LEADER 02732nam 2200589 a 450 001 9910463183903321 005 20200520144314.0 010 $a1-61703-894-6 010 $a1-62846-636-7 010 $a1-62103-982-X 035 $a(CKB)2670000000391314 035 $a(StDuBDS)EDZ0000203642 035 $a(MiAaPQ)EBC1181931 035 $a(OCoLC)828334142 035 $a(MdBmJHUP)muse28608 035 $a(MiAaPQ)EBC4977730 035 $a(Au-PeEL)EBL1181931 035 $a(CaPaEBR)ebr10733951 035 $a(CaONFJC)MIL838054 035 $a(Au-PeEL)EBL4977730 035 $a(CaONFJC)MIL505035 035 $a(OCoLC)1024284068 035 $a(EXLCZ)992670000000391314 100 $a20130719d2013 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aStanley Kubrick$b[electronic resource] $eadapting the sublime /$fElisa Pezzotta 210 $aJackson $cUniversity Press of Mississippi$d2013 215 $a1 online resource (x, 230 pages) $cillustrations (black and white) 311 $a1-61703-893-8 311 $a1-57806-297-7 320 $aIncludes bibliographical references, filmography and index. 327 $aIntroduction -- A history of Kubrick adaptations -- Plot construction: ellipses and enigmas of unrelated -- Scenes -- Plot construction: a chaotic geometry -- Music, dance, and dialogue -- Dreamy worlds -- Artificiality, modernism, and the sublime -- Conclusion. 330 8 $aAlthough Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since '2001: A Space Odyssey' (1968), they seem to exploit definitively all cinematic techniques, embodying a compelling visual and aural experience. But, as the author of this book contends, it is for these reasons that Kubrick's cinema becomes the supreme embodiment of the sublime, fruitful encounter between the two arts and, simultaneously, of their independence. Pezzotta concludes that, unlike his predecessors, he creates a cinema not only centred on the ontology of the medium, but on the staging of sublime, new experiences. 606 $aLiterature$xAdaptations$xHistory and criticism 606 $aFilm adaptations$xHistory and criticism 608 $aElectronic books. 615 0$aLiterature$xAdaptations$xHistory and criticism. 615 0$aFilm adaptations$xHistory and criticism. 676 $a791.43/0233/092 700 $aPezzotta$b Elisa$01027082 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910463183903321 996 $aStanley Kubrick$92442338 997 $aUNINA LEADER 01670nam 2200469 450 001 996248343003316 005 20220418195118.0 010 $a0-8263-3406-7 024 7 $a2027/heb31951 035 $a(CKB)4330000000041299 035 $a(dli)HEB31951 035 $a(MiAaPQ)EBC6299688 035 $a(MiU) MIU01100000000000000000433 035 $a(EXLCZ)994330000000041299 100 $a20201217d2006 uy 0 101 0 $aeng 135 $aurmnummmmuuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMalintzin's choices $ean Indian woman in the conquest of Mexico /$fCamilla Townsend 210 1$aAlbuquerque :$cUniversity of New Mexico Press,$d[2006] 210 4$dİ2006 215 $a1 online resource (xv, 287 p. )$cill., maps ; 225 1 $aDia?logos 311 $a0-8263-3405-9 320 $aIncludes bibliographical references (p. 229-282) and index. 327 $aPelican's kingdom -- The men from the boats -- One of us people here -- Tenochtitlan -- Water-pouring song -- Reed mats -- The concubine speaks -- Don?a Mari?a -- Don Marti?n. 410 0$aDia?logos (Albuquerque, N.M.) 517 3 $aIndian woman in the conquest of Mexico 606 $aIndians of Mexico$xFirst contact with other peoples 607 $aMexico$xHistory$yConquest, 1519-1540 615 0$aIndians of Mexico$xFirst contact with other peoples. 676 $a972.02 700 $aTownsend$b Camilla$f1965-$0702243 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a996248343003316 996 $aMalintzin's choices$91362619 997 $aUNISA