La fabrique de l’homme objet dans Lolita de Stanley Kubrick

Beyond considerations regarding the degree of continuity or discrepancy between the original work and its filmed version, Stanley Kubrick’s adaptation of Nabokov’s novel fits into a body of cinematographic work that relentlessly probes the question of man’s position in the social, political and inti...

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Main Author: Emmanuelle Delanoë-Brun
Format: Article
Language:English
Published: Centre de Recherche "Texte et Critique de Texte" 2010-12-01
Series:Sillages Critiques
Subjects:
Online Access:https://journals.openedition.org/sillagescritiques/1702
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author Emmanuelle Delanoë-Brun
author_facet Emmanuelle Delanoë-Brun
author_sort Emmanuelle Delanoë-Brun
collection DOAJ
description Beyond considerations regarding the degree of continuity or discrepancy between the original work and its filmed version, Stanley Kubrick’s adaptation of Nabokov’s novel fits into a body of cinematographic work that relentlessly probes the question of man’s position in the social, political and intimate sphere, of his often failed aspiration towards selfhood and humanity. Humbert Humbert, as viewed by Stanley Kubrick, appears as yet another representation of the objectified male gradually losing control over the story he at least partially narrates. Still, the character’s progressive dispossession also appears as the condition of his humanistic re-evaluation, in a motion that is characteristic of Kubrick’s constant exploration of the multiple tensions that shape the very definition of humanity, in a paradoxical approach where distance bridges moral, emotional and intellectual gaps, where reiterated contradictions testify to a consistent body of interrogations, where tension, in the end, features as the main condition of humanity.
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institution Kabale University
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spelling doaj-art-6ea1bf9a28f646d1b1832633e0137f942025-01-30T13:48:18ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022010-12-011110.4000/sillagescritiques.1702La fabrique de l’homme objet dans Lolita de Stanley KubrickEmmanuelle Delanoë-BrunBeyond considerations regarding the degree of continuity or discrepancy between the original work and its filmed version, Stanley Kubrick’s adaptation of Nabokov’s novel fits into a body of cinematographic work that relentlessly probes the question of man’s position in the social, political and intimate sphere, of his often failed aspiration towards selfhood and humanity. Humbert Humbert, as viewed by Stanley Kubrick, appears as yet another representation of the objectified male gradually losing control over the story he at least partially narrates. Still, the character’s progressive dispossession also appears as the condition of his humanistic re-evaluation, in a motion that is characteristic of Kubrick’s constant exploration of the multiple tensions that shape the very definition of humanity, in a paradoxical approach where distance bridges moral, emotional and intellectual gaps, where reiterated contradictions testify to a consistent body of interrogations, where tension, in the end, features as the main condition of humanity.https://journals.openedition.org/sillagescritiques/1702cinémaadaptationLolitaNabokovKubrickréception
spellingShingle Emmanuelle Delanoë-Brun
La fabrique de l’homme objet dans Lolita de Stanley Kubrick
Sillages Critiques
cinéma
adaptation
Lolita
Nabokov
Kubrick
réception
title La fabrique de l’homme objet dans Lolita de Stanley Kubrick
title_full La fabrique de l’homme objet dans Lolita de Stanley Kubrick
title_fullStr La fabrique de l’homme objet dans Lolita de Stanley Kubrick
title_full_unstemmed La fabrique de l’homme objet dans Lolita de Stanley Kubrick
title_short La fabrique de l’homme objet dans Lolita de Stanley Kubrick
title_sort la fabrique de l homme objet dans lolita de stanley kubrick
topic cinéma
adaptation
Lolita
Nabokov
Kubrick
réception
url https://journals.openedition.org/sillagescritiques/1702
work_keys_str_mv AT emmanuelledelanoebrun lafabriquedelhommeobjetdanslolitadestanleykubrick