![]() ![]() The exhibition was one of the best I have ever been to. Of a director which saw fit to send out letters like these to projectionists. An exhibition which encouraged you to pay attention to the composition of his shots. An exhibition on one of the finest filmmakers of all time, who took endless care in the composition of each and every shot, thought it was OK to display one of his films with the picture stretched to hell. A 4:3 (or 1.33:1) image, stretched to 16:9 on a widescreen telly. Because of the five televisions, three of them were playing the material in the wrong aspect ratio. Except I found it difficult to concentrate on that bit. To link his photography work to his filmmaking, five televisions were dotted around the exhibition, all playing different excerpts of Kubrick’s 1955 film Killer’s Kiss, and inviting comparisons with his photography work. Photographs of Mickey the Shoeshine Boy take on far more resonance when viewed as a series of images in context, as they tell a story – pointing towards Kubrick’s future as a filmmaker. You can get an idea from blog posts such as these, but to really get a feel for the work, you need to see his photo sets in series rather than as isolated frames. Later becoming a staff photographer for the magazine, nothing I could say about the photos themselves could do them justice – or, indeed, to the exhibition itself. On the childish side you have things like this, and on the culture front I visited the fantastic exhibition Stanley Kubrick Photographer at the Royal Museum of Fine Arts, on display until the 1st July.īecoming a photographer in his teens, Kubrick joined Look magazine as an apprentice photographer in 1946. So, I’ve just spent the last week in Brussels, and I’m happy to report I spent half the time being extremely childish, and the other half being vaguely cultured. ![]()
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