“If it can be written, or thought, it can be filmed.

A director is a kind of idea and taste machine ; a

movie is a series of creative and technical decisions,
and it‘s the director‘s job to make the right decisions
as frequently as possible.”
 EDITORIAL
Our flagship exhibition in 2011 is devoted to Stanley Kubrick (from 23 March to 31 July). It is the first
time that La Cinémathèque française hosts a travelling exhibition not initiated by our teams but by
those of another institution.
This Kubrick exhibition owes its existence to the Deutsches Filmmuseum in Frankfurt and to Hans-
Peter Reichmann, its Curator, who designed it in 2004 in close collaboration with Christiane Kubrick,
Jan Harlan and The Stanley Kubrick Archive in London.
Since 2004, the exhibition has opened with success in several cities: Berlin, Zurich, Gand, Rome and
Melbourne, before coming to the Cinémathèque.
The archives of Stanley Kubrick contain numerous and precious working documents: scenarios,
correspondences, research documents, photos of film shoots, costumes and accessories. The
exhibition, film after film, includes the unfinished projects: the Napoleon that Kubrick hoped to direct
and his project for a film on the death camps, Aryan Papers. These materials allow us to get
backstage and better understand the narrative and technical intentions of the director who was a
demigod of world cinema, a secret and fascinating figure.
The exhibition will be installed on two floors of the Frank Gehry building, on the 5th and 7th storeys,
owing to the bulk of the materials exhibited, including large-scale models and interactive digital
installations.
The exhibition will be accompanied by a retrospective of Kubrick’s films, various publications, books,
special issues of magazines devoted to the author of Dr Strangelove, Lolita and Full Metal Jacket,
numerous lectures and debates.
So it is the entire Cinémathèque française which, over several months, will be at the service of this
director and his work, among the most important of the 20th century.
With Warner Bros., La Cinémathèque française is pleased to see the Cannes Film Festival making a
fine gesture to mark the 40th anniversary of the release of A Clockwork Orange by presenting the
world preview of the film in its restored version.

La Cinémathèque française wishes to give its very warm thanks to Christiane Kubrick, Jan Harlan and
The Stanley Kubrick Archive.
It also thanks Hans-Peter Reichmann and Tim Heptner, Curators of the exhibition, and the Deutsches
Filmmuseum of Frankfurt.
This exhibition is proposed with the kind collaboration of Warner Bros. Entertainment Inc., Columbia
Pictures Industries Inc., Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., and SK Films
Archives LLC.
Thanks to the sponsorship of Warner Bros. and Canal +.
La Cinémathèque française also thanks its two great sponsors, Neuflize OBC and Groupama.
It has also received the support of Kodak, the Fnac and the Regional Tourism Committee of Paris Île-
de-France.
The Stanley Kubrick exhibition media partners are: CinéCinéma, Dailymotion, Allociné, Les
Inrockuptibles, Positif, Trois Couleurs, France Inter and Paris Match.
Our very special thanks go to Iris Knobloch, President and CEO of Warner Bros. France, Olivier
Snanoudj, Vice-President Distribution for Warner Bros. France, Michel Ciment and Eric Garandeau,
President of the Centre national du cinéma et de l’image animée.

Costa-Gavras Serge Toubiana

President Director General
of La Cinémathèque française of La Cinémathèque française
 STANLEY KUBRICK
THE EXHIBITION
23 March – 31 July 2011
at La Cinémathèque française

An exhibition of the Deutsches Filmmuseum, Frankfurt am Main,

Christiane Kubrick and The Stanley Kubrick Archive at the University of the Arts London.
Curators of the exhibition : Hans-Peter Reichmann and Tim Heptner
Staging-design : Günter Illner, con©eptdesign

Produced with the kind collaboration of Warner Bros. Entertainment Inc., Columbia Pictures Industries Inc.,
Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., SK Films Archives LLC

Thanks to the sponsorship of Warner Bros. and Canal+

and the Great Sponsors of La Cinémathèque française, Neuflize OBC and Groupama

With the support of the Ministry of Culture and Communication, the CNC and the Île-de-France Region

In partnership with Kodak, the FNAC and the Comité régional du tourisme Paris Île-de-France

In media partnership with Ciné Cinéma, Dailymotion, Allociné,

Les Inrockuptibles, Positif, Trois Couleurs, France Inter and Paris Match

2001: A Space Odyssey (GB/USA 1965-68). © Warner Bros. Entertainment Inc.

“All you have to do is hear the name, or read it on a page, and a whole world opens up before your eyes. A
vast, mysterious world, unlike any other in the history of cinema. (…) He expanded our idea of what is
possible in movies. And I believe that in so doing, he actually expanded our consciousness of ourselves – the
cruelties of which we’re capable of, the longing we feel for something unnameable, the forces that compel
us to move in strange, troubling directions. (…)
Kubrick was an artist of real vision, in every sense of that overused word, and this exhibit is a fitting
tribute.”
Martin Scorsese*

“He created more than movies. He gave us complete environmental experiences that got more, not less,
intense the more you watched them.”
Steven Spielberg

Inside the mind of a visionary filmmaker

The Stanley Kubrick Exhibition exceptionally occupies two floors of La Cinémathèque française (5th and 7th),
covering an area of nearly 1,000 sq m.
This exhibition was initially set up by the Deutsches Filmmuseum in Frankfurt in 2004, in close
cooperation with Christiane Kubrick, Jan Harlan and The Stanley Kubrick Archive at the University of the Arts
London. Hans-Peter Reichmann, Exhibitions Director of the Deutsches Filmmuseum, is the Curator. It has
already had immense public success in several cities around the world: Berlin in 2005, Melbourne in 2006,
Gand in 2006-2007, Zurich in 2007, and Rome in 2007-2008.
The Stanley Kubrick Archive contains numerous and precious working documents : scenarios,
correspondences, research documents, photos of film shoots, costumes and accessories (among them the
survival-kit from Dr. Strangelove, the Starchild and the ape‘s costume from 2001: A Space Odyssey, costumes
from Barry Lyndon…), as well as a very detailed documentation of his unfinished and cult projects, such as
Napoleon (1968-1973).
These documents are presented exclusively in this exhibition, which also retraces the first artistic steps
of Stanley Kubrick, who started his career as a photographer for the American magazine Look in the 1940s.
Dozens of prints, mostly unpublished, from the collection of the Library of Congress (Washington D.C.), prove
that the very young Kubrick already had a solid grasp of visual composition.
The exhibition offers us the opportunity to go backstage and to understand the technical inventions of
Kubrick (the slit-scan, for example). The special effects are explained by large-scale models and interactive
digital installations.

A Clockwork Orange, Replicas of the Korova Milkbar Puppets © Deutsches Filminstitut, Frankfurt.
In the preface of the official catalogue, Christiane Kubrick, Jan Harlan and Hans-Peter Reichmann
evoke the origin of this exhibition and go back over the figure of Stanley Kubrick.

EXTRACTS

During the 43 years we were married, the question of what to do with the personal effects in case of one of us
should die never arose. (…) The suggestion by the Deutsches Filmmuseum to mount an exhibition which after
Frankfurt and Berlin might travel the world presented itself as an incentive to deal with the task and to honour
Stanley at the same time. The aim was to chose items which best represent Stanley’s involvement in all aspects
of film-making. (…)
Christiane Kubrick*
An actress of German origin, Christiane Kubrick married Stanley Kubrick in 1958. She played the German singer in Paths of Glory and
produced paintings and sculptures for the sets of the films A Clockwork Orange and Eyes Wide Shut.

The whole idea seemed strange at first. Exhibiting Stanley’s equipment, his plans, notes, photos? It did not feel
right and would have been unthinkable during his lifetime, yet on careful reflection and discussion with
Christiane Kubrick it became quite clear that while his privacy had to be guarded, his professional output was
for all to be seen to celebrate the life of a great film maker. (…)Overcoming obstacles was part of his
personality and one of the passions that spiced up his life. I am reminded of Jean Cocteau’s famous remark : ”I
didn’t know that it was impossible, that’s why I did it.” That was Stanley’s approach too. So we undertook the
impossible. We had a vast amount of material in many places in England and America, countless boxes full of
notes, photographs, correspondence, scripts, reams of draft pages, plans, a huge library and a truckload full of
equipment. All this would be meaningless in an exhibition unless we succeeded in making it relevant and could
provoke enthusiasm in a visitor to watch Stanley’s films – again or for the first time.
Jan Harlan*
Assistant director in 1957 on the film Paths of Glory, Jan Harlan became the brother-in-law of Stanley Kubrick who married his sister
Christiane Harlan and, from Barry Lyndon in 1975, was the executive producer of all his films. In 2001, he directed the documentary Stanley
Kubrick, A Life in Pictures.

There are many superlatives and they are readily repeated in attempts to explain Stanley Kubrick and his
oeuvre. Only few of his contemporaries actually met him. Those who did meet him were often pushed to their
limits, yet remain full of admiration. (…)Stanley Kubrick was selftaught, read widely, researched, and
questioned everything. He developed plans only to abandon and redefine them according to his own unique
and incomparable vision. As a director and producer, Kubrick created worlds of images that to this very day
hold an unbroken fascination and continue to inspire and provoke their audience.
(…)The exhibition stands out for the interplay of materials from the Estate – props, written documents,
photographs, technical film equipment – and walk-through installations that recapture the atmosphere and
themes of the individual films. The interdisciplinary exhibition draws attention to Kubrick’s visionary
adaptations of influences from the fine arts, design, and architecture and enables us to experience the film
cosmos of one of the great artists of the 20th century in all three dimensions.
Hans-Peter Reichmann*
Director of exhibitions at the Deutsches Filmmuseum and Curator of the exhibition on Stanley Kubrick, Hans-Peter Reichmann was also,
among others, curator of exhibitions on Marlene Dietrich (1998) and Klaus Kinski (2001).

* Extracts from the official catalogue of the exhibition.

Published by Deutsches Filminstitut / Deutsches Filmmuseum, Frankfurt am Main
Available in English and German, exclusively at the bookshop of the Cinémathèque française, €32.
 AROUND THE EXHIBITION
at La Cinémathèque française
RETROSPECTIVES – ROUND TABLE – DIALOGUE – LECTURES

A COMPREHENSIVE RETROSPECTIVE from 23 March to 18 April

La Cinémathèque française will present all his films. A legendary film director, Kubrick produced a body of work which
seems at first view to consist of heterogeneous elements : film noir (The Killing), science-fiction (2001: A Space Odyssey),
social anticipation (A Clockwork Orange), historical reconstruction (Barry Lyndon), horror (The Shining), war film (Full Metal
Jacket). But all these titles, whatever genre they belong to, offer a visionary, deep and disillusioned reflection on humanity,
and its relations with science and techniques, its evolution and its very identity.

Barry Lyndon (GB/USA 1973-75). © Warner Bros. Entertainment Inc.

Filmography of Stanley Kubrick

Day of the Fight (USA/1950-1951/16’) Dr. Strangelove or: How I learned to stop worrying and love the
Flying Padre (USA/1950-1951/9’) Bomb (UK-USA/1963-1964/95’)
Fear and Desire (USA/1951-1953/68’)* 2001: A Space Odyssey (UK-USA/1968/160’)
Mr. Lincoln (TV) (USA/1952/Second Unit Director). A Clockwork Orange (UK-USA/1971/137’)
The Seafarers (USA/1953/30’) Barry Lyndon (UK-USA/1975/187’)
Killer‘s Kiss (USA/1955/67’) The Shining (UK-USA/1980/146’/Abriged version for Europe
The Killing (USA/1955-1956/84’) 119’)
Paths of Glory (USA/1957/87’) Full Metal Jacket (UK-USA/1987/116’)
Spartacus (USA/1959-1960/184’) Eyes Wide Shut (UK-USA/1999/159’)
Lolita (UK-USA/1960-1962/152’)
* Stanley Kubrick during his lifetime expressed the wish that his first feature film, Fear and Desire, would no longer be shown. La Cinémathèque française will respect his wish.

A retrospective AROUND KUBRICK from 20 April to 2 May

It may appear paradoxical, or even totally illusory, to think that Kubrick’s films could have created heirs worthy of this
name. Each of his films seems rather to have been the ultimate and unsurpassable expression of a genre whose evolution it
ended.
It was as if each title signed by Kubrick was also a way of getting out of its own category and escaping the determinations of
his own nature. Did not 2001: A Space Odyssey make the cinema of science-fiction look derisory in 1968? And Full Metal
Jacket in 1987, surely it was the culminating point of the many cinematographic attempts to depict the Vietnam war? Did
not The Shining sum up the horror film after Psycho, in 1960, had laid the foundations? How can there be heirs to a work
whose author’s ambition we suspect was to eliminate any idea of descendents?
So our purpose here is not to give scientific ratification to the existence of a “Kubrickian” cinema, during or after Kubrick,
but more modestly to suppose that the work of the author of The Shining had a subtle influence on certain films, delicately
determined the development of certain film directors marked by the images or the personal philosophy of Kubrick, and,
more modestly dialogued with other films. We also want to see how certain motifs or obsessions attached to the work of
Kubrick have become cinematographically expressed after him.
 The War Room, final set design by Sir Kenneth Adam

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, GB/USA 1963-64)
© Columbia Pictures Industries Inc.
“STANLEY KUBRICK” ROUND TABLE Thursday 24 March at 6 pm
Admission free.
To discuss in depth the propositions of the exhibition and understand the cinema of an obsessive and protean
artist.
Meeting with Christiane Kubrick, Marisa Berenson, Ken Adam, Michel Ciment, Nigel Galt, Jan Harlan and
Hans-Peter Reichmann.
Chaired by Serge Toubiana.
An actress of German origin, Christiane Kubrick married Stanley Kubrick in 1958. She played the German singer in Paths of Glory and
produced paintings and sculptures for the sets of the films A Clockwork Orange and Eyes Wide Shut.
Before interpreting the superb Lady Lyndon for Stanley Kubrick (Barry Lyndon, 1975), Marisa Berenson appeared in Death in Venice by
Luchino Visconti (1971) and in Cabaret by Bob Fosse (1972). She then worked with Blake Edwards (S.O.B., 1981) and Clint Eastwood (White
Hunter, Black Heart, 1990) and then moved to France in 1984 to start a new career.
A British director of German origin, Ken Adam made his debuts in Hollywood on large productions: Around the World in 90 Days and Ben-
Hur. Thereafter he worked notably with Jacques Tourneur, Robert Aldrich, J. L. Mankiewicz and for the James Bond series of the 1960s and
1970s. For Stanley Kubrick, he designed the sets of Dr Strangelove (1964) and Barry Lyndon (1975).
A film historian and critic, Michel Ciment is a senior lecturer in American civilisation at Université de Paris VII and a member of the editorial
committee of Positif, a regular contributor to Le Masque et la Plume and France Inter radio station, and the producer of Projection privée
for France Culture radio station. He is the author, among other titles, of Kazan par Kazan (1973), Le Livre de Losey (1979) and Kubrick
(1980), the first book in French on the film director.
Nigel Galt was the sound engineer for Stanley Kubrick on Full Metal Jacket in 1987 and, in 1999, the sound editor of Eyes Wide Shut.
Assistant director in 1957 on the film Paths of Glory, Jan Harlan became the brother-in-law of Stanley Kubrick who married his sister
Christiane Harlan and, from Barry Lyndon in 1975, was the executive producer of all his films.
Director of exhibitions at the Deutsches Filmmuseum and Curator in 2004, with Tim Heptner of the exhibition on Stanley Kubrick, Hans-
Peter Reichmann was also, among others, curator of exhibitions on Marlene Dietrich (1998) and Klaus Kinski (2001).

From 7:30 pm, book-signing session in the bookshop of the Cinémathèque with the speakers of the Round
Table.

DIALOGUE WITH JAN HARLAN Friday 25 March at 8 pm

Dialogue with Jan Harlan followed by the screening of his documentary Stanley Kubrick, A Life in Pictures
(United States – 2001 – 142’). Chaired by Matthieu Orléan.
Single ticket: Dialogue + Film. Full rate €6.50 / Reduced rate €5 / ”Atout prix” and “Cinétudiant” rate €4 / Free for “Libre pass”

Stanley Kubrick on the set of 2001: A Space Odyssey (GB/USA 1965-68) © The Stanley Kubrick Archive.
THE CINÉMATHÈQUE LECTURES
Monday 28 March 7:00 pm “THE CINEMA OF KUBRICK: BETWEEN REASON AND PASSION”
LECTURE BY MICHEL CIMENT
A leitmotif runs through the films of Kubrick which are warnings in the form of fables: the relationship in the heart of each
individual and society between the desire to control, the affirmation of reason and the irruption of passion, violence and
repressed instincts.
A film historian and critic, Michel Ciment is a senior lecturer in American civilisation at Université de Paris VII and a member of the editorial
committee of Positif, a regular contributor to Le Masque et la Plume and France Inter radio station, and the producer of Projection privée
for France Culture radio station. He is the author, among other titles, of Kazan par Kazan (1973), Le Livre de Losey (1979) and Kubrick
(1980), the first book in French on the film director.
At 8:0 pm, after his lecture, Michel Ciment will sign his book Kubrick (Calmann-Lévy, Edition 2011) in the bookshop of the Cinémathèque
française.

Monday 4 April 7:00 pm “BEFORE/AFTER 2001: KUBRICK AND THE SEARCH FOR THE NEW”
LECTURE BY PIERRE BERTHOMIEU
From the beginnings of his work, Kubrick established his distance from the dominant Hollywood styles, putting the
emphasis on the search for singularity and new angles. That is how he approached his space odyssey, destined to
revolutionise cinema science-fiction. Nourished by several films of the 1950s that he improved technically, 2001 drew its
inspiration from experimental and scientific films, as well as classical music, with the a priori paradoxical idea of producing a
great spectacular film in Cinerama.
Pierre Berthomieu is a teacher and a critic with Positif. He has published a history of the forms of the American film, Hollywood classique:
le temps des géants (2009) and, recently, the second volume: Hollywood moderne: le temps des voyants (February 2011) published by
Editions Rouge Profond.

Monday 11 April 7:00 pm “AN AESTHETIC OF THE 20th CENTURY: AGAINST NAZISM, AGAINST THE
WORLD”
LECTURE BY PHILIPPE FRAISSE
Beginning with Dr Strangelove, the Kubrick’s cinema confronts a totalitarian art of catastrophe. It is a political and aesthetic
combat against the spectres of Nazism. But there is another combat. Inspired by a radically pessimistic view of the world –
the heritage of Gnostic tradition which holds that the world is the creation of an evil god – Kubrick gives in his films a lesson
in living whose moral is clearly formulated in Eyes Wide Shut.
Philippe Fraisse teaches philosophy and has contributed since 1999 to the journal Positif. He published Le cinéma au bord du monde, une
approche de Stanley Kubrick , Editions Gallimard (2010).
At 8:0 pm, after his lecture, Philippe Fraisse will sign his book Le cinema au bord du monde, une approche de Stanley Kubrick (Gallimard,
2010) in the bookshop of La Cinémathèque française.

Monday 18 April 7:00 pm “THE BRAIN AND THE WORLD: THE SHINING AND AFTER” LECTURE by
EMMANUEL SIETY
In L’Image-temps, Gilles Deleuze saw Stanley Kubrick, like Alain Resnais, as a film director “of the identity of the world and
the brain”. Focusing on The Shining, we will analyse and prolong this comparison by looking at three other names of film
directors who explore the limits of the world and consciousness: David Lynch, Michael Haneke and Gus Van Sant.
Emmanuel Siety is a senior lecturer on cinema at Université Paris 3 - Sorbonne nouvelle. He is the author of La Peur au cinéma
(Cinémathèque française/Actes Sud, 2006), Fictions d'images (Presses Universitaires de Rennes, 2009) and Le Plan, au commencement du
cinéma (Cahiers du Cinéma/CNDP, 2001).
At 8:30 pm, after his lecture, Emmanuel Siety will sign his book La Peur au cinema (Cinémathèque française/Actes Sud, new edition
2011), in the bookshop of La Cinémathèque française.

LECTURE OF THE CONSERVATOIRE DES TECHNIQUES CINEMATOGRAPHIQUES

Friday 8 April 2:30 pm “STANLEY KUBRICK, TECHNICAL INVENTION IN THE SERVICE OF FILM ART”
LECTURE BY CHRISTIAN APPELT
How did the passion of Kubrick for shooting techniques effectively influence-his images? Some interviews, quotations and
production notes offer answers, as does the analysis of films from a technical point of view.
Christian Appelt is a head cameraman and film editor. He carries out research on large formats , historical formats and visual effects. For
the Stanley Kubrick exhibition presented in Frankfurt, he took charge of assembling the equipment exhibited and recorded an interview
with Joe Dunton on the subject of Kubrick’s optical collection.
 The Shining (GB/USA 1980) © Warner Bros. Entertainment Inc.

Tom Cruise, Nicole Kidman and Stanley Kubrick on the set of Eyes Wide Shut (GB/USA 1999). Photo: Manuel Harlan © Warner Bros. Entertainment Inc.
 WARNER BROS.,
CRADLE OF GREAT FILM-MAKERS

Stanley Kubrick and Warner Bros.: thirty years of total loyalty that demonstrated the
constant attachment of the Studio to a policy of quality and innovation. From its beginnings, Warner
Bros. orchestrated the most decisive mutation in the history of the 7th art by producing in 1927 the
first talking film, The Jazz Singer. In the 1930s, it was the most committed of the Hollywood majors,
producing films with stunning realism like I am a Fugitive from a Chain Gang and Wild Boys of the
Road. In 1940, it released The Maltese Falcon, one of the first great classics of film noir which gave
the prestigious scriptwriter John Huston, the opportunity to direct his first film. The “policy of author-
directors” was not yet a part of the vocabulary, but the concept was already up and going… The war
years were to reveal some of the finest films in the history of the studio, including Casablanca by
Michael Curtiz and Objective, Burma! by Raoul Walsh, two immense directors closely linked to
Warner, which brought out the best in them. The “house style” reached its peak during this decade
when emblematic stars like Bogart, Bette Davis, Lauren Bacall and Joan Crawford gave epoch-making
performances. The 1950s produced in A Star is Born by George Cukor, the summit of the musical and
consecrated the talents of Elia Kazan, Nicholas Ray, Arthur Penn. A Tramway Named Desire, East of
Eden, Baby Doll, Rebel Without a Cause, The Left Handed Gun, etc. while Rio Bravo and Band of
Angels announced the culmination of the classic era, a “new wave” emerged long before the French
movement, highlighting a raw, nervous and convulsive style that was to influence the entire cinema
industry for several decades.

It was in this very fruitful period that Stanley Kubrick independently made his first films: The
Killing and Paths of Glory, in which he showed himself to be already totally in command of his craft. It
was during these years also that another great favourite of the studio began his career: Clint
Eastwood. In 1971, Kubrick began his collaboration with Warner with A Clockwork Orange; the same
year, Eastwood began the Dirty Harry series. Is that a simple coincidence in the rich and so varied
history of Warner Bros.?

Since his death in 1999, the fame of Kubrick has grown constantly. During his career, each of
his films was a major event, attracting crowds but dividing the critics. Now unanimously hailed as one
of the greatest directors in the history of the cinema, his work continues to fascinate for the variety
of its inspiration, the depth of its treatments and the force of its images. For the American directors
who came after him, he was a model in dealing with the system. He was able to combine commercial
success with artistic ambition, and above all he worked in complete freedom and independence with
the logistics and financial backing of a great studio, Warner Bros, for the last thirty years of his life.
Each of his films is an example of formal audacity and complex reflection while fitting into a
recognised genre that he took pleasure in renewing and subverting: the war film (Paths of Glory, Full
Metal Jacket), science-fiction (2001, A Space Odyssey), horror (The Shining), the political fable (Dr
Strangelove, A Clockwork Orange), the costume film (Barry Lyndon), the tragic love story (Lolita), and
the detective story (The Killing). His last Eyes Wide Shut was probably even more disorientating but it
revealed his most intimate work and evaded all the categories.
 Warner Bros. : 2011 the Kubrick year

23 MARCH: RELEASE OF A GIFT SET OF 19 DVDS ULTIMATE EDITION

in a prestigious packaging bring together for the 1st time the entire filmography of Stanley Kubrick in
their most complete versions: Lolita, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The
Shining, Full Metal Jacket and Eyes Wide Shut as well as The Killer’s Kiss, The Killing, Paths of Glory
(MGM/UA), Spartacus (Universal Pictures), Dr Strangelove (Columbia Pictures) as well as the
documentary A Life in Pictures directed by Jan Harlan and the reference book The Stanley Kubrick
Archives published by TASCHEN (544 pages).

FROM 1ST JUNE: NATIONAL RETROSPECTIVE IN CINEMAS of the following

films: 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining (US version never
released in France), Full Metal Jacket, Eyes Wide Shut and Lolita in 35mm copies and for the first time
in digital copies.

The unique heritage of Stanley Kubrick is as important and significant for Warner Bros. in 2011 as it
was when he began his collaboration with the Studio in 1971, the year which marked the
beginning of a rare professional relationship that was to last over 25 years. His films are still topical
and just as impressive for audiences today as they were innovative and revolutionary when first
released.

Press Contacts Warner Bros. Entertainement

Eugénie Pont
Publicity Director
+33 1 72 25 10 82 / eugenie.pont@warnerbros.com
and
Caroline Marechal
Press Officer
+ 33 1 72 25 10 27 / caroline.marechal@warnerbros.com
DIGITAL SCREENING, WORLD PREVIEW,
OF A CLOCKWORK ORANGE
by Stanley Kubrick (UK-USA/1971/137’)
To mark the 40th anniversary of its release in cinemas.
In the presence of Malcolm Mc Dowell.
Restoration supervised by Warner Bros.

A MASTERPIECE OF ACTING BY MALCOLM MC DOWELL.

More details soon on http://www.festival-cannes.com/fr.html

A Clockwork Orange (GB/USA 1970-71) © Warner Bros. Entertainment Inc

 PUBLICATIONS

OFFICIAL CATALOGUE OF
STANLEY KUBRICK, THE EXHIBITION
304 pages – €32
Available in English and German
Exclusively in the bookshop of La Cinémathèque française

Edited by Maja Keppler and Hans-Peter Reichmann

Deutsches Filminstitut

The catalogue is abundantly illustrated and brings together essays by

authors specialising in the cinema, theatre, art history, photography,
architecture, design and music. It accompanies the exhibition and offers
an original possibility of entering the world of Stanley Kubrick.

Prefaces by Martin Scorsese, Christiane Kubrick and Jan Harlan.

© Deutsches Filminstitut / Deutsches Filmmuseum, Frankfurt am Main.

SPECIAL ISSUE OF TROIS COULEURS

MAGAZINE
Stanley Kubrick // Eyes Wide Open //
132 pages – €9.90
Available from 2 March on newsstands and in bookshops.
Guide to the exhibition.

The magazine goes back over the life and career of the American film
director with a biography and an exhaustive filmography, as well as an
analysis of the key motifs of his work (breakdown of order, split
personality, derailments).
This overview will be completed by a panorama of his principal heirs (from
Steven Spielberg to James Cameron), articles on his visionary use of
techniques, sound and faces, a report made in London in his Childwickbury
manor house, and interviews with his entourage: his wife Christiane, his
brother-in-law and producer Jan Harlan, his editor Nigel Galt, his decorator
Ken Adam, the inventor of the Garrett Brown Steadicam, etc.
While giving pride of place to the specialists of his work (Michel Ciment, Michel Chion, Philippe Fraisse, etc.), the magazine
will also combine serious approaches and less reverent ones, describing for example the recurrence of toilette scenes in the
work of Kubrick, his principal aborted projects, the heated reception of his films, and the various plot theories associated
with him.
Last but not least, a large portfolio will examine the fruitful rapports of the film director with photography (his first career),
the plastic arts and design, contrasting works by Georges de La Tour, Saul Bass, Mark Rothko and Invader with the films of
the immortal director of Eyes Wide Shut.

Press contacts
Monica Donati and Anne-Charlotte Gilard / Tel : +33 1 43 07 55 22
monica.donati@mk2.com / anne-charlotte.gilard@mk2.com
 SPECIAL ISSUE ON KUBRICK
LES INROCKUPTIBLES
100 pages – €11.90
Available on 21 March 2011 on newsstands.
Accompanied by the classic Lolita in DVD.
A collection of the key articles published on the film director
by the journal over the years, notably when he died in 1999,
this special issue will also offer the opportunity to take a fresh
look at the complete filmography of the master through new
articles on each of his films.
It will offer a review of his influence on the new generations of outstanding directors (from David Lynch to Christopher
Nolan, including the Coen Brothers and Gaspar Noé), contemporary video and graphic artists who prolong his taste for
cinematographic experimentation and his visionary approach to image and story.
Apart from a richly illustrated presentation of the exhibition and an iconographic exploration of the still fascinating world of
Kubrick, as film director as well as photographer, this special issue will look into the philosophical and aesthetic themes
tackled in his films in an attempt to decrypt a work that is still far from having revealed all its secrets.
The presence of a “bonus” as prestigious as Lolita, his 1962 adaptation of the scandalous novel by Vladimir Nabokov, will
allow the reader of this special issue to see or see again one of the masterpieces of Kubrick’s filmography.

Contacts
Baptiste Vadon Elisabeth Laborde
Tel : +33 1 42 44 16 07 - baptiste.vadon@inrocks.com Tel : +33 1 42 44 16 62 - elisabeth.laborde@inrocks.com

KUBRICK, EDITION 2011

By Michel Ciment. Preface by Martin Scorsese.
Editions Calmann-Lévy – in bookshops: February 2011 – €45
A superb homage to Stanley Kubrick, one of the great visionaries of our epoch,
written by Michel Ciment, French specialist of the cinema and confidant of the
film director for 30 years.

The book provides: a portrait of the director and his life story; a study of his
relations with the fantastic and reflections on his creative approach; testimonies
of fourteen collaborators; four interviews with the author, all the more precious
in that the director was always reticent in commenting on his films; 400
illustrations including 150 in colour, often rare or published for the first time; a
large section on his final work, Eyes Wide Shut; a complete filmography and
bibliography.

Monday 28 March at 8:30 pm, after his lecture, Michel Ciment will sign his book in the bookshop of the
Cinémathèque française.
Press contact Calmann-Lévy
Florence Morin
Tel : +33 1 49 54 36 00
fmorin@calmann-levy.fr
TASCHEN: REEDITIONS AVAILABLE IN EARLY MARCH 2011

THE STANLEY KUBRICK ARCHIVES

544 pages – €49.99
Editor: Alison Castle TASCHEN
The first book dedicated to the archives of Stanley Kubrick, the
most complete study ever made on this film director.

About the Editor: Alison Castle holds a BA in philosophy from Columbia University
and an MA in photography and cinema from New York University
(NYU/International Center of Photography). Entrusted by TASCHEN with the edition
of Some Like it Hot and the Stanley Kubrick Archives, she lives in Paris, where the
best cinemas in the world are to be found.

STANLEY KUBRICK'S NAPOLEON : THE GREATEST MOVIE NEVER MADE

1 112 pages - €49.99
Now available in an unlimited edition, in one volume!
Editor: Alison Castle TASCHEN
For 40 years, admirers of Kubrick and film enthusiasts have wondered about his
mysterious film devoted to Napoleon Bonaparte, never made but due to go into
production just after the release of 2001: A Space Odyssey. The Napoleon of Kubrick was
to have been both a character study and a grand epic, with battle scenes and thousands
of extras. The homage paid by TASCHEN to this aborted masterpiece allows fans of
Kubrick to discover for the first time how the great director worked obstinately on his
“Napoleon". Composed from the limited original edition published in 2009, ten volumes
in a cover imitating the binding of a history work on Napoleon, this book brings together
all the original elements in a single volume.
Thanks to this unique volume, the culmination of years of research and preparation, the
reader can become a witness of the creative approach of one of the greatest talents of
the cinema and rediscover the fascinating and enigmatic personality of Napoleon
Bonaparte.
Thursday 24 March, from 7:30 pm, meeting and signing session with Alison Castle in the bookshop of
LaCinémathèque française.

STANLEY KUBRICK THE COMPLETE FILMS

Past, present, future: the world as seen by Kubrick.
192 pages – €9.99
The exceptional career of a genius of the cinema
Editor: Paul Duncan TASCHEN

About the Editor: Paul Duncan has directed the publication of over 40 titles on the cinema and is the
author of the books Alfred Hitchcock and Stanley Kubrick in the Film Séries collection.

Press contact
Lou Mollgaard PR Manager TASCHEN France
Phone: + 33 1 40 51 73 08 - Mobile: + 33 6 80 90 15 02
l.mollgaard@taschen.com / http://www.taschen.com
LES CAHIERS DU CINÉMA present
STANLEY KUBRICK UNE VIE EN INSTANTANÉS
By Christiane Kubrick
192 pages - 230 photographs - €45

This photo album offers a new look at Stanley Kubrick (1928-1999) at work behind
the camera, with his teams and actors, from his beginnings as a director in the 1950s
up to the shooting of his last film Eyes Wide Shut, terminated only six days before his
death in March 1999.

Christiane Kubrick, wife of the film director since 1957, has had a brilliant career as
actress and comedienne. She now defines herself as an artist-painter.

Thursday 24 March, from 7:30 pm, meeting and book-signing with Christiane Kubrick in the bookshop of La
Cinémathèque française.

STANLEY KUBRICK L’HUMAIN, NI PLUS NI MOINS

By Michel Chion
560 pages - 696 photographs - €39.95

From the invisible Fear and Desire, 1953, to Eyes Wide Shut, released in 1999, this book
studies each of the films of Stanley Kubrick (1928-1999) and brings out the creative unity of
the his work. Michel Chion, in this essay, allows us to approach the goal of his famous
perfectionism: a search for the meaningful detail, an aesthetic movement around this
mystery, the human quest no more and no less.

Michel Chion, born in 1947, is a writer, a composer of concrete music, and maker of short
films and videos. His books include Le Complexe de Cyrano and Ecrire un scénario (Cahiers du
Cinéma).

Press contact
Caroline Bourrus Head of communications Phaidon Cahiers du Cinéma
cbourrus@phaidon.fr / Tél. : 00 33 1 55 28 38 35 / 00 33 6 12 21 55 00

CINÉCINÉMA CLASSIC presents

Two special evenings to mark Stanley Kubrick, The exhibition
31 March at 8:40 on CINÉCINÉMA CLASSIC
Dr Strangelove (UK-USA/1963-1964/95’)
Barry Lyndon (UK-USA/1975/187’)
Programme and date of the second evening out soon.
http://www.cinecinema.fr/cinecinema-classic
 STANLEY KUBRICK ON CINÉMATHÈQUE.FR

ON-LINE EXHIBITION
Based on documents, objects and extracts, the “Stanley Kubrick” on-line exhibition lays out paths in the work
of the film director: associations of images, links between films, between an extract and an object or a
photograph…
A didactic prolongation in the spirit of the exhibition at the Cinémathèque (23 March-31 July 2011), this on-line
will show simultaneously, by confrontations of images, a series of recurrences and correspondences in the
work of a brilliantly obsessive and methodical film director.
On-line – 21 March 2011.
www.Cinematheque.fr

THE BEST OF WEB CREATION

ON KUBRICK
The Cinémathèque française launches an ambitious project: to present on its
website the best web creation on the Kubrick legend.
Graphic artists, video artists, stylists, plastic artists: a whole generation of
creative talents has turned to the work of Kubrick over the past 15 years,
paying homage to him, questioning his work, remixing it, etc. The adoration of
these artistes for Kubrick will be the occasion to highlight the modernity of a
film director adopted by a host of netsurfers all over the world, and whose
works will be united for the first time in the same place.

Matt Bellisle - www.gravitydsn.com

COMPETITION IN PARTNERSHIP WITH DAILYMOTION

The Cinémathèque française is organising a big competition with DailyMotion, and invites netsurfers to send
in a short film on Stanley Kubrick and his work.
Prizes: a trip to New York for 6 dayss/4 nights, for two persons offered by La Maison des Etats-Unis,
the complete Stanley Kubrick collection with 19 DVDs and the key book Les Archives de Stanley Kubrick
published by Taschen offered by Warner, sets of rolls of super 8 ektackrome 100 T film and Playsport pocket
cameras offered by Kodak and the on-line publication of the best works on the website of the Cinémathèque…
On-line publication – 23 March 2011.
www.Cinematheque.fr
 VISITING INFORMATION

GUIDED VISIT AND AUDIO GUIDE

GUIDED VISIT
The guided visit of the exhibition gives the keys for a better understanding, film after film, of the genesis of a complex and
fascinating work.
Time: 1h30 – Every Saturday and Sunday at 11:00 : €11.

AUDIO GUIDE

Circuit of the exhibition in French with the voice of Marisa Berenson, in English with the
voice of Malcolm McDowell and in German.
+ Stanley Kubrick commenting on The Shining, Barry Lyndon and Full Metal Jacket: extracts
from the interviews held by Michel Ciment on the release of each of his films.
Available on the spot for €3 and on Itunes for €1.99

OPENING HOURS
From Monday to Friday 12:00-19:00. Open late until 22.00 on Thursday.
Week-end, school & bank holidays from 10:00 to 20:00.
Closed on Tuesday.

ADMISSION
Full rate : €10 / Concession : €8 / Under 18s : €5 / Holders of Atout Prix or CinÉtudiant card : €7 / Libre Pass : free
Combined ticket + film or exhibition + museum : €12
Audio guides available in 3 languages (French with the voice of Marisa Berenson - English with the voice of Malcolm
McDowell – German) : available on the spot for €3 and on Itunes for €1.99.
Guided visit every Saturday and Sunday at 11:00 : €11.

ADVANCE PURCHASE FOR INDIVIDUALS

www.cinematheque.fr and www.fnac.com

CONTACTS
Jean-Christophe Mikhaïloff Elodie Dufour
Head of Communication, Press officer
+33 (0)1 71 19 33 14 / +33 (0)6 23 91 46 27 +33 (0)1 71 19 33 65 / +33 (0)6 86 83 65 00
jc.mikhailoff@cinematheque.fr e.dufour@cinematheque.fr

La Cinémathèque française
Musée du cinéma
51 rue de Bercy, 75012 Paris
Informations +33 1 71 19 33 33
WWW.CINEMATHEQUE.FR
 STANLEY KUBRICK
THE EXHIBITION
23 March – 31 July 2011
at La Cinémathèque française

An exhibition of the Deutsches Filmmuseum, Frankfurt am Main,

Christiane Kubrick and The Stanley Kubrick Archive at the University of the Arts London.

Produced with the kind collaboration of Warner Bros. Entertainment Inc., Columbia Pictures Industries Inc.,
Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., SK Films Archives LLC

Thanks to the sponsorship of Warner Bros. and Canal+

and the Great Sponsors of La Cinémathèque française, Neuflize OBC and Groupama

With the support of the Ministry of Culture and Communication, the CNC and the Île-de-France Region

In partnership with Kodak, the FNAC and the Comité régional du tourisme Paris Île-de-France

In media partnership with