Film 4780: Auteurs Kubrick and Kielowski (Spring 2010, CRN: 17514)

Class: MW 12:00pm-1:15pm, Sparks Hall 329 Screening: M 9:00am-10:50am, Arts & Humanities 406 Instructor: Email: Website: Mailbox: Drew Ayers dayers2@gsu.edu www.drewayers.com 6th Floor, One Park Place Office: 840B, One Park Place Office Hours: M 2:30pm-4:30pm; W 2:30pm4:30pm, and by appt. (ALWAYS email first)

N.B. 1) The course website and uLearn will reflect updates to the course, changes in the syllabus, assignments, etc. Be sure to check them regularly. The course syllabus provides a general plan for the course; deviations may be necessary. 2) Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State University. Upon completing the course, please take the time to fill out the online course evaluation. Course Description This course examines the work of two directors Stanley Kubrick (1928-1999, U.S/England) and Krzysztof Kielowski (1941-1996, Poland/France) by placing their films in thematic and stylistic dialogue with each other. Of particular interest are the politics of emotion employed by each director and the ways in which they capture affect, sensation, and sensuality within their films. This course consists of seven units, each of which explores the relationship between a selection of Kubrick and Kielowski films. This course is designed to develop the skills necessary to write cogently and persuasively about film, as well as to cultivate the skills necessary to do film research. The class is also structured heavily around discussion, and students are expected to contribute their thoughts during every session. Course Objectives By the end of the course, students will be able to: Identify and analyze the aesthetic and thematic elements of the films of Kubrick and Kielowski Critique the broader relationships between the films of Kubrick and Kielowski Effectively read, analyze, and critique scholarly writing about film Present original ideas through class presentations and discussion Conduct research specific to film studies Write and speak cogently and persuasively about film and film scholarship Required Texts 1) Haltof, Marek. The Cinema of Krzysztof Kielowski: Variations on Destiny and Chance. New York: Wallflower Press, 2004. 2) Nelson, Thomas Allen. Kubrick: Inside a Film Artists Maze, New & Expanded Edition. Bloomington: Indiana University Press, 2000. 3) Readings on uLearn and Electronic Reserve ER Link: http://reserves.gsu.edu/eres/coursepage.aspx?cid=3719

2 ER Password: k6gtss2fS 4) Course films Screenings Attendance at the screenings is a mandatory part of this course. Consequently, attendance will be taken at the screenings, and absences will be counted as personal days. I expect everyone to be on time for the screenings, which means that you should be in the screening room and seated by 9:00am latecomers are distracting, and missing the first part of a film can radically affect your interpretation of that film. If for some reason you are unable to attend a screening, you are responsible for seeing the film on your own. Some of these films are available through the library media center (2nd Floor, Library South), and all of the films are available through Netflix or at local video stores. The films are a fundamental part of the course and will comprise a large part of our discussions and written assignments. Thus, even if you have already seen the films, you should plan to view them again. After all, group viewing of films is sometimes the best way to spur discussion. Attendance and Participation Attendance for this course is mandatory. My approach to this class will integrate lectures, class discussions, student presentations, and various exercises and activities in order to explore the principles discussed in the readings and lectures you cant participate if youre not there. Attendance will be taken during the first fifteen minutes of each class by using a sign-in sheet. Each student will have three personal days during the semester to cover absences from either class or screenings. These days may be used for any reason you choose and should include time out for illness, emergencies, religious holidays, and family obligations. For each absence after the initial three, your overall attendance grade will be lowered by one letter grade. If you arrive to class after the first fifteen minutes, you will be counted as tardy. Each tardy counts as onehalf of an absence. If you have an ongoing situation that requires special consideration, please discuss this with me at the beginning of the semester. Group discussion of course material will comprise a large portion of our in-class activity. It is essential that you have carefully read the assigned material prior to class in order to fulfill your responsibilities as a member of the learning community of this class. Further, you are expected to participate actively in class discussion. Attendance/Participation comprises 10% of the final grade, and your participation grade will be based on both the frequency and quality of your participation. Everyone is expected to participate in class discussions. Late Assignment Policy If an assignment is turned in late, one full letter grade will be deducted for each day the assignment is late. Additionally, please remember that an assignment is considered late immediately following the class period for which it is due. If you are unable to attend class on a day that an assignment is due, you must contact me prior to the class and make alternative arrangements. All assignments must be submitted in hard-copy form. When assignments are due, expect the unexpected. Assume that one (or perhaps all) of the following will happen to you on exam dates and assignment due dates: Your printer will not print or the line for the printer at the University is a mile long Your printer will run out of ink or paper

3 Your disk will crash and all data will be lost Your car will not run, busses will skip your stop, and all or your friends will be out of town Please take whatever steps are necessary to prevent these events from affecting the timely submission of assignments and exams. Additional Sources of Academic Support The University offers a range of support services for students. Among the resources available are: The Writing Studio (http://www.writingstudio.gsu.edu/) Provides advice and tutoring in composition Student Support Services (http://www.gsu.edu/oeo/sss.html) Offers a variety of services, including tutoring, career counseling, and support groups Special Accommodations If you have specific physical, psychiatric, or learning disabilities that you believe may require accommodations for this course, please meet with me after class or during my office hours to discuss appropriate adaptations or modifications that might be helpful to you. The Office of Disability Services (http://www2.gsu.edu/~wwwods/) can provide you with information and other assistance to manage any challenges that may affect your performance in coursework. Assignments There are four primary assignments for the semester. We will talk about each in more detail as the due dates approach. 1) Reading/Film Response Essays: Each student is responsible for completing six reading/film response essays of 500 words. Three must be completed before spring break (3/8) and three must be completed after spring break and before the end of classes (5/3). Each response essay is worth 5% of your overall grade, and the essays together comprise 30% of your overall grade. See page 9 of this syllabus for more detailed information. 2) Presentation/Discussion Leader: Each week, a group of two students will be responsible for leading the class discussion for the two sessions of that week. Your responsibilities include: a) Choosing clips from the film(s) of the week to show to the class (you may also select clips from other films to illustrate your points); b) Providing a summary of the main argument of the reading(s) assigned for the day; c) Providing an interpretation of the readings and film clips; and d) Designing topics/questions for class discussion. Think of yourselves as teachers I want this assignment to provide you with the experience of leading a class discussion. Ill have my own thoughts about the films and readings (which Ill contribute), but Im more interested in hearing what you think. It would probably be helpful to write a response essay for the week in which you are leading discussion, as you can use your essay as a starting point for discussion. Also, since youll be expected to discuss a film that youve just seen, it would be helpful to take notes during the screening and then meet with your partner (perhaps over lunch) during the time between the screening and the class to plan your presentation. Since the film will be so fresh, Mondays might be the time to show outside clips. This aspect of the course is worth 10% of your overall grade.

4 3) Final Paper Proposal: Each student must submit a proposal for his/her final paper. This proposal should include the following information: a) The title of your final paper; b) A thesis statement and summary of your argument; c) An annotated bibliography of at least five peer-reviewed, academic sources; d) An outline of your final paper. For the annotated bibliography, you should summarize the argument and main points of the source and state how you are going to use the source in your own paper. There is no required length for this proposal, but the more thorough and detailed you are, the better feedback I can provide. The final paper proposal is due on Monday, April 5th, and it is worth 15% of your overall grade. See page 10 of this syllabus for a template of the proposal. 4) Final Paper: The final paper must be 8-10 pages in length (NOT including the title page and bibliography), and it requires a research element. The final paper is due on the last day of class (Monday, May 3rd), and it is worth 35% of your overall grade. See page 11 of this syllabus for more details. All materials must be submitted in hard-copy form and should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. The upper left-hand corner of the first page should include your name, my name, the course name, and the date of submission. You should include a word count at the end of each essay. Use MLA format for your citations and works cited page. All work is due at the beginning of the class for which it is due. Please remember to staple your essays. Grading Six Reading/Film Response Essays (5% each): Presentation/Discussion Leader: Final Paper Proposal: Final Paper: Attendance/Participation: 30% 10% 15% 35% 10%

Grading Breakdown A+ (100-97); A (96-94); A- (93-90); B+ (89-87); B (86-84); B- (83-80); C+ (79-77); C (76-74); C- (73-70); D+ (69-67); D (66-64); D- (63-60); F (59-0) Regarding Scholastic Dishonesty: I take this matter very seriously and will report any suspected cases of academic dishonesty to the Office of Judicial Affairs. For details on the Universitys policy on Academic Honesty, please consult the Offices website at http://www2.gsu.edu/~wwwdos/judicial.html or the Policy on Academic Honesty in the Faculty Handbook (section 409) at http://www2.gsu.edu/~wwwfhb/fhb.html. The policy prohibits plagiarism, cheating on examinations, unauthorized collaboration, falsification, and multiple submissions. The process by which the university handles academic misconduct cases is also very specifically spelled out in the policy. Violation of the policy may result in failing the class as well as disciplinary sanctions. The internet makes it easy to plagiarize, but also easy to track down plagiarism If you can google it, I can google it. Bottom line: Dont plagiarize its not worth it. Cite all your sources, put all direct quotations in quotation marks, and clearly note when you are paraphrasing other authors work.

5
Georgia State University Policy on Academic Honesty FROM THE GSU FACULTY HANDBOOK As members of the academic community, students are expected to recognize and uphold standards of intellectual and academic integrity. The university assumes as a basic and minimum standard of conduct in academic matters that students be honest and that they submit for credit only the products of their own efforts. Both the ideals of scholarship and the need for fairness require that all dishonest work be rejected as a basis for academic credit. They also require that students refrain from any and all forms of dishonorable or unethical conduct related to their academic work. The university's policy on academic honesty is published in the Faculty Affairs Handbook and the On Campus: The Undergraduate CoCurricular Affairs Handbook and is available to all members of the university community. The policy represents a core value of the university and all members of the university community are responsible for abiding by its tenets. Lack of knowledge of this policy is not an acceptable defense to any charge of academic dishonesty. All members of the academic community -- students, faculty, and staff -- are expected to report violations of these standards of academic conduct to the appropriate authorities. The procedures for such reporting are on file in the offices of the deans of each college, the office of the dean of students, and the office of the provost. In an effort to foster an environment of academic integrity and to prevent academic dishonesty, students are expected to discuss with faculty the expectations regarding course assignments and standards of conduct. Students are encouraged to discuss freely with faculty, academic advisors, and other members of the university community any questions pertaining to the provisions of this policy. In addition, students are encouraged to avail themselves of programs in establishing personal standards and ethics offered through the university's Counseling Center. Definitions and Examples The examples and definitions given below are intended to clarify the standards by which academic honesty and academically honorable conduct are to be judged. The list is merely illustrative of the kinds of infractions that may occur, and it is not intended to be exhaustive. Moreover, the definitions and examples suggest conditions under which unacceptable behavior of the indicated types normally occurs; however, there may be unusual cases that fall outside these conditions which also will be judged unacceptable by the academic community. A. Plagiarism: Plagiarism is presenting another person's work as one's own. Plagiarism includes any paraphrasing or summarizing of the works of another person without acknowledgment, including the submitting of another student's work as one's own. Plagiarism frequently involves a failure to acknowledge in the text, notes, or footnotes the quotation of the paragraphs, sentences, or even a few phrases written or spoken by someone else. The submission of research or completed papers or projects by someone else is plagiarism, as is the unacknowledged use of research sources gathered by someone else when that use is specifically forbidden by the faculty member. Failure to indicate the extent and nature of one's reliance on other sources is also a form of plagiarism. Any work, in whole or in part, taken from the Internet or other computer-based resource without properly referencing the source (for example, the URL) is considered plagiarism. A complete reference is required in order that all parties may locate and view the original source. Finally, there may be forms of plagiarism that are unique to an individual discipline or course, examples of which should be provided in advance by the faculty member. The student is responsible for understanding the legitimate use of sources, the appropriate ways of acknowledging academic, scholarly or creative indebtedness, and the consequences of violating this responsibility. B. Cheating on Examinations: Cheating on examinations involves giving or receiving unauthorized help before, during, or after an examination. Examples of unauthorized help include the use of notes, computer based resources, texts, or "crib sheets" during an examination (unless specifically approved by the faculty member), or sharing information with another student during an examination (unless specifically approved by the faculty member). Other examples include intentionally allowing another student to view one's own examination and collaboration before or after an examination if such collaboration is specifically forbidden by the faculty member. C. Unauthorized Collaboration: Submission for academic credit of a work product, or a part thereof, represented as its being one's own effort, which has been developed in substantial collaboration with another person or source, or computer-based resource, is a violation of academic honesty. It is also a violation of academic honesty knowingly to provide such assistance. Collaborative work specifically authorized by a faculty member is allowed. D. Falsification: It is a violation of academic honesty to misrepresent material or fabricate information in an academic exercise, assignment or proceeding (e.g., false or misleading citation of sources, the falsification of the results of experiments or of computer data, false or misleading information in an academic context in order to gain an unfair advantage). E. Multiple Submissions: It is a violation of academic honesty to submit substantial portions of the same work for credit more than once without the explicit consent of the faculty member(s) to whom the material is submitted for additional credit. In cases in which there is a natural development of research or knowledge in a sequence of courses, use of prior work may be desirable, even required; however the student is responsible for indicating in writing, as a part of such use, that the current work submitted for credit is cumulative in nature.

Daily Schedule
Modernism, Contingency, and Chance 1/11 Reading: Course syllabus (distributed in class, on uLearn, and class website) Screening: The Killing (Kubrick, 1956) 1/13 1/18 1/20 1/25 Reading: Nelson, Chapter 1: Kubrick and The Aesthetics of Contingency

NO CLASS/SCREENING MLK HOLIDAY Reading: Reading: Screening: Sanders, The Big Score (ER) Haltof, ix-xiv; 53-64 Kickasola, Chapter 1: Which Kielowski? (ER) Blind Chance (Kielowski, 1987) Bordwell, Film Futures (ER) Kielowski, pg. 113-115: Chance or Fate (uLearn) Nelson, Chapter 2: The End of the Beginning Paths of Glory (Kubrick, 1957) Eaton, Patterns of Space, Sound, and Movement in Paths of Glory (ER) Haltof, 75-81; 90-95; 106-107 Kielowski, pg. 159-166: A Short Film About Killing (uLearn) Decalogue V and Decalogue X (Kielowski, 1989) Celeste, Decalogue (ER) Nelson, Chapter 7: A Time Odyssey Barry Lyndon (Kubrick, 1975) King, The Sadness of the Gaze (ER) Pliatska, The Shape of Man (ER) Haltof, 109-122 Kielowski, pg. 172-203: Pure Emotions (uLearn) Knight, For Once, Then, Something (ER) The Double Life of Veronique (Kielowski, 1991) Wilson, Chapter 1: Images in Crystal (uLearn)

1/27

Reading:

Justice and Death 2/1 Reading: Screening: 2/3 2/8 Reading: Reading: Screening: 2/10 Reading:

Identity and Self 2/15 Reading: Screening: 2/17 2/22 Reading: Reading: Screening: 2/24 Reading:

7 The Horrors of Family 3/1 Reading: Screening: 3/3 3/8 3/10 3/15 3/17 Reading:

Nelson, Chapter 8: Remembrance of Things Forgotten The Shining (Kubrick, 1980) Pallasmaa, Chapter 4: The Monster in the Maze (ER) Snyder, Family Life (ER)

NO CLASS SPRING BREAK NO CLASS SPRING BREAK Reading: Screening: Reading: Haltof, 88-90; 103-106 Decalogue IV and Decalogue IX (Kielowski, 1989) Insdorf, Chapter 4: The Decalogue (ER) Nelson, Chapter 10: House Calls Eyes Wide Shut (Kubrick, 1999) Hoffman, Where the Rainbow Ends (ER) Haltof, 122-148 Blue (Kielowski, 1993) Kielowski, pg. 212-227: Three Colours (uLearn) Clewell, The Shades of Modern Mourning (ER)

Dreamworlds and Secrets 3/22 Reading: Screening: 3/24 3/29 3/31 Reading: Reading: Screening: Reading:

The Terrors of Technology and Obsession 4/5 Reading: Nelson, Chapter 5: The Ultimate Cinematic Universe Screening: 2001: A Space Odyssey (Kubrick, 1968) Assignment: Final Paper Proposal Due 4/7 4/12 Reading: Reading: Screening: 4/14 Reading: Hanson, Technology, Paranoia and the Queer Voice (ER) Haltof, 81-84; 95-99 Kielowski, pg. 166-172: A Short Film About Love (uLearn) Decalogue I and Decalogue VI (Kielowski, 1989) Perlmutter, Testament of the Father (ER)

Choice, Fate, and Free Will 4/19 Reading: Nelson, Chapter 6: The Performing Artist Screening: A Clockwork Orange (Kubrick, 1971) 4/21 Reading: Sobchack, Dcor as Theme (ER)

4/26

Reading: Screening:

Haltof, 84-86; 101-103 Labov, Kielowski's Dekalog (uLearn) Decalogue II and Decalogue VIII (Kielowski, 1989) Kielowski, pg. 143-159: The Decalogue (uLearn)

4/28 5/3

Reading:

Screening: Dr. Strangelove (Kubrick, 1968) Assignment: Final Paper Due Course Wrap-Up Remember to submit your course evaluations

9 Reading/Film Response Essays 1) Each student is responsible for completing six reading/film response essays. Three must be completed before spring break (3/8) and three must be completed after spring break and before the end of classes (5/3). Only one essay may be submitted per week thus, you should plan accordingly and decide early on which weeks you want to submit an essay. I will not allow you to write make-up essays nor will I allow you to submit multiple essays in a single week. If you fail to turn in three essays before spring break, you have lost the opportunity to write those essays. 2) All essays should be 500 words (1.5-2 double-spaced pages), and essays are due at the beginning of the class. I will not accept any essays written about an article due any week prior or any week in the future. The idea is that these essays will help facilitate discussion during class. Include a word count at the end of your essay. 3) Essays must be submitted in hard-copy form and should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. The upper left-hand corner of the first page should include your name, my name, the course name, and the date of submission. You should include a word count at the end of each essay. 4) Each essay should focus on one chapter/article assigned for that week, and it should relate the reading to the film(s) screened for that week. I am looking for you to formulate a critical analysis of the relationship between the reading and the film(s). 5) More specifically, your response essay should incorporate these three things: a. A summary of the main argument of the article youre analyzing. b. One thought problem regarding that article. i. Remember: This thought problem should point to something that you find puzzling, troubling, or fascinating. A thought problem is something that you are working through or attempting to overcome, and you should explain this thought problem fully. ii. Then, based on this something that you describe, you should raise an important question, or make a thoughtful connection to one of our previous readings or a concept weve pursued. The question you should raise or thoughtful connection you can make should not be a simple question or statement. You should follow through and explain why this question is important or why it is necessary to think about the connection that you make. c. A connection, which you should explain fully, between the film(s) assigned for the week and the thought problem that youve raised. How does the film illustrate, complicate, or extend the thought problem youve discussed?

10 Final Paper Proposal Template 1) Title of Final Paper 2) Thesis and Summary of Main Argument 3) Source #1 a. Annotation 4) Source #2 a. Annotation 5) Source #3 a. Annotation 6) Source #4 a. Annotation 7) Source #5 a. Annotation 8) Source #n a. Annotation 9) Outline of the Complete Paper

11 Final Paper Assignment 1) For this paper, you will choose a film (or films) written, directed, produced, or developed by Kubrick or Kielowski, and you will develop an argument on a topic of your choosing. You may use films that weve screened and discussed in class, or you may use films by Kubrick or Kielowski that we did not screen or discuss in class. You are also free to focus on one or both of the directors in your paper. I will leave the exact topic up to you, but you should engage with the issues and concepts that weve discussed in class. 2) This paper should expand on the work you did in your proposal, and you should expect to do significant rethinking/revising of your initial argument, incorporating any suggestions I might have provided you. Failure to take my revision suggestions into account will negatively affect your grade on this paper. 3) At least five peer-reviewed, scholarly sources are required, and these sources must be cited within the text and in a works cited page remember, any time you use another authors work (either paraphrased or directly quoted), you must cite that author. Plagiarism will result in an automatic zero for the assignment and possible academic sanctions. 4) The sources must be academic in nature, either from scholarly journals or books (no Wikipedia or film reviews), and the readings we did in class will not count toward your source total (though you are welcome to use these readings as additional sources). The goal is to get you to put into practice the research techniques we discussed in class and to utilize the resources of the University library. Use the librarys research page to help begin your research: http://research.library.gsu.edu/film. 5) I expect you to engage thoughtfully with your sources. Dont merely pull quotations from sources and assume that they speak for themselves. You should explain how you are interpreting an authors argument and how it relates to your own argument. 6) Dont wait until the last minute to do your research. It will show in the finished product. Your research should be an ongoing project throughout the semester. 7) Your paper must be 8-10 pages in length, and you should include a title page and bibliography (which should NOT be included in your page count). The title page should include your name, my name, the course name, the date of submission, and a title for your paper. 8) Formatting: Use MLA format for this paper. The essay should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. Please remember to staple your essay. 9) This essay is meant to showcase all you have learned about Kubrick and Kielowski this semester. As such, you should submit a polished essay with a clear thesis and argument. Impress me 10) The paper is due on the last day of class Monday, May 3rd at the beginning of class. Late papers will be deducted one letter grade for each day they are late. The final paper is worth 35% of your overall grade.

12 Bibliography Bordwell, David. "Film Futures." SubStance: A Review of Theory & Literary Criticism 31 1 (2002): 88104. Print. Celeste, Reni. "Decalogue: Poland's Cinema of Collision." Studies in European Cinema 1 3 (2004): 17584. Print. Clewell, Tammy. "The Shades of Modern Mourning in Three Colours Trilogy." Literature Film Quarterly 28 3 (2000): 203-09. Print. Eaton, Eric. "Patterns of Space, Sound, and Movement in Paths of Glory." Stanley Kubrick: Essays on His Films and Legacy. Ed. Rhodes, Gary Don. Jefferson, N.C.: McFarland & Co., 2008. 71-82. Print. Haltof, Marek. The Cinema of Krzysztof Kielowski: Variations on Destiny and Chance. New York: Wallflower, 2004. Print. Hanson, Ellis. "Technology, Paranoia and the Queer Voice." Screen 34 2 (Summer 1993): 137-61. Print. Hoffman, Karen D. "Where the Rainbow Ends: Eyes Wide Shut." The Philosophy of Stanley Kubrick. Ed. Abrams, Jerold J. Lexington: University Press of Kentucky, 2007. 59-83. Print. Insdorf, Annette. Double Lives, Second Chances: The Cinema of Krzysztof Kielowski. New York: Miramax Books, 1999. Print. Kickasola, Joseph G. The Films of Krzysztof Kielowski: The Liminal Image. New York: Continuum, 2004. Print. Kielowski, Krzysztof. Kielowski on Kielowski. Ed. Stok, Danusia. London: Faber, 1995. Print. King, Homay. "The Sadness of the Gaze: Barry Lyndon." Stanley Kubrick: Essays on His Films and Legacy. Ed. Rhodes, Gary Don. Jefferson, N.C.: McFarland & Co., 2008. 123-36. Print. Knight, Christopher J. "'for Once, Then, Something': Krzysztof Kielowski's the Double Life of Veronique and the Apophatic Beyond." Literature Film Quarterly 37 4 (2009): 283-94. Print. Labov, Jessie. "Kielowski's Dekalog, Everyday Life, and the Art of Solidarity." Screening the City. Eds. Shiel, Mark and Tony Fitzmaurice. New York: Verso, 2003. 113-34. Print. Nelson, Thomas Allen. Kubrick: Inside a Film Artist's Maze. New and expanded ed. Bloomington: Indiana University Press, 2000. Print. Pallasmaa, Juhani. The Architecture of Image: Existential Space in Cinema. 2nd ed. Helsinki: Rakennustieto, 2007. Print. Perlmutter, Ruth. "Testament of the Father: Kielowski's the Decalogue." Film Criticism 22 2 (Winter 1997/98): 51-65. Print. Pliatska, Chris P. "The Shape of Man: The Absurd and Barry Lyndon." The Philosophy of Stanley Kubrick. Ed. Abrams, Jerold J. Lexington: University Press of Kentucky, 2007. 183-200. Print. Sanders, Steven M. "The Big Score: Fate, Morality, and Meaningful Life in the Killing." The Philosophy of Stanley Kubrick. Ed. Abrams, Jerold J. Lexington: University Press of Kentucky, 2007. 14963. Print. Snyder, Stephen. "Family Life and Leisure Culture in the Shining." Film Criticism 7 1 (1982): 4-13. Print. Sobchack, Vivian. "Decor as Theme: A Clockwork Orange." Literature Film Quarterly 9 2 (1981): 92102. Print. Wilson, Emma. Memory and Survival: The French Cinema of Krzysztof Kielowski Oxford: Legenda, 2000. Print.