title: Jon Ossoff

texts:
 The Atlanta Journal-Constitution, "surging Democratic turnout wasn't enough to overcome heavy GOP voting in a district where Republicans far outnumber Democrats". Following reports of the election results, Frank Bruni, in an op-ed for The New York Times, characterized the race as "demoralizing for Democrats". This was as close as a Democrat had come to winning this district since it assumed its current configuration as a northern suburban district in 1992; Democratic challengers had won more than 40 percent of the vote only twice before. On February 23, 2018, <mask> announced he would not seek the seat in the regular election in 2018; the seat was won by Democrat Lucy McBath in November 2018. U.S. Senate

Elections

2020–21 election

Ossoff ran in the Democratic primary election to try to unseat then-incumbent Republican senator David Perdue in the 2020 Senate election in Georgia. On June 10, Ossoff advanced to the general election by winning 50.5 percent of the vote, just over the threshold to prevent a run-off election. In July 2020, Perdue's campaign ran a Facebook advertisement in which Ossoff's nose was digitally altered to be larger, which Ossoff criticized as "one of the most classic anti-Semitic tropes".Perdue's campaign said that Perdue had not seen the image and that the widening and elongation of his nose was done by a vendor. The Perdue campaign pulled the advertisement. By October 2020, <mask> raised over $100 million for his campaign, making him the best-funded Senate candidate in U.S. history. In the November 3 general election, Perdue received 2,462,617 votes (49.73%) while <mask> received 2,374,519 votes (47.95%). Since no candidate received a majority of the vote on November 3, the top two finishers (Perdue and Ossoff) advanced to a January 5, 2021 runoff election. The closing argument of the <mask> campaign focused on the $2,000 stimulus payments that he and Raphael Warnock would approve if they were to win their elections and give Democrats a majority in the Senate. <mask> declared

masks: Ossoff Ossoff Ossoff Ossoff Ossoff


title: Jon Ossoff

type: original

texts:
 victory on the morning of January 6, 2021, and most major news outlets called the race for him later that day.While Perdue won more counties, <mask> won overwhelmingly in the inner ring of the Atlanta metropolitan area. He won Cobb and Gwinnett counties, which have recently swung Democratic, by over 40,200 and 74,200 votes, respectively. The latter exceeded his statewide margin of about 55,000 votes. He ran slightly behind Warnock, who defeated Kelly Loeffler by 70,400 votes by also running up his margins in the Atlanta area. Perdue conceded the election on January 8. The vote was certified on January 19, an action that allowed the newly elected senators to take office the following day. On January 20, <mask> was sworn in to the Senate by vice president Kamala Harris.When <mask> took office, he became the first Jewish senator from Georgia and the first Jewish senator elected from the Deep South since Benjamin F<mask> of Louisiana in 1878, the first senator born in the 1980s, and, at 33, the youngest member of the chamber and the first millennial senator to be elected. He was sworn into office using the Bible of Rabbi Jacob Rothschild, the late rabbi of the Hebrew Benevolent Congregation Temple in Atlanta, which was bombed in 1958 by white supremacists for Rothschild’s civil rights activism. <mask> is the first Democrat elected to a full term in the Senate from Georgia since Max Cleland in 1996. He and Warnock are also the first Democratic U.S. senators from Georgia since Zell Miller left office in 2005. Ossoff assumed the role of senior U.S. senator from Georgia once he was sworn into office, making him the youngest senior senator since Robert M. La Follette Jr. and the most junior senior senator since Hiram Fong, who was 99th in seniority from Hawaii's admission until the end of the 86th Congress in 1961. Tenure

On January20, 2021, <mask> was sworn into the United States Senate in the 117th Congress by Vice President Kamala Harris. Ossoff supported all of President Joe Biden's cabinet nominees.He voted in

masks:
Ossoff
Ossoff
Ossoff
. Jonas
Ossoff
Ossoff


title: Jon Ossoff

texts:
 favor of Avril Haines's nomination for director of national intelligence and General Lloyd Austin's nomination to serve as secretary of defense, as well as the required waiver for Austin to legally hold the position. On December 3, Ossoff petitioned Secretary of Education Miguel Cardona requesting Morris Brown College, a historically black college which Ossoff pledged to help during his campaign, regain their accreditation after having lost it in 2002 due to "years of financial issues and mismanagement." Accreditation would allow students of the college (50 at the time of the request) to be eligible for federal financial aid. The college's students were granted the ability to apply for federal financial aid by the Department of the Education one week later on December 10, 2021. In January 2022, Ossoff introduced legislation that would ban members of congress and their spouses from trading stocks. Committees

 Committee on the Judiciary
 Committee on Homeland Security and Governmental Affairs
Subcommittee on Investigations (Permanent) (Chair)
 Committee on Banking, Housing, and Urban Affairs
Committee on Rules and Administration

Caucuses

Political positions
According to The New Yorker in 2017, Ossoff has "progressive positions on women's issues and health care" and "moderate stances on jobs and security". Matthew Yglesias of Vox called his 2017 run for office an "Obama-style campaign", placing himself in the middle between progressive and conservative members within the Democratic Party.According to The Washington Post, the 2017 <mask> campaign opted not to turn the special election into a referendum on Trump's alleged scandals, but to focus on "policy decisions by the president and congressional Republicans". The Atlanta Journal-Constitution wrote that he "often tried to avoid nationalizing that campaign over fears of losing moderate voters". Likewise, The New York Times observed that his 2017 campaign distanced itself from the national Democratic Party. In 2020, the Atlanta Journal-Constitution wrote


title: Jon Ossoff

texts:
 that <mask> was "more unapologetic about embracing liberal policy ideas than his Democratic predecessors during past statewide races. And where he once hesitated to hit Trump directly, he now pulls no punches as he seeks to tie Perdue to his White House ally." Abortion
Ossoff is pro-choice on abortion rights. He pledged to only support judges who would uphold Roe v. Wade, and he supports Planned Parenthood.Cannabis legalization

On the issue of cannabis legalization, Ossoff says "It's past time to legalize, regulate, and tax cannabis – whose prohibition only enriches cartels, bail bondsman, and the owners of private prisons." Ossoff says that as a member of the Senate he will push for "nationwide legalization" of cannabis, a substance that he says is "much less dangerous than alcohol". Capital punishment
Ossoff is against the death penalty and supports its abolition. Criminal justice
Ossoff opposes prison sentencing for nonviolent drug offenses. His website says, "Violent crime, murder, rape, human trafficking, and corruption are rampant, while we spend billions locking up nonviolent drug offenders." Ossoff opposes both defunding the police, as well as abolishing the U.S. Immigration and Customs Enforcement. He supports task forces to fight organized crime and political corruption, and he wants to establish national standards for use of force by police.Ossoff has advocated for demilitarizing the police and banning private prisons. Economy and Financial Regulation
Ossoff supports reinstating Glass-Steagall, and he supports ending speculative trading. He has supported stimulus spending in the wave of the COVID-19 pandemic. Ossoff supported an additional round of stimulus checks of $1,200 during late 2020. Ossoff supports increasing economic relief for businesses and households affected by COVID-19 pandemic, and believes testing, treatment, and vaccines for COVID-19 should be free. Ossoff voted in favor of the American Rescue Plan Act of 2021, an economic stimulus bill aimed at speeding up the United States'


title: Jon Ossoff

texts:
 recovery from the economic and health effects of the COVID-19 pandemic and the ongoing recession. He supports funding infrastructure.He supports financial regulation to restrict unfair practices by overseas competitors. Education
His campaign promised to prioritize making education more affordable, while making trade school, vocational training, public colleges free. He supports debt forgiveness. Environment
He accepts the scientific consensus on climate, and has said that "climate change is a threat to our security and prosperity". He supports U.S. participation in the Paris Agreement. He is not in favor of the Green New Deal. <mask> is pro GHG restrictions, and in 2017, he advocated for investigations into failures to enforce environmental laws.He supports protection of endangered species and habitats, and he criticized the Trump administration's rollbacks of environmental standards. Energy
Ossoff supports renewable energy. He believes human driven climate change is responsible for global warming, and supports investing in clean energy. Foreign policy

Afghanistan
Ossoff resisted criticizing President Joe Biden for the withdrawal of troops from Afghanistan in August 2021, as other Democratic politicians had at the time, instead stating he was focused on "supporting the State Department and the Department of Defense as they work with limited time to expedite the evacuation" of stranded Americans and American-allied Afghans. Ossoff would condemn the subsequent airport attack in Kabul, which killed 13 American military personnel, stating: "I condemn this cowardly and despicable terrorist attack." Israel
Ossoff led a group of 25 Democratic senators who called for an immediate ceasefire in a joint statement during the 2021 Israel–Palestine crisis. The statement said: "Israel has the right to defend itself from Hamas' rocket attacks, in a manner proportionate with the threat its citizens are facing."<mask> has stated Israel's situation holds high importance to him due to him having Orthodox relatives in the

masks: Ossoff Ossoff


title: Jon Ossoff

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 country, saying he wishes for "a future where all people in the region live in peace, live in prosperity and have equal rights." <mask>, who is Jewish, supports Israel and providing U.S. military aide. Saudi Arabia

Ossoff supports blocking arm sales to Saudi Arabia. Government reform
Ossoff has called for the repeal of "wasteful, anti-competitive special interest subsidies that make it hard for entrepreneurs to raise capital, enter the market, create jobs, and compete with larger firms who have lobbyists in Washington". He has said the government funds "$16 billion in duplicate programs. That can be cut," an assertion that PolitiFact rated "Mostly True". Ossoff refused to accept donations from PACs.Ossoff supports statehood for the District of Columbia and for Puerto Rico. He is open to term limits for federal judges, and he voted to eliminate the filibuster to pass the Build Back Better bill in 2022. He supports a Voting Rights Act and opposes the decision in Citizens United v. FEC. Gun Control
Ossoff has supported various gun control measures, including background checks, red flag laws, and an assault weapons ban. He was endorsed by Everytown for Gun Safety. Healthcare
Ossoff supports the Affordable Care Act (also known as Obamacare). His health care policy includes three principles: "One, no American should suffer or die from preventable or treatable illness.Two, no one should go broke because they get sick. And three, no business should go under or lay off employees because it can't keep up with health insurance premiums." He does not support pushing for a single-payer health care system, such as Medicare for All. He opposed both the March 2017 and May 2017 versions of the American Health Care Act, the House Republican bill that would have repealed the Affordable Care Act. He said that the May 2017 version was worse than the earlier one "because it does even less to protect those with preexisting conditions". He supports improving and redesigning the ACA. <mask> told The Atlanta Journal-Constitution


title: Jon Ossoff

texts:
 that he supported tax credits for small businesses related to health care.He supports Medicaid and Medicare funding, and he wants to empower Medicare to negotiate lower drug prices while expanding Medicaid and investing in new public health clinics. He supports a public option over a single-payer healthcare system. Immigration
Ossoff supports comprehensive immigration reform that would both strengthen enforcement along the Mexican border and provide a path to citizenship for some undocumented immigrants. He opposes Trump's border wall, but he maintains his support for strengthening borders while providing a path for DREAMers. LGBT rights
Ossoff describes his support for the LGBT community as "unwavering". He also supports the Equality Act, which would prohibit discrimination on the basis of sex, gender identity, and sexual orientation. Minimum wage
Ossoff supports raising the federal minimum wage to at least $15 an hour.Social Security
Ossoff is pro-entitlement, and he supports strengthening and protecting Social Security benefits. Tax Reform
Ossoff supports taxing to balance the budget, and he has advocated for undoing Trump-era tax cuts. He wants to reduce the tax burden for small businesses and simplify family living by lowering taxes on all but the wealthiest Americans. He opposes an increase in current federal income tax rates. Trump administration
Ossoff has been sharply critical of President Donald Trump, criticizing what he calls Trump's "divisive approach to government", in addition to his COVID policies, and saying: "I have great respect for the office. I don't have great personal admiration for the man himself." After Trump sent out a tweet the day before Ossoff's primary on April 19, 2017, calling him a "super Liberal Democrat" who wanted to "protect criminals, allow illegal immigration and raise taxes," Ossoff dismissed Trump's claims and called him "misinformed".FactCheck.org found that Trump's claim was a distortion, and that there was no evidence that <mask> had ever advocated for any


title: Jon Ossoff

texts:
 broad-based tax hikes. Nevertheless, Ossoff said that he would be willing to work with Trump on issues of mutual interest, such as infrastructure spending. After Trump's disclosure of classified information to Russia, Ossoff said of impeachment that "I don't think we're there." He called for "a full and transparent and independent assessment of what level of interference there was by Russian intelligence services in the U.S. election. And overseers in Congress and any independent counsel or commission to do so should follow those facts wherever they lead." Ossoff voted to convict Trump during his second impeachment on the charge of incitement of insurrection following the 2021 United States Capitol attack, joining all Democrats and seven Republicans. Voting rights
Ossoff supports passage of the John Lewis Voting Rights Act.Following passage of Georgia's controversial Election Integrity Act of 2021, signed into law by Republican Governor Brian Kemp and passed by the Republican-led state legislature, several businesses from the Major League Baseball organization to the production of Will Smith film Emancipation boycotted the state in protest. In an interview with CNN, Ossoff expressed his displeasure with the bill, while also saying he didn't support the corporate boycotts, stating Georgians "rely upon and hope for and welcome jobs, investment and opportunity." Public image
Ossoff has been described as able to effectively appeal to young people by using TikTok, the social media app most popular with Generation Z. On the night he was elected to the Senate, Ossoff's posts on Twitter from the previous decade have attracted renewed attention on social media, including several references to Star Wars, the musical group Imagine Dragons, and anime. He is described as the "first Extremely Online senator". In January 2021, Vogue reported on an "adoring" Instagram account of self-declared "simps" expressing affection toward Ossoff. After <mask>’s election, in July 2021, The Daily Beast reported on an “Ossimp Patrol” on


title: Jon Ossoff

texts:
 Twitter that monitors “Ossoff simps” on the platform, and replies to their tweets with an ActBlue link prompting to donate to Raphael Warnock’s 2022 reelection campaign, and get out the vote organizations in Georgia and Texas.When shown this by The Daily Beast, Ossoff is said to have "paused for a moment" and "furrowed his brow" before saying he wasn't aware of any of this, but did commend the "great community" he had that supported him during his 2020-21 senate campaign. Personal life

Ossoff is married to Alisha Kramer, an obstetrics and gynecology resident at Emory University, and a graduate of Georgetown University and Emory University School of Medicine. Ossoff married Kramer in 2017 after 12 years of dating. On the night of <mask>'s election to the United States Senate in January 2021, Kramer was working an overnight shift in Emory University Hospital in Atlanta. On December 20, 2021, Ossoff and Kramer announced the birth of their daughter, Eva Beth, who was born December 17. Electoral history

U.S. House

U.S. Senate

Filmography

See also
 List of Jewish members of the United States Congress

References

External links

 Senator <mask>ff official U.S. Senate website
 Campaign website

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1987 births
Living people
21st-century American journalists
21st-century American male writers
21st-century American politicians
Alumni of the London School of Economics
Alumni of The Paideia School
American documentary film producers
American investigative journalists
American male television writers
American people of Australian descent
American people of Lithuanian-Jewish descent
American people of Russian-Jewish descent
Candidates in the 2017 United States elections
Democratic Party United States senators
Georgetown University alumni
Georgia (U.S. state) Democrats
Jewish American journalists
Jewish American people in Georgia (U.S. state) politics
Jewish United States senators
People who lost Australian citizenship
Politicians from Atlanta
United States senators from Georgia (U.S.

masks:
Ossoff
Jon Osso


title: Fernando Giudicelli

texts:
<mask> – esp. in Brazil often just <mask> (1 March 1906 in Rio de Janeiro – 28 December 1968 in Rio de Janeiro) was a Brazilian football player. He participated in the World Cup of 1930 and played for clubs in Brazil, Italy, Switzerland, France, Portugal and Spain. He also acted as player agent and instigated a number of moves of players from South America to Europe. He was known for the mariners' cap that he wore when playing. Career

Guidicelli was born in Rio de Janeiro. A technically gifted central midfield-player of Italian ancestry, he reportedly commenced his career about 1924 with America FC in the north of Rio de Janeiro, then one of the top clubs of Carioca football.In July 1927 he moved south and joined Fluminense FC, for which he played 90 times until June 1931. At the World Cup 1930 in Uruguay he debuted with the Brazil national football team in the match lost 1–2 against Yugoslavia. He also played in the second match in which Brazil defeated Bolivia 4–0. His third and last match in the national side took place in August of the same year, when Brazil defeated Yugoslavia in Rio 4–1. This match was not regarded official by the Yugoslav football association. Between June and August 1931 he and several players from Botafogo FC such as Nilo and Carvalho Leite re-inforced CR Vasco da Gama, also from Rio, on a trip to Europe – the only second trip to Europe by a Brazilian club since the one of CA Paulistano in 1925. In twelve matches in Portugal and Spain – among others against FC Barcelona, FC Porto, and S.L.Benfica and Sporting CP in Lisbon – the team of Vasco, coached by Harry Welfare, won eight times. <mask> remained in Europe and chose to play as a professional in Italy – football in Rio was still amateur sport back then – for FC Torino. He could do this, as he was considered an oriundo, an Italian emigrant returning home. His excellent technique found great acknowledgement, however, his lack of fighting spirit was widely criticised and put him at a disadvantage in the context of the style of football played in Italy back then. Giudicelli played from September 1931 until

masks:
Fernando Rubens Pasi Giudicelli
Fernando –
Fernando Giudicelli


title: Fernando Giudicelli

texts: April 1933 for Torino. In the first season when Torino became eighth in the league, he generally was part of the standard formation, played 28 times scoring once. 1932–33 Torino finished seventh, Giudicelli playing only twelve times.After this season Torino released him. Between the seasons 1931–32 and 32/33 he spent some time back in Rio. There he convinced Démosthenes Magalhães, his successor in the midfield of Fluminense, to join him at Torino. Démosthenes changed his name to Demostene Bertini, and thus got, at least initially away, with a claim to Italian origins. Also in the break between the next couple of seasons he was actively recruiting South American players for European engagements. Centre forward Attilio Bernasconi from CA All Boys in Buenos Aires moved on <mask>'s initiative in 1933 to Torino. It is reported, that after this time <mask> had an offer to join Argentine top side CA River Plate in Buenos Aires, however at the beginning of the season 1933–34 he joined the then Swiss first division club Young Fellows Zürich where it is known that the Black Miracle"  Fausto dos Santos, another participant of the 1930 World Cup and Vasco's 1931 trip to Europe, played in 1933.In the winter break he returned to Rio, reportedly attempting to recruit players for Switzerland. <mask> did not return to Zürich, he was rather seen playing in Rio on the side of Heitor Canalli a 1934 World Cup participant who commenced the 1933–34 season with Torino and played there nine times, but considered the climate in northern Italy as "torture" – for America FC. 1934–35 <mask> played in Bordeaux in France, probably for Girondins. At the end of the season he returned once more to Brazil, this time convincing goalkeeper Jaguaré Bezerra de Vasconcelos of SC Corinthians Paulista and the defender Marins de Araújo Viana "Vianinha", probably from CA Paulista or also Corinthians, of opportunities awaiting in Italy. After their voyage across the Atlantic their first port of call was Lisbon, where they got news of the commencement of the Second Italo-Abyssinian War. Therefore, they decided not to continue

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Giudicelli
Giudicelli
Fernando Giudicelli


title: Fernando Giudicelli

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 their journey to their intended destination. However, soon they were taken on by Sporting CP where they were the first Brazilians in club history.<mask> should only play two matches for the Lisbon side: one friendly and a match for the championship of Lisbon where he was sent off after discussions with the referee. Jaguaré stayed a bit longer with Sporting, winning the city championship, but then soon moved on to Olympique Marseille, where he should leave a lasting impression in the club's history. Vianinha stayed, with the exception of a brief interruption, in Portugal winning national championships with Sporting and FC Porto. <mask> moved on to Real Madrid, becoming the first Brazilian in the club's history. In December 1935 he played against Racing Santander a sole league match for the club. After this he had a falling out with coach Francisco Bru, who in the consequence suspended him. In January 1936 he was in France amongst speculation that he might join Olympique Lillois or FC Antibes.He ended up playing for the latter club for which he played 10 first division matches scoring one goal until the end of the season 1935–35, finishing twelfth out of 16. In 1936–37 Giudicelli played another 19 matches for the Antibois in which he scored seven goals. At the beginning of that season he was joined by Vininha, who played five league matches for the club, scoring twice, before returning to Portugal. Antibes finished the season 13th. References
 Marcelo Rozenberg: <mask>lli Ex-meia do América-RJ, Flu, Torino e Real Madrid'', Terceiro Tempo: Que fim levou? External links

1906 births
1930 FIFA World Cup players
1968 deaths
Footballers from Rio de Janeiro (city)
Brazilian footballers
Brazil international footballers
Association football midfielders
Fluminense FC players
FC Girondins de Bordeaux players
Ligue 1 players
Serie A players
Torino F.C. players
Real Madrid CF players
Brazilian expatriate footballers
Expatriate footballers in Italy
Expatriate footballers in Spain
Expatriate footballers in France
Brazilian people of Italian descent
SC Young Fellows Juventus players
FC Antibes

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Giudicelli
Fernando Giudicelli
Fernando Giudice


title: Ana Mariella Bacigalupo

texts:
<mask> is a Peruvian anthropologist. She is a full professor at the State University of New York at Buffalo and has previously taught throughout the USA and in Chile. Her research primarily focuses on the shamans or machis of the Mapuche community of Chile, and the ways shamanic practices and beliefs are affected by and influence communal experiences of state power, mythical history, ethics, gender, justice, and identity. Education and career
<mask>o obtained her PhD from the University of California, Los Angeles (UCLA) for Anthropology. The Mapuche communities have been her main focus of study, observing their lifestyles from the perspective and guidance of her 'spiritual grandmother,' Francisca Kolipi, a Mapuche Shaman. Her major works regarding the Mapuche have been published since 1996 with the most notable being Shamans of the Foye Tree: Gender, Power and Healing Among Chilean Mapuche and Thunder Shaman: Making History With Mapuche Spirits in Chile and Patagonia, both published respectively in 2007 and 2017. Work about Mapuche shamanism

Thunder Shaman: Making History With Mapuche Spirits In Chile And Patagonia
This work completed in 2016 by Baciagalupo details the experience she had living with and studying the Mapuche people under the guidance of Francisca Kolipi.It demonstrates the resiliency the Mapuche communities and machi had against the multiple forces of colonialism and dictatorships via the fluidity and spiritual guidance of the sages. By

masks:
Ana Mariella Bacigalupo
Ana Mariella Bacigalup


title: Ana Mariella Bacigalupo

texts:
Mapuche religion
Shamanism

References

External links
 <mask> <mask>'s page in the University at Buffalo's Department of Anthropology
This Anthro Life interview with <mask> Bacigalupo about Mapuche shamanism, history, and literacy

Living people
Peruvian anthropologists
Peruvian women anthropologists
University at Buffalo faculty
University of California, Los Angeles alumni
Year of birth missing (living

masks:
Ana Mariella
Bacigalupo
Ana Mariella


title: Peter Brant

texts:
<mask>.  (born March 1, 1947) is an American industrialist, as well as a magazine publisher, film producer, and art collector. He is married to model Stephanie Seymour. Early life and education
Brant was raised in Jamaica Estates, Queens, the son of Lily and <mask>. His parents were both Jewish immigrants from Bulgaria. Brant's father co-founded the paper converter (primarily converting paper into newsprint) Brant-Allen Industries with his brother-in-law (father of H. Joseph Allen). He has one sister, <mask>sky. Brant was a childhood friend of Donald J. Trump.<mask> attended the University of Colorado but did not graduate, instead leaving to work for his father's company. Career

Newsprint
Brant went to work at Brant-Allen Industries, a paper conversion company co-founded by his father, Murray <mask>. In the early 1970s, <mask> and a cousin, H. Joseph Allen — the son of <mask>'s business partner — led the company into the manufacturing side of the business and expanded the company into paper mill (converting pulp into paper) ownership purchasing a mill in Rivière-du-Loup, Quebec and partnering with the Washington Post and Dow Jones to purchase a mill in Ashland, Virginia. In the early 2000s, as paper demand continued to decline, Brant embarked on a buying spree purchasing a second Quebec mill in 2004 for $205 million (from Enron) and a third Quebec mill in 2006 for $135 million. In 2008, he bought out his partner and changed the name of the company to White Birch Paper Company. Also in 2008, he purchased SP Newsprint Co for $305 million, a newsprint manufacturer with operations in Oregon and Georgia. The purchase gave Brant control of 22% of the North American newsprint market, second to AbitibiBowater with 43%.Brant expanded SP Newsprint into paper recycling operating 23 recycling facilities through its SP Recycling unit. In a court filing around 2007, <mask> said the ailing

masks:
Peter Mark Brant Sr
Murray Brant
Irene Brant Zelin
Brant
Brant
Brant
Murray Brant
Brant


title: Peter Brant

texts:
 newsprint market and the recession had slashed his net worth to less than $500 million from $1.4 billion that year. In February 2010, White Birch Paper restructured under Chapter 11 proceedings, due to excessive debt and declining demand for newsprint. The company emerged from bankruptcy in January 2012 and closed its main pulp and paper mill in Quebec City, sending home more than 600 workers. White Birch owns two other mills in Quebec, Canada and one in Ashland, Virginia. In 2012, <mask> pledged a portion of his art collection as security to purchase White Birch Paper out of bankruptcy in partnership with Black Diamond Capital Management LLC for $94.5 million in cash and $78 million in debt. <mask> remains as CEO of White Birch Paper.In November 2011, SP Newsprint Co filed for Chapter 11 bankruptcy due to excessive debt and declining demand for newsprint. SP Newsprint operates two mills in Dublin, Georgia and Newberg, Oregon and 23 recycling facilities. In September 2012, SP Newsprint was purchased out of bankruptcy by SP Fiber Technologies LLC  for an undisclosed amount. In May 2016, Brant merged the magazine Art in America with its principal competitor ARTnews. Artnet News reported his company announced that ARTnews would go to a quarterly publication schedule, down from monthly. The latter had run an article asking whether the Brant Foundation was a tax scam or an art investment vehicle. In May 2017, White Birch Paper announced that it would idle paper making operations at its Bear Island newsprint mill in Ashland, Virginia.The Bear Island mill produced 240,000 metric tons of newsprint annually. In 2018, Penske Media Corporation, the parent company of Variety magazine, acquired ARTnews and Art in America from Brant.Brant Publications, Inc.
Brant is the owner and chairman of Brant Publications, Inc. (BPI), located in New York City, founded in 1984. BPI publishes three

masks: Brant Brant


title: Peter Brant

texts:
 magazines:Interview was founded by artist Andy Warhol and John Wilcock in late 1969. These interviews were usually unedited or edited in the eccentric fashion of Warhol's books and The Philosophy of Andy Warhol: From A to B and Back Again. Brant Publications began publishing Interview shortly after Warhol's death in 1987. The magazine celebrated its 40th anniversary in 2010. The magazine Antiques is a monthly arts publication that focuses on architecture, interior design, and fine and decorative arts.Regular monthly columns include news on current exhibitions and art-world events, notes on collecting, and book reviews. The magazine was founded in 1922 and underwent a complete redesign in 2009.Modern, was launched in 2009 and is a magazine devoted to design, decorative arts and architecture.Modern Magazine on-line

Film producer
<mask>'s interest in art also led him into film production. He was a producer of L’Amour in 1973 and Andy Warhol's Bad in 1977. <mask> was an executive producer of the award-winning films Basquiat (1996) and Pollock (2000). <mask> was also co-producer of the Peabody- and Emmy-award-winning PBS documentary, Andy Warhol: A Documentary (2006). <mask> was also a producer of The Homesman (2014).Variety: "Cannes Film Festival: Early Pics Include Tommy Lee Jones’ ‘The Homesman,’ ‘How to Train Your Dragon 2’" April 16, 2014

Art collection and the Brant Foundation

<mask> is one of the world's Top 200 art collectors. He bought his first pieces of art after turning an $8,000 investment into several hundred thousand dollars as a young man.His first purchases according to The New York Times, included "a couple of Warhols and, later, a major Franz Kline.” In 1976, <mask> commissioned Andy Warhol to paint his cocker spaniel, Ginger. Warhol made two paintings of Ginger, as well as drawings. Brant is one of the largest collector's of Warhol's art. <mask> is a member

masks: Brant Brant Brant Brant Brant Brant Brant


title: Peter Brant

texts:
 of the Advisory Council of the Andy Warhol Museum in Pittsburgh. The Museum of Contemporary Art in Los Angeles named <mask> to its board of trustees in December 2009. Brant's collection is on display to the public at the two locations of the Brant Foundation Art Study Center, in Greenwich, Connecticut and the East Village neighborhood of Manhattan. His collection includes numerous works by Warhol, Jean-Michel Basquiat, Jeff Koons, Dan Flavin, Glenn Ligon, and Cady Noland.<mask> is one of Basquiat's major collectors. In 2020, he sold his Basquiat painting Boy and Dog in a Johnnypump'' (1982) to Ken Griffin for more than $100 million. Kentucky Derby and polo
<mask> was a member of the partnership who owned Classic winner Swale, who won both the 1984 Kentucky Derby and Belmont Stakes and was American Champion Three-Year-Old Colt that year. In addition, <mask> was responsible for bringing legendary stallion Mr. Prospector to Claiborne Farm in Paris, Kentucky. Mr. Prospector, who began his stud career in Florida in 1975, went on to be one of the most influential sires in the American Stud-Book since the first of his progeny began racing in 1978. <mask> was the breeder of 1995 Kentucky Derby winner Thunder Gulch. Thunder Gulch is the son of Gulch out of the mare Line of Thunder, who were both owned and bred by Brant.In addition, <mask> is an accomplished polo player and at one time was the highest-rated amateur player in the U.S. <mask> is the co-founder of the Greenwich Polo Club, the Saratoga Polo Association, and the Bridgehampton Polo Club. Personal life

Marriage
His first marriage was to Sandra "Sandy" Simms (born 1955). They met while attending the University of Colorado. They divorced in 1995. She later married writer Ingrid Sischy. On July 14, 1995, <mask> married model Stephanie Seymour outside of Paris, with gallery owner Tony Shafrazi serving as best man at the

masks: Brant Brant Brant Brant Brant Brant Brant Brant


title: Peter Brant

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 ceremony. In 2009, the couple filed for divorce, but subsequently reconciled in 2010.Children
<mask> had eight biological children with his two wives, and one stepchild. Two of his biological children died within a two year period. <mask> and first wife Sandra Simms have five children together, four surviving as of late 2021. Four of their children have worked for Brant companies:

 Christopher as president of White Birch
 Ryan (c. 1972) as director of Brant Publications (c. 1972). Ryan also founded Take-Two Interactive at age 21. He was CEO until 2001, and left the company in 2006. He died in March 2019, at the age of 47, due to cardiac arrest caused by aspiration.Kelly as online director Brant Publications
 Allison as director of the Brant Foundation, and manager of her father's art collection
 Lindsay (c. 1973), an artist, has not worked for a Brant company

Brant and second wife Stephanie Seymour have two sons and one daughter together, and <mask> is father is Seymour's stepson:

 <mask>, Jr. (born December 1993)
 Harry (1996-2021), who died in January 2021 as a result of a prescription drug addiction. Lily (born October 27, 2004). Dylan Andrews is Seymour's son from first marriage to guitarist Tom Andrews. Tax evasion
In 1990, Brant was investigated for tax evasion resulting from reportedly having his company pay for $1 million in personal expenditures. Brant pled guilty to charges of failing to keep records and was sentenced to three months in a federal prison and $200,000 in fines. References

External links

1947 births
Living people
People from Jamaica Estates, Queens
People from Greenwich, Connecticut
20th-century American Jews
University of Colorado alumni
American manufacturing businesspeople
Film producers from New York (state)
American racehorse owners and breeders
American polo players
American art collectors
Film producers from Connecticut
21st-century

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title: Stanley Kubrick

texts: <mask> (; July 26, 1928 – March 7, 1999) was an American film director, producer, screenwriter, and photographer. He is frequently cited as one of the greatest filmmakers in cinematic history. His films, almost all of which are adaptations of novels or short stories, cover a wide range of genres and are noted for their realism, dark humor, unique cinematography, extensive set designs, and evocative use of music. <mask> was raised in the Bronx, New York City, and attended William Howard Taft High School from 1941 to 1945. He received average grades, but displayed a keen interest in literature, photography, and film from a young age, and taught himself all aspects of film production and directing after graduating from high school. After working as a photographer for Look magazine in the late 1940s and early 1950s, he began making short films on shoestring budgets, and made his first major Hollywood film, The Killing, for United Artists in 1956. This was followed by two collaborations with Kirk Douglas: the war picture Paths of Glory (1957) and the historical epic Spartacus (1960).Creative differences arising from his work with Douglas and the film studios, a dislike of the Hollywood industry, and a growing concern about crime in America prompted Kubrick to move to the United Kingdom in 1961, where he spent most of his remaining life and career. His home at Childwickbury Manor in Hertfordshire, which he shared with his wife Christiane, became his workplace, where he did his writing, research, editing, and management of production details. This allowed him to have almost complete artistic control over his films, but with the rare advantage of having financial support from major Hollywood studios. His first

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texts: productions in Britain were two films with Peter Sellers: Lolita (1962), an adaptation of the Vladimir Nabokov novel, and the Cold War black comedy Dr. Strangelove (1964). A demanding perfectionist, Kubrick assumed control over most aspects of the filmmaking process, from direction and writing to editing, and took painstaking care with researching his films and staging scenes, working in close coordination with his actors, crew, and other collaborators. He often asked for several dozen retakes of the same shot in a movie, which resulted in many conflicts with his casts. Despite the resulting notoriety among actors, many of <mask>'s films broke new ground in cinematography.The scientific realism and innovative special effects of the science fiction epic 2001: A Space Odyssey (1968) were without precedent in the history of cinema, and the film earned him his only personal Oscar, for Best Visual Effects. Steven Spielberg has referred to the film as his generation's "big bang"; it is regarded as one of the greatest films ever made. While many of <mask>'s films were controversial and initially received mixed reviews upon release—particularly the brutal A Clockwork Orange (1971), which Kubrick pulled from circulation in the UK following a mass media frenzy—most were nominated for Oscars, Golden Globes, or BAFTA Awards, and underwent critical reevaluations. For the 18th-century period film Barry Lyndon (1975), Kubrick obtained lenses developed by Zeiss for NASA, to film scenes under natural candlelight. With the horror film The Shining (1980), he became one of the first directors to make use of a Steadicam for stabilized and fluid tracking shots, a technology vital to his Vietnam War film Full Metal Jacket (1987).

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texts:
 His last film, Eyes Wide Shut, was completed shortly before his death in 1999 at the age of 70. Early life

<mask> was born on July 26, 1928, in the Lying-In Hospital in Manhattan, New York City, to a Jewish family.He was the first of two children of Jacob Leonard <mask> (May 21, 1902 – October 19, 1985), known as Jack or Jacques, and his wife Sadie Gertrude <mask> ( Perveler; October 28, 1903 – April 23, 1985), known as Gert. His sister Barbara Mary Kubrick was born in May 1934. <mask>, whose parents and paternal grandparents were of Polish-Jewish, Austrian-Jewish, and Romanian-Jewish origin, was a homeopathic doctor, graduating from the New York Homeopathic Medical College in 1927, the same year he married Kubrick's mother, the child of Austrian-Jewish immigrants. Kubrick's great-grandfather, Hersh <mask>, arrived at Ellis Island via Liverpool by ship on December 27, 1899, at the age of 47, leaving behind his wife and two grown children, one of whom was <mask>'s grandfather Elias, to start a new life with a younger woman. <mask> followed in 1902. At <mask>'s birth the Kubricks lived in the Bronx. His parents married in a Jewish ceremony, but Kubrick did not have a religious upbringing and later professed an atheistic view of the universe.His father was a physician and, by the standards of the West Bronx, the family was fairly wealthy. Soon after his sister's birth, Kubrick began schooling in Public School 3 in the Bronx and moved to Public School 90 in June 1938. His IQ was discovered to be above average but his attendance was poor. He displayed an interest in literature from a young age and began reading Greek and Roman myths and the fables of the Grimm brothers, which "instilled in him a lifelong

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texts: affinity with Europe". He spent most Saturdays during the summer watching the New York Yankees and later photographed two boys watching the game in an assignment for Look magazine to emulate his own childhood excitement with baseball. When Kubrick was 12, his father Jack taught him chess. The game remained a lifelong interest of <mask>'s, appearing in many of his films.<mask>, who later became a member of the United States Chess Federation, explained that chess helped him develop "patience and discipline" in making decisions. Aged 13, Kubrick's father bought him a Graflex camera, triggering a fascination with still photography. He befriended a neighbor, Marvin Traub, who shared his passion for photography. Traub had his own darkroom where he and the young Kubrick would spend many hours perusing photographs and watching the chemicals "magically make images on photographic paper". The two indulged in numerous photographic projects for which they roamed the streets looking for interesting subjects to capture and spent time in local cinemas studying films. Freelance photographer Weegee (Arthur Fellig) had a considerable influence on Kubrick's development as a photographer; Kubrick later hired Fellig as the special stills photographer for Dr. Strangelove (1964). As a teenager, Kubrick was also interested in jazz and briefly attempted a career as a drummer.Kubrick attended William Howard Taft High School from 1941 to 1945. Though he joined the school's photography club, which permitted him to photograph the school's events in their magazine, he was a mediocre student, with a 67/D+ grade average. Introverted and shy, Kubrick had a low attendance record and often skipped school to watch double-feature films. He


title: Stanley Kubrick

texts:
 graduated in 1945 but his poor grades, combined with the demand for college admissions from soldiers returning from the Second World War, eliminated any hope of higher education. Later in life Kubrick spoke disdainfully of his education and of American schooling as a whole, maintaining that schools were ineffective in stimulating critical thinking and student interest. His father was disappointed in his son's failure to achieve the excellence in school of which he knew <mask> was fully capable. Jack also encouraged <mask> to read from the family library at home, while permitting <mask> to take up photography as a serious hobby.Photographic career

While in high school, Kubrick was chosen as an official school photographer. In the mid-1940s, since he was unable to gain admission to day session classes at colleges, he briefly attended evening classes at the City College of New York. Eventually, he sold a photographic series to Look magazine, which was printed on June 26, 1945. Kubrick supplemented his income by playing chess "for quarters" in Washington Square Park and various Manhattan chess clubs. In 1946, he became an apprentice photographer for Look and later a full-time staff photographer. G. Warren Schloat, Jr., another new photographer for the magazine at the time, recalled that he thought Kubrick lacked the personality to make it as a director in Hollywood, remarking, "<mask> was a quiet fellow. He didn't say much.He was thin, skinny, and kind of poor—like we all were." Kubrick quickly became known for his story-telling in photographs. His first, published on April 16, 1946, was entitled "A Short Story from a Movie Balcony" and staged a fracas between a man and a woman, during which the man is slapped

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texts: in the face, caught genuinely by surprise. In another assignment, 18 pictures were taken of various people waiting in a dental office. It has been said retrospectively that this project demonstrated an early interest of Kubrick in capturing individuals and their feelings in mundane environments. In 1948, he was sent to Portugal to document a travel piece, and covered the Ringling Bros. and Barnum & Bailey Circus in Sarasota, Florida. A boxing enthusiast, Kubrick eventually began photographing boxing matches for the magazine.His earliest, "Prizefighter", was published on January 18, 1949, and captured a boxing match and the events leading up to it, featuring Walter Cartier. On April 2, 1949, he published photo essay "Chicago-City of Extremes" in Look, which displayed his talent early on for creating atmosphere with imagery. The following year, in July 1950, the magazine published his photo essay, "Working Debutante – Betsy von Furstenberg", which featured a Pablo Picasso portrait of Angel F. de Soto in the background. Kubrick was also assigned to photograph numerous jazz musicians, from Frank Sinatra and Erroll Garner to George Lewis, Eddie Condon, Phil Napoleon, Papa Celestin, Alphonse Picou, Muggsy Spanier, Sharkey Bonano, and others. Kubrick married his high-school sweetheart Toba Metz on May 28, 1948. They lived together in a small apartment at 36 West 16th Street, off Sixth Avenue just north of Greenwich Village. During this time, Kubrick began frequenting film screenings at the Museum of Modern Art and New York City cinemas.He was inspired by the complex, fluid camerawork of director Max Ophüls, whose films influenced <mask>'s visual style, and by the director Elia Kazan, whom he described as America's


title: Stanley Kubrick

texts: shot to film a scene in which Cartier and his brother walk towards the camera, a device which later became one of Kubrick's characteristic camera movements. Vincent Cartier, Walter's brother and manager, later reflected on his observations of Kubrick during the filming.He said, "<mask> was a very stoic, impassive but imaginative type person with strong, imaginative thoughts. He commanded respect in a quiet, shy way. Whatever he wanted, you complied, he just captivated you. Anybody who worked with <mask> did just what <mask> wanted". After a score was added by Singer's friend Gerald Fried, Kubrick had spent $3900 in making it, and sold it to RKO-Pathé for $4000, which was the most the company had ever paid for a short film at the time. Kubrick described his first effort at filmmaking as having been valuable since he believed himself to have been forced to do most of the work, and he later declared that the "best education in film is to make one". Inspired by this early success, Kubrick quit his job at Look and visited professional filmmakers in New York City, asking many detailed questions about the technical aspects of filmmaking.He stated that he was given the confidence during this period to become a filmmaker because of the number of bad films he had seen, remarking, "I don't know a goddamn thing about movies, but I know I can make a better film than that". He began making Flying Padre (1951), a film which documents Reverend Fred Stadtmueller, who travels some 4,000 miles to visit his 11 churches. The film was originally going to be called "Sky Pilot", a pun on the slang term for a priest. During the course of the film, the priest performs a burial service, confronts a boy bullying a girl, and makes an

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texts:
 emergency flight to aid a sick mother and baby into an ambulance. Several of the views from and of the plane in Flying Padre are later echoed in 2001: A Space Odyssey (1968) with the footage of the spacecraft, and a series of close-ups on the faces of people attending the funeral were most likely inspired by Sergei Eisenstein's Battleship Potemkin (1925) and Ivan the Terrible (1944/1958). Flying Padre was followed by The Seafarers (1953), <mask>'s first color film, which was shot for the Seafarers International Union in June 1953. It depicted the logistics of a democratic union and focused more on the amenities of seafaring other than the act.For the cafeteria scene in the film, Kubrick chose a dolly shot to establish the life of the seafarer's community; this kind of shot would later become a signature technique. The sequence of Paul Hall, secretary-treasurer of the SIU Atlantic and gulf district, speaking to members of the union echoes scenes from Eisenstein's Strike (1925) and October (1928). Day of the Fight, Flying Padre and The Seafarers constitute Kubrick's only surviving documentary works; some historians believe he made others. Early feature work (1953–1955)

After raising $1000 showing his short films to friends and family, Kubrick found the finances to begin making his first feature film, Fear and Desire (1953), originally running with the title The Trap, written by his friend Howard Sackler. Kubrick's uncle, Martin Perveler, a Los Angeles pharmacy owner, invested a further $9000 on condition that he be credited as executive producer of the film. Kubrick assembled several actors and a small crew totaling 14 people (five actors, five crewmen, and four others to help transport the equipment) and


title: Stanley Kubrick

texts: flew to the San Gabriel Mountains in California for a five-week, low-budget shoot. Later renamed The Shape of Fear before finally being named Fear and Desire, it is a fictional allegory about a team of soldiers who survive a plane crash and are caught behind enemy lines in a war.During the course of the film, one of the soldiers becomes infatuated with an attractive girl in the woods and binds her to a tree. This scene is noted for its close-ups on the face of the actress. <mask> had intended for Fear and Desire to be a silent picture in order to ensure low production costs; the added sounds, effects, and music ultimately brought production costs to around $53,000, exceeding the budget. He was bailed out by producer Richard de Rochemont on the condition that he help in de Rochemont's production of a five-part television series about Abraham Lincoln on location in Hodgenville, Kentucky. Fear and Desire was a commercial failure, but garnered several positive reviews upon release. Critics such as the reviewer from The New York Times believed that <mask>'s professionalism as a photographer shone through in the picture, and that he "artistically caught glimpses of the grotesque attitudes of death, the wolfishness of hungry men, as well as their bestiality, and in one scene, the wracking effect of lust on a pitifully juvenile soldier and the pinioned girl he is guarding". Columbia University scholar Mark Van Doren was highly impressed by the scenes with the girl bound to the tree, remarking that it would live on as a "beautiful, terrifying and weird" sequence which illustrated <mask>'s immense talent and guaranteed his future success.<mask> himself later expressed embarrassment with Fear and Desire, and attempted

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title: Stanley Kubrick

texts: over the years to keep prints of the film out of circulation. During the production of the film, <mask> almost killed his cast with poisonous gasses by mistake. Following Fear and Desire, <mask> began working on ideas for a new boxing film. Due to the commercial failure of his first feature, <mask> avoided asking for further investments, but commenced a film noir script with Howard O. Sackler. Originally under the title Kiss Me, Kill Me, and then The Nymph and the Maniac, Killer's Kiss (1955) is a 67-minute film noir about a young heavyweight boxer's involvement with a woman being abused by her criminal boss. Like Fear and Desire, it was privately funded by Kubrick's family and friends, with some $40,000 put forward from Bronx pharmacist Morris Bousse. Kubrick began shooting footage in Times Square, and frequently explored during the filming process, experimenting with cinematography and considering the use of unconventional angles and imagery.He initially chose to record the sound on location, but encountered difficulties with shadows from the microphone booms, restricting camera movement. His decision to drop the sound in favor of imagery was a costly one; after 12–14 weeks shooting the picture, he spent some seven months and $35,000 working on the sound. Alfred Hitchcock's Blackmail (1929) directly influenced the film with the painting laughing at a character, and Martin Scorsese has, in turn, cited <mask>'s innovative shooting angles and atmospheric shots in Killer's Kiss as an influence on Raging Bull (1980). Actress Irene Kane, the star of Killer's Kiss, observed: "<mask>'s a fascinating character. He thinks movies should move, with a minimum of dialogue, and he's all for sex and sadism". Killer's Kiss

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texts:
 met with limited commercial success and made very little money in comparison with its production budget of $75,000. Critics have praised the film's camerawork, but its acting and story are generally considered mediocre.Hollywood success and beyond (1955–1962)
While playing chess in Washington Square, Kubrick met producer James B. Harris, who considered Kubrick "the most intelligent, most creative person I have ever come in contact with." The two formed the Harris-Kubrick Pictures Corporation in 1955. Harris purchased the rights to Lionel White's novel Clean Break for $10,000 and Kubrick wrote the script, but at Kubrick's suggestion, they hired film noir novelist Jim Thompson to write the dialog for the film—which became The Killing (1956)—about a meticulously planned racetrack robbery gone wrong. The film starred Sterling Hayden, who had impressed Kubrick with his performance in The Asphalt Jungle (1950). <mask> and Harris moved to Los Angeles and signed with the Jaffe Agency to shoot the picture, which became <mask>'s first full-length feature film shot with a professional cast and crew. The Union in Hollywood stated that <mask> would not be permitted to be both the director and the cinematographer, resulting in the hiring of veteran cinematographer Lucien Ballard. Kubrick agreed to waive his fee for the production, which was shot in 24 days on a budget of $330,000.He clashed with Ballard during the shooting, and on one occasion <mask> threatened to fire Ballard following a camera dispute, despite being aged only 27 and 20 years Ballard's junior. Hayden recalled Kubrick was "cold and detached. Very mechanical, always confident. I've worked with few directors who are that good". The Killing failed to secure


title: Stanley Kubrick

texts: a proper release across the United States; the film made little money, and was promoted only at the last minute, as a second feature to the Western movie Bandido! (1956). Several contemporary critics lauded the film, with a reviewer for Time comparing its camerawork to that of Orson Welles.Today, critics generally consider The Killing to be among the best films of <mask>'s early career; its nonlinear narrative and clinical execution also had a major influence on later directors of crime films, including Quentin Tarantino. Dore Schary of Metro-Goldwyn-Mayer was highly impressed as well, and offered <mask> and Harris $75,000 to write, direct, and produce a film, which ultimately became Paths of Glory (1957). Paths of Glory, set during World War I, is based on Humphrey Cobb's 1935 antiwar novel. Schary was familiar with the novel, but stated that MGM would not finance another war picture, given their backing of the anti-war film The Red Badge of Courage (1951). After Schary was fired by MGM in a major shake-up, <mask> and Harris managed to interest Kirk Douglas in playing Colonel Dax. Douglas, in turn, signed Harris-Kubrick Pictures to a three-picture co-production deal with his film production company, Bryna Productions, which secured a financing and distribution deal for Paths of Glory and two subsequent films with United Artists. The film, shot in Munich, from March 1957, follows a French army unit ordered on an impossible mission, and follows with a war trial of three soldiers, arbitrarily chosen, for misconduct.Dax is assigned to defend the men at Court Martial. For the battle scene, Kubrick meticulously lined up six cameras one after the other along the boundary of no-man's land, with each camera

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texts: capturing a specific field and numbered, and gave each of the hundreds of extras a number for the zone in which they would die. <mask> operated an Arriflex camera for the battle, zooming in on Douglas. Paths of Glory became <mask>'s first significant commercial success, and established him as an up-and-coming young filmmaker. Critics praised the film's unsentimental, spare, and unvarnished combat scenes and its raw, black-and-white cinematography. Despite the praise, the Christmas release date was criticized, and the subject was controversial in Europe. The film was banned in France until 1974 for its "unflattering" depiction of the French military, and was censored by the Swiss Army until 1970.In October 1957, after Paths of Glory had its world premiere in Germany, Bryna Productions optioned Canadian church minister-turned-master-safecracker Herbert Emerson Wilsons's autobiography, I Stole $16,000,000, especially for <mask> and James B. Harris. The picture was to be the second in the co-production deal between Bryna Productions and Harris-Kubrick Pictures, which <mask> was to write and direct, Harris to co-produce and Douglas to co-produce and star. In November 1957, Gavin Lambert was signed as story editor for I Stole $16,000,000, and with Kubrick, finished a script titled God Fearing Man, but the picture was never filmed. Marlon Brando contacted <mask>, asking him to direct a film adaptation of the Charles Neider western novel, The Authentic Death of Hendry Jones, featuring Pat Garrett and Billy the Kid. Brando was impressed, saying "<mask> is unusually perceptive, and delicately attuned to people. He has an adroit intellect, and is a creative thinker—not a repeater, not a fact-gatherer. He digests what

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texts: he learns and brings to a new project an original point of view and a reserved passion".The two worked on a script for six months, begun by a then unknown Sam Peckinpah. Many disputes broke out over the project, and in the end, <mask> distanced himself from what would become One-Eyed Jacks (1961). In February 1959, <mask> received a phone call from Kirk Douglas asking him to direct Spartacus (1960), based on the historical Spartacus and the Third Servile War. Douglas had acquired the rights to the novel by Howard Fast and blacklisted screenwriter Dalton Trumbo began penning the script. It was produced by Douglas, who also starred as Spartacus, and cast Laurence Olivier as his foe, the Roman general and politician Marcus Licinius Crassus. Douglas hired <mask> for a reported $150,000 fee to take over direction soon after he fired director Anthony Mann. <mask> had, at 31, already directed four feature films, and this became his largest by far, with a cast of over 10,000 and a budget of $6 million.At the time, this was the most expensive film ever made in America, and <mask> became the youngest director in Hollywood history to make an epic. It was the first time that <mask> filmed using the anamorphic 35mm horizontal Super Technirama process to achieve ultra-high definition, which allowed him to capture large panoramic scenes, including one with 8,000 trained soldiers from Spain representing the Roman army. Disputes broke out during the filming of Spartacus. <mask> complained about not having full creative control over the artistic aspects, insisting on improvising extensively during the production. <mask> and Douglas were also at odds over the script, with <mask> angering Douglas when he cut all but two of his

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 lines from the opening 30 minutes. Despite the on-set troubles, Spartacus took $14.6 million at the box office in its first run. The film established <mask> as a major director, receiving six Academy Award nominations and winning four; it ultimately convinced him that if so much could be made of such a problematic production, he could achieve anything.Spartacus also marked the end of the working relationship between <mask> and Douglas. Collaboration with Peter Sellers (1962–1964)

Lolita

<mask> and Harris decided to film <mask>'s next movie Lolita (1962) in England, due to clauses placed on the contract by producers Warner Bros. that gave them complete control over the film, and the fact that the Eady plan permitted producers to write off the costs if 80% of the crew were British. Instead, they signed a $1 million deal with Eliot Hyman's Associated Artists Productions, and a clause which gave them the artistic freedom that they desired. Lolita, Kubrick's first attempt at black comedy, was an adaptation of the novel of the same name by Vladimir Nabokov, the story of a middle-aged college professor becoming infatuated with a 12-year-old girl. Stylistically, Lolita, starring Peter Sellers, James Mason, Shelley Winters, and Sue Lyon, was a transitional film for Kubrick, "marking the turning point from a naturalistic cinema ... to the surrealism of the later films", according to film critic Gene Youngblood. Kubrick was impressed by the range of actor Peter Sellers and gave him one of his first opportunities to improvise wildly during shooting, while filming him with three cameras. Kubrick shot Lolita over 88 days on a $2 million budget at Elstree Studios, between October 1960 and March 1961.<mask> often clashed

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texts:
 with Shelley Winters, whom he found "very difficult" and demanding, and nearly fired at one point. Because of its provocative story, Lolita was <mask>'s first film to generate controversy; he was ultimately forced to comply with censors and remove much of the erotic element of the relationship between Mason's Humbert and Lyon's Lolita which had been evident in Nabokov's novel. The film was not a major critical or commercial success, earning $3.7 million at the box office on its opening run. Lolita has since become critically acclaimed. Dr. Strangelove

<mask>'s next project was Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), another satirical black comedy. Kubrick became preoccupied with the issue of nuclear war as the Cold War unfolded in the 1950s, and even considered moving to Australia because he feared that New York City might be a likely target for the Russians. He studied over 40 military and political research books on the subject and eventually reached the conclusion that "nobody really knew anything and the whole situation was absurd".After buying the rights to the novel Red Alert, Kubrick collaborated with its author, Peter George, on the script. It was originally written as a serious political thriller, but Kubrick decided that a "serious treatment" of the subject would not be believable, and thought that some of its most salient points would be fodder for comedy. Kubrick's longtime producer-and-friend, James B. Harris, thought the film should be serious, and the two parted ways, amicably, over this disagreement—Harris going on to produce and direct the serious cold-war thriller The Bedford Incident. Kubrick and Red Alert author George then reworked the script as a


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texts: satire (provisionally titled "The Delicate Balance of Terror") in which the plot of Red Alert was situated as a film-within-a-film made by an alien intelligence, but this idea was also abandoned, and Kubrick decided to make the film as "an outrageous black comedy". Just before filming began, Kubrick hired noted journalist and satirical author Terry Southern to transform the script into its final form, a black comedy, loaded with sexual innuendo, becoming a film which showed Kubrick's talents as a "unique kind of absurdist" according to the film scholar Abrams. Southern made major contributions to the final script, and was co-credited (above Peter George) in the film's opening titles; his perceived role in the writing later led to a public rift between Kubrick and Peter George, who subsequently complained in a letter to Life magazine that Southern's intense but relatively brief (November 16 to December 28, 1962) involvement with the project was being given undue prominence in the media, while his own role as the author of the film's source novel, and his ten-month stint as the script's co-writer, were being downplayed – a perception Kubrick evidently did little to address. Kubrick found that Dr. Strangelove, a $2 million production which employed what became the "first important visual effects crew in the world", would be impossible to make in the U.S. for various technical and political reasons, forcing him to move production to England.It was shot in 15 weeks, ending in April 1963, after which <mask> spent eight months editing it. Peter Sellers again agreed to work with <mask>, and ended up playing three different roles in the film. Upon release, the film stirred up much controversy and mixed opinions. The


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 New York Times film critic Bosley Crowther worried that it was a "discredit and even contempt for our whole defense establishment ... the most shattering sick joke I've ever come across",  while Robert Brustein of Out of This World in a February 1970 article called it a "juvenalian satire". <mask> responded to the criticism, stating: "A satirist is someone who has a very skeptical view of human nature, but who still has the optimism to make some sort of a joke out of it. However brutal that joke might be". Today, the film is considered to be one of the sharpest comedy films ever made, and holds a near-perfect 98% rating on Rotten Tomatoes based on 91 reviews .It was named the 39th-greatest American film and third-greatest American comedy film of all time by the American Film Institute, and in 2010, it was named the sixth-best comedy film of all time by The Guardian. Ground-breaking cinema (1965–1971)

<mask> spent five years developing his next film, 2001: A Space Odyssey (1968), having been highly impressed with science fiction writer Arthur C. Clarke's novel Childhood's End, about a superior alien race who assist mankind in eliminating their old selves. After meeting Clarke in New York City in April 1964, <mask> made the suggestion to work on his 1948 short story The Sentinel, in which a monolith  found on the Moon alerts aliens of mankind. That year, Clarke began writing the novel 2001: A Space Odyssey and collaborated with <mask> on a screenplay. The film's theme, the birthing of one intelligence by another, is developed in two parallel intersecting stories on two different time scales. One depicts evolutionary transitions between various stages of man, from ape to "star child", as man is reborn into a


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texts: new existence, each step shepherded by an enigmatic alien intelligence seen only in its artifacts: a series of seemingly indestructible eons-old black monoliths. In space, the enemy is a supercomputer known as HAL who runs the spaceship, a character which novelist Clancy Sigal described as being "far, far more human, more humorous and conceivably decent than anything else that may emerge from this far-seeing enterprise".Kubrick intensively researched for the film, paying particular attention to accuracy and detail in what the future might look like. He was granted permission by NASA to observe the spacecraft being used in the Ranger 9 mission for accuracy. Filming commenced on December 29, 1965, with the excavation of the monolith on the moon, and footage was shot in Namib Desert in early 1967, with the ape scenes completed later that year. The special effects team continued working until the end of the year to complete the film, taking the cost to $10.5 million. 2001: A Space Odyssey was conceived as a Cinerama spectacle and was photographed in Super Panavision 70, giving the viewer a "dazzling mix of imagination and science" through ground-breaking effects, which earned <mask> his only personal Oscar, an Academy Award for Visual Effects. <mask> said of the concept of the film in an interview with Rolling Stone: "On the deepest psychological level, the film's plot symbolized the search for God, and finally postulates what is little less than a scientific definition of God. The film revolves around this metaphysical conception, and the realistic hardware and the documentary feelings about everything were necessary in order to undermine your built-in resistance to the poetical concept".Upon release in 1968,


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texts: 2001: A Space Odyssey was not an immediate hit among critics, who faulted its lack of dialog, slow pacing, and seemingly impenetrable storyline. The film appeared to defy genre convention, much unlike any science-fiction movie before it, and clearly different from any of <mask>'s earlier works. <mask> was particularly outraged by a scathing review from Pauline Kael, who called it "the biggest amateur movie of them all", with Kubrick doing "really every dumb thing he ever wanted to do". Despite mixed contemporary critical reviews, 2001 gradually gained popularity and earned $31 million worldwide by the end of 1972. Today, it is widely considered to be one of the greatest and most influential films ever made and is a staple on All Time Top 10 lists. Baxter describes the film as "one of the most admired and discussed creations in the history of cinema", and Steven Spielberg has referred to it as "the big bang of his film making generation". For biographer Vincent LoBrutto it "positioned <mask> as a pure artist ranked among the masters of cinema".After completing 2001: A Space Odyssey, Kubrick searched for a project that he could film quickly on a more modest budget. He settled on A Clockwork Orange (1971) at the end of 1969, an exploration of violence and experimental rehabilitation by law enforcement authorities, based around the character of Alex (portrayed by Malcolm McDowell). Kubrick had received a copy of Anthony Burgess's novel of the same name from Terry Southern while they were working on Dr. Strangelove, but had rejected it on the grounds that Nadsat, a street language for young teenagers, was too difficult to comprehend. The decision to make a film about the degeneration of youth reflected

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texts: contemporary concerns in 1969; the New Hollywood movement was creating a great number of films that depicted the sexuality and rebelliousness of young people. A Clockwork Orange was shot over 1970–1971 on a budget of £2 million. Kubrick abandoned his use of CinemaScope in filming, deciding that the 1.66:1 widescreen format was, in the words of Baxter, an "acceptable compromise between spectacle and intimacy", and favored his "rigorously symmetrical framing", which "increased the beauty of his compositions". The film heavily features "pop erotica" of the period, including a giant white plastic set of male genitals, decor which Kubrick had intended to give it a "slightly futuristic" look.McDowell's role in Lindsay Anderson's if.... (1968) was crucial to his casting as Alex, and <mask> professed that he probably would not have made the film if McDowell had been unavailable. Because of its depiction of teenage violence, A Clockwork Orange became one of the most controversial films of its time, and part of an ongoing debate about violence and its glorification in cinema. It received an X rating, or certificate, in both the UK and US, on its release just before Christmas 1971, though many critics saw much of the violence depicted in the film as satirical, and less violent than Straw Dogs, which had been released a month earlier. <mask> personally pulled the film from release in the United Kingdom after receiving death threats following a series of copycat crimes based on the film; it was thus completely unavailable legally in the UK until after <mask>'s death, and not re-released until 2000. John Trevelyan, the censor of the film, personally considered A Clockwork Orange to be "perhaps the most brilliant piece of


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 cinematic art I've ever seen," and believed it to present an "intellectual argument rather than a sadistic spectacle" in its depiction of violence, but acknowledged that many would not agree. Negative media hype over the film notwithstanding, A Clockwork Orange received four Academy Award nominations, for Best Picture, Best Director, Best Screenplay and Best Editing, and was named by the New York Film Critics Circle as the Best Film of 1971. After William Friedkin won Best Director for The French Connection that year, he told the press: "Speaking personally, I think <mask> is the best American film-maker of the year.In fact, not just this year, but the best, period." Period and horror filming (1972–1980)
Barry Lyndon (1975) is an adaptation of William Makepeace Thackeray's The Luck of Barry Lyndon, a picaresque novel about the adventures of an 18th-century Irish rogue and social climber. John Calley of Warner Bros. agreed in 1972 to invest $2.5 million into the film, on condition that <mask> approach major Hollywood stars, to ensure success. Like previous films, <mask> and his art department conducted an enormous amount of research on the 18th century. Extensive photographs were taken of locations and artwork in particular, and paintings were meticulously replicated from works of the great masters of the period in the film. The film was shot on location in Ireland, beginning in the autumn of 1973, at a cost of $11 million with a cast and crew of 170. The decision to shoot in Ireland stemmed from the fact that it still retained many buildings from the 18th century period which England lacked.The production was problematic from the start, plagued with heavy rain and political strife involving Northern Ireland

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texts: at the time. After <mask> received death threats from the IRA in 1974 due to the shooting scenes with English soldiers, he fled Ireland with his family on a ferry from Dún Laoghaire under an assumed identity and resumed filming in England. Baxter notes that Barry Lyndon was the film which made Kubrick notorious for paying scrupulous attention to detail, often demanding twenty or thirty retakes of the same scene to perfect his art. Often considered to be his most authentic-looking picture, the cinematography and lighting techniques that <mask> and cinematographer John Alcott used in Barry Lyndon were highly innovative. Interior scenes were shot with a specially adapted high-speed f/0.7 Zeiss camera lens originally developed for NASA to be used in satellite photography. The lenses allowed many scenes to be lit only with candlelight, creating two-dimensional, diffused-light images reminiscent of 18th-century paintings. Cinematographer Allen Daviau states that the method gives the audience a way of seeing the characters and scenes as they would have been seen by people at the time.Many of the fight scenes were shot with a hand-held camera to produce a "sense of documentary realism and immediacy". Barry Lyndon found a great audience in France, but was a box office failure, grossing just $9.5 million in the American market, not even close to the $30 million Warner Bros. needed to generate a profit. The pace and length of Barry Lyndon at three hours put off many American critics and audiences, but the film was nominated for seven Academy Awards and won four, including Best Art Direction, Best Cinematography, Best Costume Design, and Best Musical Score, more than any other Kubrick film. As with most of <mask>'s


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texts: Cornwell (novelist John le Carré) in 1980, and became interested in his book Dispatches, about the Vietnam War. Herr had recently written Martin Sheen's narration for Apocalypse Now (1979). Kubrick was also intrigued by Gustav Hasford's Vietnam War novel The Short-Timers. With the vision in mind to shoot what would become Full Metal Jacket (1987), Kubrick began working with both Herr and Hasford separately on a script.He eventually found Hasford's novel to be "brutally honest" and decided to shoot a film which closely follows the novel. All of the film was shot at a cost of $17 million within a 30-mile radius of his house between August 1985 and September 1986, later than scheduled as <mask> shut down production for five months following a near-fatal accident with a jeep involving Lee Ermey. A derelict gasworks in Beckton in the London Docklands area posed as the ruined city of Huế, which makes the film visually very different from other Vietnam War films. Around 200 palm trees were imported via 40-foot trailers by road from North Africa, at a cost of £1000 a tree, and thousands of plastic plants were ordered from Hong Kong to provide foliage for the film. Kubrick explained he made the film look realistic by using natural light, and achieved a "newsreel effect" by making the Steadicam shots less steady,  which reviewers and commentators thought contributed to the bleakness and seriousness of the film. According to critic Michel Ciment, the film contained some of <mask>'s trademark characteristics, such as his selection of ironic music, portrayals of men being dehumanized, and attention to extreme detail to achieve realism. In a later scene, United States Marines patrol the ruins of an abandoned and destroyed


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texts: city singing the theme song to the Mickey Mouse Club as a sardonic counterpoint.The film opened strongly in June 1987, taking over $30 million in the first 50 days alone, but critically it was overshadowed by the success of Oliver Stone's Platoon, released a year earlier. Co-star Matthew Modine stated one of <mask>'s favorite reviews read: "The first half of FMJ is brilliant. Then the film degenerates into a masterpiece." Roger Ebert was not particularly impressed with it, awarding it a mediocre 2.5 out of 4. He concluded: "<mask>'s Full Metal Jacket is more like a book of short stories than a novel", a "strangely shapeless film from the man whose work usually imposes a ferociously consistent vision on his material". <mask>'s final film was Eyes Wide Shut (1999), starring Tom Cruise and Nicole Kidman as a Manhattan couple on a sexual odyssey. Tom Cruise portrays a doctor who witnesses a bizarre masked quasireligious orgiastic ritual at a country mansion, a discovery which later threatens his life.The story is based on Arthur Schnitzler's 1926 Freudian novella Traumnovelle (Dream Story in English), which <mask> relocated from turn-of-the-century Vienna to New York City in the 1990s. <mask> said of the novel: "A difficult book to describe—what good book isn't. It explores the sexual ambivalence of a happy marriage and tries to equate the importance of sexual dreams and might-have-beens with reality. All of Schnitzler's work is psychologically brilliant". <mask> was almost 70, but worked relentlessly for 15 months to get the film out by its planned release date of July 16, 1999. He commenced a script with Frederic Raphael, and worked 18 hours a day, while maintaining complete confidentiality about the film.Eyes

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 Wide Shut, like Lolita and A Clockwork Orange before it, faced censorship before release. <mask> sent an unfinished preview copy to the stars and producers a few months before release, but his sudden death on March 7, 1999, came a few days after he finished editing.He never saw the final version released to the public, but he did see the preview of the film with Warner Bros., Cruise, and Kidman, and had reportedly told Warner executive Julian Senior that it was his "best film ever". At the time, critical opinion of the film was mixed, and it was viewed less favorably than most of <mask>'s films. Roger Ebert awarded it 3.5 out of 4 stars, comparing the structure to a thriller and writing that it is "like an erotic daydream about chances missed and opportunities avoided", and thought that <mask>'s use of lighting at Christmas made the film "all a little garish, like an urban sideshow". Stephen Hunter of The Washington Post disliked the film, writing that it "is actually sad, rather than bad. It feels creaky, ancient, hopelessly out of touch, infatuated with the hot taboos of his youth and unable to connect with that twisty thing contemporary sexuality has become." Unfinished and unrealized projects

A.I. Artificial Intelligence

Throughout the 1980s and early 1990s, <mask> collaborated with Brian Aldiss on expanding his short story "Supertoys Last All Summer Long" into a three-act film.It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio. <mask> approached Spielberg in 1995 with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Kubrick reportedly held long telephone


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 discussions with Spielberg regarding the film, and, according to Spielberg, at one point stated that the subject matter was closer to Spielberg's sensibilities than his. Following <mask>'s 1999 death, Spielberg took the drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier 90-page story treatment by Ian Watson written under Kubrick's supervision and specifications. In association with what remained of <mask>'s production unit, he directed the movie A.I. Artificial Intelligence (2001) which was produced by <mask>'s longtime producer (and brother-in-law) Jan Harlan. Sets, costumes, and art direction were based on the works of conceptual artist Chris Baker, who had also done much of his work under Kubrick's supervision.Spielberg was able to function autonomously in <mask>'s absence, but said he felt "inhibited to honor him", and followed <mask>'s visual schema with as much fidelity as he could. Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost." The film was released in June 2001. It contains a posthumous production credit for <mask> at the beginning and the brief dedication "For <mask>" at the end. John Williams's score contains many allusions to pieces heard in other Kubrick films. Napoleon

Following 2001: A Space Odyssey, Kubrick planned to make a film about the life of Napoleon. Fascinated by the French leader's life and "self-destruction", Kubrick spent a great deal of time planning the film's development and conducted about two years of research into Napoleon's life, reading several hundred books and gaining access to his personal memoirs and

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texts: commentaries.He tried to see every film about Napoleon and found none of them appealing, including Abel Gance's 1927 film which is generally considered to be a masterpiece, but for <mask>, a "really terrible" movie. LoBrutto states that Napoleon was an ideal subject for Kubrick, embracing Kubrick's "passion for control, power, obsession, strategy, and the military", while Napoleon's psychological intensity and depth, logistical genius and war, sex, and the evil nature of man were all ingredients which deeply appealed to Kubrick. Kubrick drafted a screenplay in 1961, and envisaged making a "grandiose" epic, with up to 40,000 infantry and 10,000 cavalry. He intended hiring the armed forces of an entire country to make the film, as he considered Napoleonic battles to be "so beautiful, like vast lethal ballets", with an "aesthetic brilliance that doesn't require a military mind to appreciate". He wanted them replicated as authentically as possible on screen. Kubrick sent research teams to scout for locations across Europe, and commissioned screenwriter and director Andrew Birkin, one of his young assistants on 2001, to the Isle of Elba, Austerlitz, and Waterloo, taking thousands of pictures for his later perusal. <mask> approached numerous stars to play leading roles, including Audrey Hepburn for Empress Josephine, a part which she could not accept due to semiretirement.British actors David Hemmings and Ian Holm were considered for the lead role of Napoleon, before Jack Nicholson was cast. The film was well into preproduction and ready to begin filming in 1969 when MGM cancelled the project. Numerous reasons have been cited for the abandonment of the project, including its projected cost, a change of ownership


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 at MGM, and the poor reception that the 1970 Soviet film about Napoleon, Waterloo, received. In 2011, Taschen published the book <mask>'s Napoleon: The Greatest Movie Never Made, a large volume compilation of literature and source documents from Kubrick, such as scene photo ideas and copies of letters Kubrick wrote and received. In March 2013, Steven Spielberg, who previously collaborated with <mask> on A.I. Artificial Intelligence and is a passionate admirer of his work, announced that he would be developing Napoleon as a TV miniseries based on Kubrick's original screenplay. Other projects
In the 1950s, <mask> and Harris developed a sitcom starring Ernie Kovacs and a film adaption of the book I Stole $16,000,000, but nothing came of them.Tony Frewin, an assistant who worked with the director for a long period of time, revealed in a 2013 Atlantic article: "[Kubrick] was limitlessly interested in anything to do with Nazis and desperately wanted to make a film on the subject." <mask> had intended to make a film about , a Nazi officer who used the pen name "Dr. Jazz" to write reviews of German music scenes during the Nazi era. <mask> had been given a copy of the Mike Zwerin book Swing Under the Nazis after he had finished production on Full Metal Jacket, the front cover of which featured a photograph of Schulz-Köhn. A screenplay was never completed and Kubrick's adaptation was never initiated. The unfinished Aryan Papers, based on Louis Begley's debut novel Wartime Lies, was a factor in the abandonment of the project. Work on Aryan Papers depressed Kubrick enormously, and he eventually decided that Steven Spielberg's Schindler's List (1993) covered much of the same material. According to biographer John Baxter,

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 Kubrick had shown an interest in directing a pornographic film based on a satirical novel written by Terry Southern, titled Blue Movie, about a director who makes Hollywood's first big-budget porn film.Baxter claims that Kubrick concluded he did not have the patience or temperament to become involved in the porn industry, and Southern stated that Kubrick was "too ultra conservative" towards sexuality to have gone ahead with it, but liked the idea. Kubrick was unable to direct a film of Umberto Eco's Foucault's Pendulum as Eco had given his publisher instructions to never sell the film rights to any of his books after his dissatisfaction with the film version of The Name of the Rose. Also, when the film rights to Tolkien's The Lord of the Rings were sold to United Artists, the Beatles approached Kubrick to direct them in a film adaptation, but Kubrick was unwilling to produce a film based on a very popular book. Career influences

As a young man, Kubrick was fascinated by the films of Soviet filmmakers such as Sergei Eisenstein and Vsevolod Pudovkin. Kubrick read Pudovkin's seminal theoretical work, Film Technique, which argues that editing makes film a unique art form, and it needs to be employed to manipulate the medium to its fullest. <mask> recommended this work to others for many years. Thomas Nelson describes this book as "the greatest influence of any single written work on the evolution of [Kubrick's] private aesthetics".<mask> also found the ideas of Konstantin Stanislavski to be essential to his understanding the basics of directing, and gave himself a crash course to learn his methods. <mask>'s family and many critics felt that his Jewish ancestry may have contributed to his worldview and aspects


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texts: of his films. After his death, both his daughter and wife stated that he was not religious, but "did not deny his Jewishness, not at all". His daughter noted that he wanted to make a film about the Holocaust, the Aryan Papers, having spent years researching the subject. Most of <mask>'s friends and early photography and film collaborators were Jewish, and his first two marriages were to daughters of recent Jewish immigrants from Europe. British screenwriter Frederic Raphael, who worked closely with Kubrick in his final years, believes that the originality of Kubrick's films was partly because he "had a (Jewish?) respect for scholars".He declared that it was "absurd to try to understand <mask> without reckoning on Jewishness as a fundamental aspect of his mentality". Walker notes that <mask> was influenced by the tracking and "fluid camera" styles of director Max Ophüls, and used them in many of his films, including Paths of Glory and 2001: A Space Odyssey. Kubrick noted how in Ophuls' films "the camera went through every wall and every floor". He once named Ophüls' Le Plaisir (1952) as his favorite film. According to film historian John Wakeman, Ophüls himself learned the technique from director Anatole Litvak in the 1930s, when he was his assistant, and whose work was "replete with the camera trackings, pans and swoops which later became the trademark of Max Ophüls". Geoffrey Cocks believes that <mask> was also influenced by Ophüls' stories of thwarted love and a preoccupation with predatory men, while Herr notes that <mask> was deeply inspired by G. W. Pabst, who earlier tried, but was unable to adapt Schnitzler's Traumnovelle, the basis of Eyes Wide Shut. Film critic Robert Kolker sees the influence of

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 Welles' moving camera shots on Kubrick's style.LoBrutto notes that <mask> identified with Welles and that this influenced the making of The Killing, with its "multiple points of view, extreme angles, and deep focus". <mask> admired the work of Ingmar Bergman and expressed it in personal letter: "Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films. I believe you are the greatest film-maker at work today [...], unsurpassed by anyone in the creation of mood and atmosphere, the subtlety of performance, the avoidance of the obvious, the truthfulness and completeness of characterization. To this one must also add everything else that goes into the making of a film; [...] and I shall look forward with eagerness to each of your films." When the American magazine Cinema asked Kubrick in 1963 to name his favorite films, he listed Italian director Federico Fellini's I Vitelloni as number one in his Top 10 list. Directing techniques

Philosophy

<mask>'s films typically involve expressions of an inner struggle, examined from different perspectives. He was very careful not to present his own views of the meaning of his films and to leave them open to interpretation.He explained in a 1960 interview with Robert Emmett Ginna:
"One of the things I always find extremely difficult, when a picture's finished, is when a writer or a film reviewer asks, 'Now, what is it that you were trying to say in that picture?' And without being thought too presumptuous for using this analogy, I like to remember what T. S. Eliot said to someone who had asked him—I believe it was The Waste Land—what he meant by the poem. He replied, 'I meant what I said.' If I could have said it any differently, I


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texts: would have". <mask> likened the understanding of his films to popular music, in that whatever the background or intellect of the individual, a Beatles record, for instance, can be appreciated both by the Alabama truck driver and the young Cambridge intellectual, because their "emotions and subconscious are far more similar than their intellects". He believed that the subconscious emotional reaction experienced by audiences was far more powerful in the film medium than in any other traditional verbal form, and was one of the reasons why he often relied on long periods in his films without dialogue, placing emphasis on images and sound. In a 1975 Time magazine interview, Kubrick further stated: "The essence of a dramatic form is to let an idea come over people without it being plainly stated.When you say something directly, it is simply not as potent as it is when you allow people to discover it for themselves." He also said: "Realism is probably the best way to dramatize argument and ideas. Fantasy may deal best with themes which lie primarily in the unconscious". Diane Johnson, who co-wrote the screenplay for The Shining with <mask>, notes that he "always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it. Which is what he's always done, except with Lolita". When deciding on a subject for a film, there were many aspects that he looked for, and he always made films which would "appeal to every sort of viewer, whatever their expectation of film". According to his co-producer Jan Harlan, Kubrick mostly "wanted to make films about things that mattered, that not only had form, but substance".Kubrick


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texts: believed that audiences quite often were attracted to "enigmas and allegories" and did not like films in which everything was spelled out clearly. Sexuality in <mask>'s films is usually depicted outside matrimonial relationships in hostile situations. Baxter states that Kubrick explores the "furtive and violent side alleys of the sexual experience: voyeurism, domination, bondage and rape" in his films. He further points out that films like A Clockwork Orange are "powerfully homoerotic", from Alex walking about his parents' flat in his Y-fronts, one eye being "made up with doll-like false eyelashes", to his innocent acceptance of the sexual advances of his post-corrective adviser Deltroid (Aubrey Morris). British critic Adrian Turner notes that <mask>'s films appear to be "preoccupied with questions of universal and inherited evil", and Malcolm McDowell referred to his humor as "black as coal", questioning his outlook on humanity. A few of his pictures were obvious satires and black comedies, such as Lolita and Dr. Strangelove; many of his other films also contained less visible elements of satire or irony. His films are unpredictable, examining "the duality and contradictions that exist in all of us".Ciment notes how Kubrick often tried to confound audience expectations by establishing radically different moods from one film to the next, remarking that he was almost "obsessed with contradicting himself, with making each work a critique of the previous one". Kubrick stated that "there is no deliberate pattern to the stories that I have chosen to make into films. About the only factor at work each time is that I try not to repeat myself". As a result, Kubrick was often misunderstood by critics, and only once