Met BARRY LYNDON maakte de Amerikaan Stanley Kubrick in 19 j$ een historische film die nauwelijks expliciet historische referenties heeft. Maar Willem Hesling toont in dit artikel dat BARRY LYNDON wel degelijk een nauwe band met het verleden onderhoudt. Zonder rechtstreeks of schools te werk te gaan, heeft Kubrick tal van sociale, politieke en artistieke aspecten van de laat-achttiende-eeuwse Europese cultuur in zijn film verwerkt. Dat hij die gebruikt heeft om zijn visie op de menselijke conditie vorm te geven, toont eens te meer dat BARRY LYNDON een echte Kubrick is.----Farewell to coincidence, chaos and fatalism. Stanley Kubrick's BARRY LYNDON and late eighteenth-century EuropeBARRY LYNDON, the American Stanley Kubrick's 1975 period piece contains almost no explicit historical references. However, in this article Hesling reveals that BARRY LYNDON actually does have strong ties with the past. Without approaching it in a direct or didactic manner, Kubrick has incorporated countless social, political and artistic aspects of late eighteenth-century European culture in his film. The fact that he used these to shape his vision of the human condition, underlines the fact that BARRY LYNDON is a typical Kubrick film.

Additional Metadata
Keywords Media History
Publisher Netherlands Institute for Sound and Vision
Persistent URL dx.doi.org/10.18146/tmg.459
Journal Tijdschrift voor Mediageschiedenis
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Note TMG Journal for Media History; Vol 3, No 1 (2000); 4-29
Citation
Hesling, Willem. (2000). Afscheid van het toeval, de chaos en het fatalisme. Stanley Kubricks BARRY LYNDON en het laat-achttiende-eeuwse Europa. Tijdschrift voor Mediageschiedenis, 3(1), 4–29. doi:10.18146/tmg.459