Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore

As I was beginning to read Maria Pramaggiore’s exploration of temporality in Stanley Kubrick’s Barry Lyndon (1975), I was fortunate enough to be able to attend a 35mm screening of the film at the cinema. As Pramaggiore points out throughout her book, the film’s lengthy duration, and the way in which...

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Main Author: Gillian McIver
Format: Article
Language:English
Published: University College Cork 2018-01-01
Series:Alphaville: Journal of Film and Screen Media
Subjects:
Online Access:http://www.alphavillejournal.com/Issue14/HTML/ReviewMcIver.html
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author Gillian McIver
author_facet Gillian McIver
author_sort Gillian McIver
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description As I was beginning to read Maria Pramaggiore’s exploration of temporality in Stanley Kubrick’s Barry Lyndon (1975), I was fortunate enough to be able to attend a 35mm screening of the film at the cinema. As Pramaggiore points out throughout her book, the film’s lengthy duration, and the way in which it is structured with inter-titles and an intermission, makes the cinematic viewing space very different to that of the DVD or home theatre. At the same time, Kubrick’s treatment of time in the film, which is explored in numerous ways throughout Pramaggiore’s book, makes Barry Lyndon a rediscovery, even a “secret masterpiece” (Graham-Dixon), especially for the digital generation who have their own attitudes towards interruptions, repetitions and narrativity.
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spelling doaj.art-124697fb1e1149f9947d11fd42c5196a2022-12-22T00:50:22ZengUniversity College CorkAlphaville: Journal of Film and Screen Media2009-40782018-01-0114219224https://doi.org/10.33178/alpha.14.10Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria PramaggioreGillian McIver0https://orcid.org/0000-0003-3652-9179University of RoehamptonAs I was beginning to read Maria Pramaggiore’s exploration of temporality in Stanley Kubrick’s Barry Lyndon (1975), I was fortunate enough to be able to attend a 35mm screening of the film at the cinema. As Pramaggiore points out throughout her book, the film’s lengthy duration, and the way in which it is structured with inter-titles and an intermission, makes the cinematic viewing space very different to that of the DVD or home theatre. At the same time, Kubrick’s treatment of time in the film, which is explored in numerous ways throughout Pramaggiore’s book, makes Barry Lyndon a rediscovery, even a “secret masterpiece” (Graham-Dixon), especially for the digital generation who have their own attitudes towards interruptions, repetitions and narrativity.http://www.alphavillejournal.com/Issue14/HTML/ReviewMcIver.htmltemporalitybarry lyndonkubrick studieshigh culturepramaggioreirish production historymasculinitycinematic viewing spacetimelatenessrefusal of closuresecret masterpiece
spellingShingle Gillian McIver
Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore
Alphaville: Journal of Film and Screen Media
temporality
barry lyndon
kubrick studies
high culture
pramaggiore
irish production history
masculinity
cinematic viewing space
time
lateness
refusal of closure
secret masterpiece
title Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore
title_full Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore
title_fullStr Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore
title_full_unstemmed Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore
title_short Making Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore
title_sort making time in stanley kubrick s barry lyndon art history and empire by maria pramaggiore
topic temporality
barry lyndon
kubrick studies
high culture
pramaggiore
irish production history
masculinity
cinematic viewing space
time
lateness
refusal of closure
secret masterpiece
url http://www.alphavillejournal.com/Issue14/HTML/ReviewMcIver.html
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