ABSTRACT ““The grotesque,”” which became a stylistic term in the Italian renaissance and later contributed significantly to all forms of modernist art, can help us better understand the so-called ““coldness”” often attributed to Stanley Kubrick's films. The whole of Kubrick's art is designed to produce a grotesque clash of emotions, an unstable blending of humor and terror that derives ultimately from anxieties about the human body.
Stanley Kubrick and the Aesthetics of the Grotesque
JAMES NAREMORE is Emeritus Chancellors' Professor at Indiana University. The author of More Than Night: Film Noir in Its Contexts (University of California Press, 1998), he is currently at work on a book about Stanley Kubrick.
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JAMES NAREMORE; Stanley Kubrick and the Aesthetics of the Grotesque. Film Quarterly 1 September 2006; 60 (1): 4–14. doi: https://doi.org/10.1525/fq.2006.60.1.4
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