educational goals of this exhibit: film can be great art. Studying the masters helps us discover new ways to understand, new possibilities to explore.
This exhibition is organized by the Deutsches Filmmuseum, Frankfurt am Main, Christiane Kubrick and The Stanley Kubrick Archive at University of the Arts London, with the support of Warner Bros. Entertainment Inc., Sony-Columbia Pictures Industries Inc., Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., and SK Film Archives LLC.
In Los Angeles, Stanley Kubrick is co-presented by the Los Angeles County Museum of Art and the Academy of Motion Picture Arts and Sciences, and has been generously supported by Steve Tisch. Additional funding has been provided by Warner Bros. Entertainment, Violet Spitzer-Lucas and the Spitzer Family Foundation. Image: Stanley Kubrick in the interior of the space ship “Discovery”, 2001: A Space Odyssey (2001: A Space Odyssey, GB/United States 1965-68) © Warner Bros. Entertainment.
June 29, 2013 | Categories: Film, Film Analysis, History of the Moving Image, Pictures, Stanley Kubrick, Uncategorized | Tags: 2001: A Space Odyssey, A Clockwork Orange, A.I. Artificial Intelligence, All work and no play make Jack a dull boy, Angenieux, Anthony Burgess, Anton Furst, Arlington Valles, Arriflex camera, Arthur C. Clarke, Arthur Schnitzler, Aryan Papers, Auteur theory, Barry Lyndon, Bill Thomas, candlelight lens, Canon, censorship, Chess, Chris Baker, Chris Foss, Christiane Kubrick, cinema, Cinematography, Cinepro, Clapperboards, Clare Quilty, Cooke prime lenses, Dalton Trumbo, Day of the Flight, Diane Arbus, Douglas Trumbull, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Ealing Studios, Eros, exhibition, Eyemo Camera, Eyes Wide Shut, Fairchild-Curtis, Fangorn, Fear and Desire, Film Noir, Flying Parade, Francisco de Goya, Full Metal Jacket, Garrett Brown, Graflex Pacemaker, Gustav Hasford, HAL 9000, Humphrey Cobb, Jack Nicholson, James B. Harris, Jan Harlan, John Alcott, John McCracken, Ken Adam, Killer’s Kiss, Kirk Douglas, Korova Milk Bar, LACMA, Lawrence Olivier, Lolita, Louis Begley, Marcus Licinius Crassus, Mark Van Doren, Matte Painting, Michael McVey, Michel Ciment, Milena Canonero, Mitchell BNC Camera, Moonwatcher, Napoleon Bonaparte, Newall viewfinder, Nicole Kidman, Olivier Mourgue, Paths of Glory, Patti Podesta, Paul Duncan, Peter Ellenshaw, Peter Sellers, production design, Pvt Joker, retrospective, Rhapsody: A Dream Novel, Saul Bass, Scripts, Shelley Duvall, Sir Hardy Amies, skiffleboom, spartacus, Stanley Kubrick, Stanley Kubrick Archive of the University of the Arts London, steadicam, Stephen King, Steven Spielberg, storyboards, Terry Southern, Thanatos, The Killing, The Overlook Hotel, The Seafarers, The Shining, The Short-Timers, The Sleep of Reason Produces Monsters, The Starchild, Tom Cruise, Venetian Masks, Vladimir Nabokov, Zeiss Mutar 0.5x, Zeiss Planer | Leave a comment