Peter Kramer

Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer's study explores the production, marketing and reception as well as the themes and style of A Clockwork Orange against the backdrop of Kubrick's previous work and of wider developments in cinema, culture and society from the 1950s to the early 1970s.

A Clockwork Orange

Die beiden Dramen Ibsens lassen sich - obgleich konzeptionell andersartig gestaltet - auf dieselbe Intention des Autors zurückführen: mit literarischen Mitteln gesellschaftserzieherisch und persönlichkeitsbildend zu wirken. Steht im «Volksfeind» noch die positive Persönlichkeit Dr. Stockmanns an zentraler Stelle, so verlagert sich in der «Wildente» das Schwergewicht auf die Extremcharaktere Gregers und Relling. In diesem personellen Kontext entwickelt Ibsen die Schicksale von Hjalmar und Hedwig als den zwei grundlegenden Möglichkeiten des Menschen, im Spannungsfeld zwischen den Polen Wahrheit und Lüge sich selbst zu realisieren.

die Wandlung der dramatischen Anlage und des Persönlichkeitsbildes in ihrer Bedeutung für Erziehung und Unterricht

Henrik Ibsen, "Ein Volksfeind" und "Die Wildente"

Zorka Papadopolos

In this up-to-date review and guide to most recent literature, the expert authors develop concepts related to quasiperiodic coverings and describe results. The text describes specific systems in 2 and 3 dimensions with many illustrations, and analyzes the atomic positions in quasicrystals.

Theory and Applications to Quasicrystals

Coverings of Discrete Quasiperiodic Sets

Group Theory and the Interaction of Composite Nucleon Systems

Alan Lovell

While not everyone would agree with Alfred Hitchcock's notorious remark that 'actors are cattle', there is little understanding of the work film actors do. Yet audience enthusiasm for, or dislike of, actors and their style of performance is a crucial part of the film-going experience. Screen Acting discusses the development of film acting, from the stylisation of the silent era, through the naturalism of Lee Strasberg's 'Method', to Mike Leigh's use of improvisation. The contributors to this innovative volume explore the philosophies which have influenced acting in the movies and analyse the styles and techniques of individual filmmakers and performers, including Bette Davis, James Mason, Susan Sarandon and Morgan Freeman. There are also interviews with working actors: Ian Richardson discusses the relationship between theatre, film and television acting; Claire Rushbrook and Ron Cook discuss theri work with Mike Leigh, and Helen Shaver discusses her work with the critic Susan Knobloch.

Screen Acting

Peter Krämer

In 1967, Time Magazine's cover featured 'Bonnie and Clyde' (1967) and announced a renaissance in American cinema. The author looks at the influence this generation had on Hollywood at the time, not only in the aesthetics and politics of the films, but also the changes in the studio system.

From Bonnie and Clyde to Star Wars

The New Hollywood

Stanley Kubrick's futuristic juvenile delinquency movie A Clockwork Orange (1971) is an adaptation of Anthony Burgess' 1962 novel of the same title. Film and novel tell the story of an extremely violent teenager who allows himself to be subjected to aversion therapy (making him unable to indulge his violent and sexual impulses) so as to get out of prison; he then becomes the target of violent attacks and political manipulation which in turn culminate in the removal of his psychological conditioning. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer's study explores the production, marketing and reception as well as the themes and style of A Clockwork Orange against the backdrop of Kubrick's previous work and of wider developments in cinema, culture and society from the 1950s to the early 1970s.

Stanley Kubrick's 2001: A Space Odyssey (1968) is widely regarded as one of the best films ever made. It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.

Peter Kramer

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