Author Mick Broderick James Fenwick and Joy McEntee

Mick Broderick James Fenwick and Joy McEntee

Mick Broderick is Professor of Media Analysis at Murdoch University. He has produced over 100 scholarly works as author or co-author, including: Trauma and Disability in Mad Max: Beyond the Road Warrior’s Fury (2019) with Katie Ellis; Reconstructing Strangelove: inside Stanley Kubrick’s ‘nightmare comedy’ (2017) and Nuclear Movies (1988, 1991); and as editor The Kubrick Legacy (2019), Hibakusha Cinema (1996, 1999), and as co-editor with Antonio Traverso, Interrogating Trauma (2011) and Trauma, Media, Art: New Perspectives (2010). James Fenwick is a Senior Lecturer in media and communications at Sheffield Hallam University. He is the author of Stanley Kubrick Produces (Rutgers University Press, 2020) and editor of Understanding Kubrick’s 2001: A Space Odyssey (Intellect, 2018). He has written a number of book chapters and journal articles about the life and work of Stanley Kubrick and Kirk Douglas. Joy McEntee is a Senior Lecturer in the Department of English and Creative Writing at the University of Adelaide. She has research interests in American Cold War film, the work of Stanley Kubrick, and literature to film adaptation. She has published in Camera Obscura, Screening the Past, Adaptation, Literature/Film Quarterly and the Journal of Adaptation in Film and Performance.

Missing links: exploring traces of Kubrick’s ‘unknown’ early works

Mick Broderick James Fenwick and Joy McEntee

October 2020

Feature Articles

Previously unseen materials donated by the Stanley Kubrick estate to the London University of the Arts Special Collections Archive sheds new light on what has been a relatively ‘unknown’ period in the auteur’s ...

Turkish Cinema’s Resurgence: The ‘Deep Nation’ Unravels

Criminals Against Decoration: Modernism as a Heist

The New-Ark: trying to disavow anti-blackness

Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

Come and See The Painted Bird: A Filmmaker’s Plea

Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

Rendez-vous in Autumn: China-US Summit/American Film Market/AFI FEST

Dreaming of the Mountains: The 9th Dharamshala International Film Festival

Ghost Cities: The 58th Viennale

Queer and Australian Features at the 2020 Adelaide Film Festival

Korean Cinema’s Self-Portrait: The 25th Busan International Film Festival

Live Through This: The 2020 Adelaide Film Festival

“Sense of Place”: The 33rd Tokyo International Film Festival

Scenes from a Revolution: The Birth of the New Hollywood by Mark Harris

Revising a Concept: Cinema Expanded: Avant-Garde Film in the Age of Intermedia, by Jonathan Walley

When Everything Seemed Possible: London’s Arts Labs and the 60s Avant-Garde by David Curtis

“Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s R.W. Fassbinder: Film Stills, 1966-1982

Beneath the Tuxedo Elegance: Cary Grant: The Making of a Hollywood Legend, by Mark Glancy

Anarchist Cinema: A Dream of Resistance: The Cinema of Kobayashi Masaki by Stephen Prince

Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

Behind the Veil: The Nun (Jacques Rivette, 1966)

Stairways to Paradise: Youssef Chahine and Alexandria…Why?

At Home Among Strangers (Свой среди чужих, чужой среди своих, Nikita Mikhalkov, 1974)

German Yearnings, East and West: The Sons of Great Bear (Josef Mach, 1966)

Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

Of East and West and High and Low: Lemonade Joe (1964)

A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

Assayas, Olivier

Scott, Tony

Menzel, Jiří

Wise, Robert

Fernández, Emilio “Indio”

Fei Mu

Huston, John

Missing links: exploring traces of Kubrick’s ‘unknown’ early works