Lolita A Screenplay

The screenplay for Kubrik's 1962 film tells the story of an older man's obsession with a young girl.

Author: Vladimir Nabokov

Publisher: Vintage

ISBN: 9780307787606

Category: Performing Arts

Page: 240

View: 647


The screenplay for Kubrik's 1962 film tells the story of an older man's obsession with a young girl.

Twentieth Century American Fiction on Screen

Nabokov, Lolita: A Screenplay, p. x. 11. Quoted in. notes 1. See Wayne Booth, The Rhetoric of Fiction (Chicago: University of Chicago Press, 1983), and G ́erard Genette, Narrative Discourse: An Essay in Method, trans.

Author: R. Barton Palmer

Publisher: Cambridge University Press

ISBN: 9781139461689

Category: Literary Criticism


View: 730


The essays in this collection analyse major film adaptations of twentieth-century American fiction, from F. Scott Fitzgerald's The Last Tycoon to Toni Morrison's Beloved. During the century, films based on American literature came to play a central role in the history of the American cinema. Combining cinematic and literary approaches, this volume explores the adaptation process from conception through production and reception. The contributors explore the ways political and historical contexts have shaped the transfer from book to screen, and the new perspectives that films bring to literary works. In particular, they examine how the twentieth-century literary modes of realism, modernism, and postmodernism have influenced the forms of modern cinema. Written in a lively and accessible style, the book includes production stills and full filmographies. Together with its companion volume on nineteenth-century fiction, the volume offers a comprehensive account of the rich tradition of American literature on screen.

Lolita From Nabokov to Kubrick and Lyne

The prologue contributes to providing the screenplay with a somewhat circular structure.Itopens with thesound of Lolita's voicespeaking to Humbert aboutQuilty's mansion –afragment of what shewill say tohim when he findsher threeyears ...

Author: Erik Martiny

Publisher: Editions Sedes

ISBN: 9782301001047

Category: Education

Page: 160

View: 796


Qu’on soit scandalisé ou touché – ou les deux à la fois – on ne peut guère refuser de voir en Lolita une œuvre de grande envergure narrative et poétique. À sa sortie, la critique s’est montrée à certains moments offensée, à d’autres enchantée : Lionel Trilling y voyait moins le récit d’une aberration qu’une histoire d’amour ; Kingsley Amis trouvait l’oeuvre réjouissante mais insuffisamment érotique. Moins sentimentale, la critique actuelle fait aussi preuve de nettement moins de clémence à l’égard de son narrateur. Toujours est-il que la force de persuasion, l’ambiguïté et la subtilité de cette œuvre sont telles que le lecteur ou la lectrice peut difficilement se défendre d’être tour à tour transformé en esthète émerveillé, en juge réprobateur, en juré partagé, en amant passionné, en voyeur ou même en nymphette consentante. Destiné aux étudiants préparant le Capes et l’Agrégation d’anglais, cet ouvrage rédigé par des spécialistes de littérature américaine et russe se penche sur les aspects sociologiques, biographiques, structurels, stylistiques, intertextuels, génériques et cinématographiques de Lolita..


In 1959 , Nabokov read excerpts from Lolita for a spokenword record issued by Caedmon . The screenplay . Nabokov wrote a script for Kubrick in the summer of 1960. In the fall , Kubrick and Harris abridged and rewrote the script .

Author: Richard Corliss

Publisher: Bloomsbury Publishing

ISBN: 9781838716912

Category: Performing Arts

Page: 96

View: 529


Stanley Kubrick's version of Vladimir Nabokov's novel was one of the most controversial films of the 1960s. This analysis is written by Richard Corliss, editor of 'Film Comment'. It features a brief production history and a detailed filmography.

Lolita in the Afterlife

The answer can be located in something Nabokov declaims in his introduction to the Lolita screenplay : “ [ T ] here is nothing in the world that I loathe more than group activity , that communal bath where the hairy and slippery mix in ...

Author: Jenny Minton Quigley

Publisher: Vintage

ISBN: 9781984898845

Category: Literary Criticism

Page: 456

View: 236


A vibrant collection of sharp and essential modern pieces on Vladimir Nabokov’s perennially provocative book—with original contributions from a stellar cast of prominent twenty-first century writers. In 1958, Vladimir Nabokov’s Lolita was published in the United States to immediate controversy and bestsellerdom. More than sixty years later, this phenomenal novel generates as much buzz as it did when originally published. Central to countless issues at the forefront of our national discourse—art and politics, race and whiteness, gender and power, sexual trauma—Lolita lives on, in an afterlife as blinding as a supernova. Lolita in the Afterlife is edited by the daughter of Lolita’s original publisher in America. WITH CONTRIBUTIONS BY Robin Givhan • Aleksandar Hemon • Jim Shepard • Emily Mortimer • Laura Lippman • Erika L. Sánchez • Sarah Weinman • Andre Dubus III • Mary Gaitskill • Zainab Salbi • Christina Baker Kline • Ian Frazier • Cheryl Strayed • Sloane Crosley • Victor LaValle • Jill Kargman • Lila Azam Zanganeh • Roxane Gay • Claire Dederer • Jessica Shattuck • Stacy Schiff • Susan Choi • Kate Elizabeth Russell • Tom Bissell • Kira Von Eichel • Bindu Bansinath • Dani Shapiro • Alexander Chee • Lauren Groff • Morgan Jerkins

Vladimir Nabokov s Lolita

In late 1970, anxious to publish his screenplay before both Alan Jay Lerner's Lolita musical and the deadline for his multibook McGraw-Hill contract, Nabokov looked back over his screenplay, which now included three versions of act 1, ...

Author: Ellen Pifer

Publisher: Oxford University Press, USA

ISBN: 9780195150322

Category: Literary Criticism

Page: 219

View: 826


Eight reprinted essays, mostly from the 1990s, examine various facets of the Russian exile's 1955 novel that has raised literary, legal, and religious hackles since it was first published. Also included is a 1967 interview with Nabokov by Herbert Gold. There is no index. Annotation copyrighted by Book News, Inc., Portland, OR.

Authorship in Film Adaptation

Nabokov, Lolita: A Screenplay, xiii. 30. Phillips and Hill, Encyclopedia, 236. 31. Stam, Literature Through Film, 229. 32. Nabokov, Lolita: A Screenplay, xii. 33. Ibid., xiii. 34. See Mario Falsetto's discussion in Stanley Kubrick: A ...

Author: Jack Boozer

Publisher: University of Texas Press

ISBN: 9780292783157

Category: Performing Arts

Page: 353

View: 776


Authoring a film adaptation of a literary source not only requires a media conversion but also a transformation as a result of the differing dramatic demands of cinema. The most critical central step in this transformation of a literary source to the screen is the writing of the screenplay. The screenplay usually serves to recruit producers, director, and actors; to attract capital investment; and to give focus to the conception and production of the film project. Often undergoing multiple revisions prior to production, the screenplay represents the crucial decisions of writer and director that will determine how and to what end the film will imitate or depart from its original source. Authorship in Film Adaptation is an accessible, provocative text that opens up new areas of discussion on the central process of adaptation surrounding the screenplay and screenwriter-director collaboration. In contrast to narrow binary comparisons of literary source text and film, the twelve essays in this collection also give attention to the underappreciated role of the screenplay and film pre-production that can signal the primary intention for a film. Divided into four parts, this collection looks first at the role of Hollywood's activist producers and major auteurs such as Hitchcock and Kubrick as they worked with screenwriters to formulate their audio-visual goals. The second part offers case studies of Devil in a Blue Dress and The Sweet Hereafter, for which the directors wrote their own adapted screenplays. Considering the variety of writer-director working relationships that are possible, Part III focuses on adaptations that alter genre, time, and place, and Part IV investigates adaptations that alter stories of romance, sexuality, and ethnicity.


Author: Vladimir V. Nabokov


ISBN: OCLC:756326128


Page: 213

View: 677


The Wolf at the Door

Nabokov , Annotated Lolita , 17 , 20 , 37 , 42 , 120 , 125 , 129 , 250 , 290 , 373 . 122. Nabokov , Lolita : A Screenplay , 13 , 26 , 69 , 83 , 97 , III , 112 , 116 , 198 , 199 . 123. Nabokov , Annotated Lolita , 178 , 255 , 264 ...

Author: Associate Professor of History Geoffrey Cocks

Publisher: Peter Lang

ISBN: 0820471151

Category: Performing Arts

Page: 364

View: 919


The Wolf at the Door explores the remarkable formal and substantive patterns of cinematic discourse on Germany and the Holocaust in Stanley Kubrick's films. It is the first book on Kubrick to place his cinema into the full context of his life and times - his Jewish past, early years spent under the shadows of fascism and war, and his 1957 marriage into a German family of artists and filmmakers - all provoked his deeply ambivalent preoccupation with the history of Nazi Germany and the Holocaust. The Wolf at the Door draws on intensive study of all of Kubrick's films, interviews with members of Kubrick's immediate family, and archival research in the United States, Germany, the Netherlands, Poland, and Israel.

Stanley Kubrick

Nabokov, “Lolita: A Screenplay,” n.d., Harris-Kubrick Pictures, Berg Coll MSS Nabokov, VN; Nabokov, part screenplay, c. 1959–1960, SK/10/1/3, SKA; Nabokov and Kubrick, Lolita screenplay, scene 47b-13, May 10, 1960, SK/10/1/22, SKA; ...

Author: Nathan Abrams

Publisher: Rutgers University Press

ISBN: 9780813587134

Category: Art

Page: 341

View: 394


Stanley Kubrick is generally acknowledged as one of the world’s great directors. Yet few critics or scholars have considered how he emerged from a unique and vibrant cultural milieu: the New York Jewish intelligentsia. Stanley Kubrick reexamines the director’s work in context of his ethnic and cultural origins. Focusing on several of Kubrick’s key themes—including masculinity, ethical responsibility, and the nature of evil—it demonstrates how his films were in conversation with contemporary New York Jewish intellectuals who grappled with the same concerns. At the same time, it explores Kubrick’s fraught relationship with his Jewish identity and his reluctance to be pegged as an ethnic director, manifest in his removal of Jewish references and characters from stories he adapted. As he digs deep into rare Kubrick archives to reveal insights about the director’s life and times, film scholar Nathan Abrams also provides a nuanced account of Kubrick’s cinematic artistry. Each chapter offers a detailed analysis of one of Kubrick’s major films, including Lolita, Dr. Strangelove, 2001, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut. Stanley Kubrick thus presents an illuminating look at one of the twentieth century’s most renowned and yet misunderstood directors.