Stanley Kubrick: 1928-1999

Stanley Kubrick made his first film (Day of the Fight) in 1951, and his last (Eyes Wide Shut) almost fifty years later, in 1999. He was often described as a perfectionist, and devoted several years to the production of each film. Since his death in 1999, shortly after filming Eyes Wide Shut, he has been widely regarded as one of the greatest directors in the history of cinema.

Kubrick avoided the Hollywood system by living and working in England, earning a reputation as a reclusive genius. He worked in a wide range of genres, notably science-fiction (2001), black comedy (Dr. Strangelove), horror (The Shining), period drama (Barry Lyndon), and war (Paths Of Glory).

In addition to the films mentioned below, Kubrick worked uncredited in an unknown capacity on the short documentary World Assembly of Youth (1953), directed by D. Corbitt Curtis and Richard Millett. He also worked as a second-unit director for Norman Lloyd’s five-part Omnibus television mini-series Mr. Lincoln (broadcast in 1952-1953; Kubrick was photographed on the set by The Kentucky Courier-Journal, published on 26th October 1952). Marlon Brando asked him to direct and co-write One-Eyed Jacks (1961), and they collaborated on a revision of the screenplay, though in the end Brando directed the film himself and Kubrick did not receive a screen credit. He also worked briefly (again uncredited) on the set of Lewis Gilbert’s film The Spy Who Loved Me (1977), lighting the supertanker set under condition of anonymity. Kubrick appeared with his future wife Toba Metz as an uncredited extra in Hans Richter’s Dreams That Money Can Buy (1947); coincidentally, the film starred Ruth Sobotka, who would become Kubrick’s second wife. He worked uncredited on the English-language dubbing of the Russian film Илья Муромец (1956), released in America as The Sword and the Dragon in 1960; he is also known to have worked on the dubbing and sound editing of an exploitation film with the working title Shark Safari, in 1953.

Day of the Fight

1951, 16 minutes, black-and-white, 1.37:1. Directed, produced, written, and photographed by Stanley Kubrick. A documentary about boxer Walter Cartier preparing for a match in New York, released as part of RKO’s This Is America series. (An alternate version, without the four-minute prologue added by RKO, omits the This Is America title.) Cartier was the subject of a photo-spread by Kubrick for Look, and was therefore a natural choice for this suitably fast-paced film. Kubrick also appears in the film himself: he can be seen loading his camera at the ringside.

Flying Padre

1951, 9 minutes, black-and-white, 1.37:1. Directed by Stanley Kubrick. A documentary about Fred Stadtmuller, released as part of RKO’s Pathé Screenliner series. Stadtmuller, a priest from New Mexico who travelled around his parish by aeroplane, is an unusual topic for a Kubrick film (though Kubrick did have a pilot’s license). Flying Padre has little of the kinetic energy Kubrick demonstrated in Day of the Fight.

The Seafarers

1953, 30 minutes, colour, 1.37:1. Directed and photographed by Stanley Kubrick. Kubrick was commissioned by the Seafarers International Union to produce this promotional documentary, and The Seafarers serves this purpose though it seems much more of a pedestrian exercise than a typically Kubrickian film. It’s significant, though, as it was Kubrick’s first film in colour. Some versions begin with a few seconds of silent footage from the workprint.

Fear and Desire

1953, 68 minutes, black-and-white, 1.37:1. Directed, produced, photographed, edited, and co-written by Stanley Kubrick. An existential drama set during an unnamed war, starring Frank Silvera and Paul Mazursky. Fear and Desire was filmed with a skeleton cast and crew of less than ten people, and Kubrick even publicised the film himself by photographing the stars for posters and lobby cards.

Kubrick later suppressed its distribution, however there were occasional screenings of archival prints at American film festivals. The film was initially available only as a bootleg video, though a restored version was released after Kubrick’s death.

Killer’s Kiss

1955, 67 minutes, black-and-white, 1.37:1. Directed, co-produced, edited, and photographed by Stanley Kubrick. A noir thriller whose archetypal plot involves a boxer throwing a rigged fight, starring Jamie Smith and Irene Kane. Killer’s Kiss includes a solarised sequence and a surreal fight in a mannequin factory. Kubrick was photographed on the set by Life magazine in 1954, and his voice can be heard briefly on the police radio in one scene.

A scene in which Smith fondles Kane’s breasts, which was cut from the film at her request, may have been present in the preview version. The film was censored by the MPAA, with four minutes of footage deleted. A further three minutes were removed before its release. (The original running time was 74 minutes.) The film’s original title, Kiss Me Kill Me, was changed to Killer’s Kiss before general release, though some surviving prints bear the original title.

The Killing

1956, 85 minutes, black-and-white, 1.66:1. Directed and co-written by Stanley Kubrick. With this drama about a meticulous race track heist, starring Sterling Hayden and Elisha Cook, Kubrick experimented with a complex, non-linear narrative, constructing a series of interconnecting flashbacks, confidently alternating between past and present. He produced the film in partnership with James B. Harris, forming Harris-Kubrick Pictures, and photographed himself and Harris for a Variety press advertisement to promote the film.

Paths of Glory

1957, 87 minutes, black-and-white, 1.66:1. Directed and co-written by Stanley Kubrick. Exposing the self-serving corruption of the generals during World War I, Paths of Glory was Kubrick’s first film with a major star (Kirk Douglas). The dolly shots in the battle trenches, and the incredible German locations, were the film’s highlights.

The preview version was 89 minutes, though two minutes were cut by Kubrick before general release. The film was banned in France for nineteen years, though when it was initially released in other Francophone countries the French national anthem was removed from the opening titles soundtrack.

Spartacus

1960, 189 minutes, Technicolor, 2.21:1 Super Technirama. Directed by Stanley Kubrick. A Roman epic about a slave rebellion starring Kirk Douglas, Laurence Olivier, Tony Curtis, Charles Laughton, and Jean Simmons. Spartacus was originally screened with an overture, intermission, entr’acte, and exit music. 35mm prints were released in 2.35:1 Technirama with mono sound. As the film’s executive producer, Douglas fired the original director (Anthony Mann) and hired Kubrick after production had already started, with his contract stipulating that he was unable to alter the script. It’s telling that Kubrick’s most personal contributions—the battle scenes—are the film’s most powerful sequences. He was photographed on the set in 1960 by Life magazine.

After preview screenings at 202 minutes, Kubrick cut thirteen minutes from the film and changed the placement of the intermission, resulting in a first-run version at 189 minutes. Further cuts were then made at the behest of the MPAA, with a “snails and oysters” homoerotic bathing sequence totally removed and milder alternate takes replacing some of the violent shots. The MPAA-approved, censored version was 182 minutes. In 1967, a significantly truncated version (161 minutes) was released in 35mm.

In 1991, Spartacus was rereleased in a restored version (196 minutes), with Kubrick’s approval. The soundtrack format was 5.1 surround sound, appropriate to the original six-channel version. The MPAA-censored shots were reinstated, as was much of the footage Kubrick himself had removed after the previews. As the original violent shots were restored, the milder alternate takes were removed. The “snails and oysters” sequence was reinserted, though the dialogue between Olivier and Curtis had to be redubbed as the original soundtrack had been destroyed. Olivier’s lines were dubbed by Anthony Hopkins, as Olivier himself had died before the restoration. Additional footage of Charles Laughton now exists as audio only.

Lolita

1962, 152 minutes, black-and-white, 1.66:1/1.37:1. Directed by Stanley Kubrick. A comedy drama about a writer’s obsession with a nymphet, starring Sue Lyon, James Mason, and Peter Sellers, Lolita was the first of Kubrick’s films to be made in England. Its paedophilia theme caused a predictable controversy, and several of its more risqué innuendos were censored before its release. The MPAA also insisted upon the partial removal of the film’s cot seduction sequence: in the American cinema version, the scene fades ten seconds earlier than in the British version.

Kubrick himself is (inexplicably) visible in the first shot inside Sellers’s mansion, walking out of the frame on the right hand side. He also personally took some of the publicity photographs of star Sue Lyon. The film was shot with alternating aspect ratios: some scenes are in Academy format, while others are matted at 1.66:1.

Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb

1964, 96 minutes, black-and-white, 1.66:1/1.37:1. Directed, produced, and co-written by Stanley Kubrick. Peters Sellers stars in this blackly comic political satire in which a paranoid general initiates an American nuclear attack against Russia. In Dr. Strangelove, the most terrifying and hilarious of the four characters played by Sellers is the eponymous eccentric Nazi who plans to create an underground master race. The cavernous War Room set is another striking element.

Kubrick personally painted the ‘DEAR JOHN’ and ‘Hi THERE!’ slogans on the film’s prop nuclear bombs. An epilogue involving a custard pie fight, which altered the film’s tone from satire to slapstick, was removed by Kubrick before the general release. (This footage is archived at the British Film Institute in London.) Also before the premiere, the word ‘Dallas’ was redubbed to “Vegas” following the Dallas assassination of John F Kennedy. In America, the film begins with a written disclaimer emphasising that it is a work of fiction. The film was shot with alternating aspect ratios: some scenes are in Academy format, while others are matted at 1.66:1. The sleeve for the Criterion Collection’s Dr. Strangelove laserdisc (1992) was designed by Kubrick.

2001: A Space Odyssey

1968, 141 minutes, Metrocolor, Cinerama, 2.21:1 Super Panavision 70. Directed, produced, and co-written by Stanley Kubrick. A science-fiction epic starring Keir Dullea and Gary Lockwood, 2001 features some of the greatest cinematography and special effects in cinema history, with Kubrick’s trademark symmetrical framing accompanied by graceful Viennese waltzes. Largely devoid of dialogue, its impact comes from a series of ambiguous episodes that culminate in a psychedelic reel of abstract images.

Kubrick is visible as a reflection in the astronauts’ helmets during some sequences, and he also provided the breathing soundtrack for Dullea and Lockwood’s spacewalking scenes. As the film’s special effects supervisor, Kubrick won his only Academy Award. A documentary, A Look Behind the Future (1967), includes footage of Kubrick on the set, and he was photographed by Antony Armstrong-Jones for Life magazine (vol. 60, no. 20; 20th May 1966) during the making of the film.

Nineteen minutes were cut from 2001 by Kubrick after preview screenings, and two of the intertitles were also added at this time; a prologue and voiceover were cut after the exhibitors’ preview. The film’s Cinerama version, identified by the Cinerama logo in the end credits, included an overture, an intermission, music played over a black screen before the overture, and exit music played after the end credits. There was also a non-Cinerama version, in 35mm, with four-track stereo sound.

A Clockwork Orange

1971, 136 minutes, Warnercolor, 1.66:1. Directed, produced, and written by Stanley Kubrick. A near-future dystopian fable starring Malcolm McDowell as a young hooligan brainwashed by an oppressive political regime. The brutal violence of A Clockwork Orange marks a stark contrast to the grandeur of 2001, though both films have the same balletic grace and both are ultimately explorations of free will. It was filmed entirely on location, in contrast to the totally studio-bound 2001.

The film was originally rated ‘X’ by the MPAA, and the version first released in US cinemas was the uncut ‘X’ version. The following year, Kubrick withdrew the film from US cinemas and modified two sequences with milder alternate takes. This modified version was reclassified ‘R’ by the MPAA, and the ‘R’ version was rereleased in US cinemas to replace the original ‘X’ version. In British cinemas, the original ‘X’ version was the only version to be screened, though in 1974 Kubrick withdrew the film from Britain altogether after he received death threats. (It was rereleased in Britain in 2000, after Kubrick’s death.)

Barry Lyndon

1975, 184 minutes, Eastmancolor, 1.66:1. Directed, produced, and written by Stanley Kubrick. An account of the rise and fall in the fortunes of Redmond Barry, played by Ryan O’Neal. Barry Lyndon is yet another complete contrast, the shocking brutality of A Clockwork Orange being replaced by this sumptuous and restrained period drama. Kubrick’s technical perfectionism paid dividends when he used Zeiss lenses originally developed for NASA to film in candle-light.

The Shining

1980, 143 minutes, colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. A horror film starring Jack Nicholson and Shelley Duvall, in which the caretaker of a haunted hotel attacks his wife and son with an axe. Using the new SteadiCam to its fullest potential, Kubrick’s cameras prowl menacingly around literal and metaphorical mazes, and Nicholson gives a characteristically manic performance as Jack. The voice of Charley, the radio weather announcer, was played by Kubrick himself; Kubrick’s reflection is visible in an office window in the opening scene; and (like Alfred Hitchcock in Psycho) Kubrick wielded the knife himself when it was used to slash Nicholson’s hand. His daughter, Vivian, directed a behind-the-scenes documentary titled Making the Shining for the television series Arena, broadcast in 1980.

After the film’s premiere (running 146 minutes), Kubrick cut a short scene outside Durkin’s shop and an explanatory epilogue with Duvall in hospital before the US general release. Kubrick then cut the film a second time (to 119 minutes), before its European general release (trimming the sequences that revealed Jack’s history as an abusive father). Italian, Spanish, and German inserts were filmed to replace the English-language text seen in Jack’s manuscript. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format. The end credits, originally blue, are white on most video releases.

Full Metal Jacket

1987, 116 minutes, colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. Starring Matthew Modine and R. Lee Ermey, this is Kubrick’s take on the Vietnam war, and, though it once again displays his typically outstanding camerawork, Vietnam seems an unusual choice of subject given the notable cinematic predecessors dealing with the same topic. Kubrick played the part of Murphy, the radio announcer. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format.

Eyes Wide Shut

1999, 159 minutes, DeLuxe colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. A psychological thriller starring Tom Cruise and Nicole Kidman, released shortly after Kubrick’s death in 1999. The narrative concerns marital jealousy and temptation, and it seemed to prefigure the collapse of Cruise and Kidman’s own marriage. Eyes Wide Shut was the subject of intense speculation and rumour, climaxing in a frenzy of anticipation. The increasingly lengthy periods between Kubrick’s completed film projects caused much online debate. The secrecy in which Kubrick shrouded each of his productions, and his seemingly endless filming schedules, added to the internet gossip.

The scene in which Cruise and Kidman kiss in front of a mirror was released in isolation as a teaser trailer at the ShoWest trade fair before the film’s general release. The same scene, as it appears in the film itself, is shorter, is cropped on all four sides, and utilises an alternate take for the moment when Kidman removes her glasses. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format.

In America, cloaked figures were digitally inserted to mask the simulated sex in the film’s orgy sequence, in order to secure an ‘R’ rating from the MPAA. (Like A Clockwork Orange, the film’s extensive nudity is exclusively female and largely gratuitous.) The digital figures were, thankfully, not present when the film was screened in the UK. However, for the UK release the orgy scene was censored in a different way: a recital from the Bhagavad Gita during the Meditations music in the orgy scene was removed and replaced. Italian inserts were filmed to replace the English-language text in the warning letter handed to Bill and the newspaper article he reads.

Kubrick on Kubrick: Interviews

Kubrick avoided public appearances, television interviews, and photographers, though he spoke to journalists with surprising frequency, as this first comprehensive list of Kubrick’s interviews demonstrates. Kubrick also published some of his screenplays, and wrote several published articles and letters; these activities are all listed here. Entries are listed according to the date of their first publication. (Kubrick: The Last Interview, by Adrian Rigelsford and Kim Meffen, published in TV Times on 4th September 1999, is not included, as it was a hoax published by the magazine in error.) The interviews list has been revised and expanded in collaboration with Filippo Ulivieri.

1940s

Camera Quiz Kid... Stan Kubrick
Mildred Stagg, The Camera, October 1948

1950s

Stanley Kubrick, 22, Plans to Make Movie for $50,000
Saul Pett, Associated Press, 27th December 1950

Young Man with Ideas and a Camera
Thomas M. Pryor, The New York Times, 14th January 1951

By Way of Report
A.H. Weiler, The New York Times, 29th June 1952

By Way of Report
A.H. Weiler, The New York Times, 15th March 1952

Kubrick Another Boy Film Producer
Irene Thirer, New York Post, 27th March 1953

Non-Pro Features May Set a Trend
Alton Cook, New York World Telegram, April 1953

Sultry New Siren and New All-Around Movie Wizard Spark ‘Fear and Desire’
People Today, 8th April 1953

Snap Hundreds, Says ‘Boy Genius’
Arthur Juntunen, Detroit Free Press, 11th June 1953

More Action, Less Talking in Movies
Laura Lee, The Sunday Bulletin, 26th July 1953

24-Year-Old Is ‘Factotum’ of New Film
Samuel L. Singer, The Philadelphia Enquirer, 26th July 1953

Of Pictures and People: New Drama, ‘Kiss Me, Kill Me,’ Filmed Here in Its Entirety
A.H. Weiler, The New York Times, 23rd May 1954

Gilles Jacob, 1957

Alexander Walker, 1957

Pfeift auf hübsche Mädchen
[‘blowing the whistle on pretty girls’]
Filmblatter, 1957

Bonjour M. Kubrick
[‘good day, Mr Kubrick’]
Raymond Haine, Cahiers du cinéma vol. 13, no. 73, July 1957

Twenty-Nine and Running: The Director with Hollywood by the Horns... Dissects the Movies
Simon Bourgin, Newsweek vol. 50, no. 23, 2nd December 1957

Conversation with Stanley Kubrick
Jay Varela, El playano, Spring 1958

‘Lolita’ Bought by Screen Team
Oscar Godbout, The New York Times, 13th September 1958

Very Funny Relationship
Time vol. 72, no. 13, 29th September 1958

Film Fan to Filmmaker
Joanne Stang, The New York Times, 12th October 1958

The Changing Face of Hollywood
Joseph Laitin, CBS, December 1958

Boy Genius Holds His Own Amid the Alumni
Will Jones, The Minneapolis Sunday Tribune, 15th March 1959

Hollywood ‘Rome’
Thomas M. Pryor, The New York Times, 22nd March 1959

The Hollywood War of Independence
Colin Young, Film Quarterly vol. 12, no. 3, Spring 1959
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

No Art and No Box Office
Dwight MacDonald, Encounter vol. 13, no. 1, July 1959

California Movie Morals: Hollywood Bypasses the Production Code
Jack Hamilton, Look vol. 23, no. 20, 29th September 1959

Pueblo, 21st October 1959

1960s

The Artist Speaks for Himself: Stanley Kubrick
Robert Emmett Ginna, 1960
The Odyssey Begins, Entertainment Weekly no. 480, 9th April 1999
A Film Odyssey, The Guardian, 16th July 1999

Bob Thomas, Associated Press, 1960

Talking of Films
David Sylvester, BBC Network Three, 7th June 1960

Stan Kubrick’s Mettle Tested by ‘Spartacus’
Alton Cook, New York World Telegraph, 21st September 1960

Teenager Will Play ‘Lolita’: She’s Sue Lyon of TV Show
Louella O. Parsons, Los Angeles Examiner, 27th September 1960

Schoolgirl Gets Lead in ‘Lolita’
Eugene Archer, The New York Times, 28th September 1960

$12 Million Risk Taken by Douglas
Philip K. Scheuer, Los Angeles Times, 29th September 1960

Hailed in Farewell: ‘Spartacus’ Gets Praise of Pleased Director
Eugene Archer, The New York Times, 2nd October 1960

Nymphet Found
Time vol. 76, no. 15, 10th October 1960

Stanley Kubrick... Thirty-Two-Year-Old Director of a $12,000,000 Movie
Look vol. 24, no. 24, 22nd November 1960

Mr Disney and Mr Kubrick
The Insider’s Newsletter, December 1960

Interview with Kubrick
Charles Reynolds, Popular Photography vol. 47, no. 6, December 1960

Love Before Breakfast...
Cecil Wilson, Daily Mail, 2nd December 1960

A Money Matter
Dilys Powell, The Sunday Times, 4th December 1960

Oriental Invasion on - but Peacefully: ‘Lolita’ - A Report from London
Philip K. Scheuer, Los Angeles Times, 13th December 1960

‘Ban Lolita’ Rumpus Before Film Is Shown
Daily Express, 1961

‘Ban This Dangerous Film Lolita’
Robert Hill, Daily Sketch, 13th May 1961

‘Lolita’ Kubrick Picks Another Hot One...
Evening Standard, 27th October 1961

Vine St. Looms as New Theater Row
Dick Williams, Los Angeles Times, 9th January 1962

MGM to Release ‘Lolita’ in Spring
Eugene Archer, The New York Times, 14th February 1962

The East: Kubrick’s and Sellers’ New Film
A.H. Weiler, The New York Times, 6th May 1962

How to Make a Film That Can’t Be Made
Peter Bunzel, Life vol. 52, no. 21, 25th May 1962

Meet Sue: Here’s Our Lolita
Rose Pelswick, New York Journal-American, June 1962

Milwaukee Journal, 3rd June 1962

Sue ‘Lolita’ Lyon a Well Kept Secret
Daily Mirror, 6th June 1962

Really the Real Lolita?
Joe Morgenstern, The Sunday New York Herald Tribune, 10th June 1962

‘Lolita’ On Screen... For Adults Only
Kate Cameron, Sunday News, 10th June 1962

La fuga di Lolita
[‘Lolita’s escape’]
Mauro Calamandrei, L’Espresso, 17th June 1962

Kubrick Escaped Interference by Taking ‘Lolita’ to England
San Francisco Chronicle, 24th June 1962

Nymphets, Naiveté, and a New Star
Don Wegars, San Francisco Examiner, 1st July 1962

‘Lolita’ Held Production of Artistry
Buffalo Courier-Express, 3rd July 1962

New York World Telegram and Sun, 13th July 1962

Controversial Film ‘Lolita’ Stars Unspoiled 16-Year-Old
Edith Lindeman, Richmond Times-Dispatch, 15th July 1962

Sue Lyon: Star of the Year’s Most Controversial Movie - Lolita
Jack Hamilton, Look vol. 26, no. 15, 17th July 1962

David Lewin, Daily Express, 1963

Stanley Kubrick’s Point of View
Jack Piler, Variety, 26th February 1963

Coming: The End of the World
Newsweek vol. 61, no. 9, 4th March 1963

Kubrick’s Sellers Takes Four Parts
Philip K. Scheuer, Los Angeles Times, 7th March 1963

Everybody Blows Up!
Life International, 8th April 1963

Stanley Kubrick and Dr. Strangelove
Elaine Dundy, Queen, 13th March 1963
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

‘Nerve Center’ for Nuclear Nightmare
Leon Minoff, The New York Times, 21st April 1963

Kubrick ci parla del suo film su un generale demente che scatena la guerra atomica
[‘Kubrick tells us about his film about a demented general who triggers atomic war’]
Giorgio Fanti, Paese Sera, 29th April 1963

Kubrick Explains ‘Movie of Absurd’
Philip K. Scheuer, Los Angeles Times, 2nd May 1963

Kubrick’s Strange Love
Gerard Fay, The Guardian, 5th June 1963

A Bombastic Bit of Irony Is Ready to Be Let Loose
Flora Lewis, The Washington Post, 9th June 1963

Atomic Bomb Spoofed - Grin and Bear It
Gerard Fay, Los Angeles Times, 16th June 1963

The Ubiquitous, Multifarious Sellers
Flora Lewis, The New York Times, 23rd June 1963

Anthony Quinn Having Ball In Paris
Dorothy Kilgallen, The Washington Post, 23rd August 1963

The Bomb and Stanley Kubrick
Lyn Tornabene, Cosmopolitan, November 1963
Lyn Tornabene, Saturday Review, 28th December 1963

Do They Hit the Target?
Tom Prideaux, Life vol. 55, no. 25, 20th December 1963

The Directors: The New Creators and Rulers of the Movie Realms Reveal the Skills and Egos That Go Into Their Art
Robert Coughlan, Life vol. 55, no. 25, 20th December 1963

Stanley Kubrick and Joseph Heller: A Conversation
Joseph Heller, 1964
Alison Castle, The Stanley Kubrick Archives, 2005

How to Learn to Love World Destruction
Eugene Archer, The New York Times, 26th January 1964

The Astonishing Stanley Kubrick
Peter Lyon, Holiday vol. 35, no. 2, February 1964

Hollywood’s Man Stanley
McCall’s vol. 91, no. 2, February 1964

Direct Hit
Newsweek vol. 63, no. 5, 3rd February 1964

What Makes Kubrick Laugh? It’s the Bomb
Don Alpert, Los Angeles Times, 9th February 1964

Stanley Kubrick: A Filmmaker Obsessed
Mike McGrady, Newsday, 11th February 1964

The Strange Case of Dr. Strangelove
Loudon Wainwright, Life vol. 56, no. 11, 13th March 1964

Director Says Movie Industry ‘Must’ Use More Negroes
Allan Morrison, Jet vol. 25, no. 22, 19th March 1964

Hollywood dissepolta
[‘Hollywood unearthed’]
Augusto Marcelli, L’Europeo, 19th April 1964

Ten Questions to Nine Directors: Stanley Kubrick
Sight and Sound vol. 33, no. 2, Spring 1964

How Mr Kubrick Learned to Stop Worrying
Alexander Walker, Evening Standard, 11th December 1964

Herald Tribune, 1965

The Sunday Times Magazine, 1965

‘Strangelove’ First Planned as Serious Film
Los Angeles Times, 21st January 1965

Beyond the Blue Horizon
A.H. Weiler, The New York Times, 21st February 1965

Beyond the Stars
Jeremy Bernstein, The New Yorker no. 41, 24th April 1965
Jerome Agel, The Making of Kubrick’s 2001, 1970
Stephanie Schwam, The Making of 2001: A Space Odyssey, 2000
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Sex and Dr. Strangelove
F. Anthony Macklin, Film Comment vol. 3, no. 3, Summer 1965

Just for Variety
Amy Archerd, Daily Variety vol. 128, no. 59, 27th August 1965

Space Film by Kubrick Will Break Image of Madmen and Monsters
Robert Musel, The Detroit News, 24th October 1965

Somebody Up There Likes Me, I Hope
Philip Oakes, November 1965

Happiness Is a Filmmaker in London
Hollis Alpert, Saturday Review, 25th December 1965

Bernard Asbell, 1966

Is It Strangelove? Is It Buck Rogers? Is It the Future? Offbeat Director in Outer Space
Hollis Alpert, The New York Times Magazine, 16th January 1966

2001: An Informal Diary of an Infernal Machine
Clancy Sigal, Town, July 1966

Kubrick, Farther Out
Henry T. Simmons, Newsweek vol. 58, no. 11, 12th September 1966

How About a Little Game?
Jeremy Bernstein, The New Yorker no. 42, 12th November 1966
Jeremy Bernstein, A Comprehensible World: On Modern Science and Its Origins, 1967
Stephanie Schwam, The Making of 2001: A Space Odyssey, 2000
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Interview with Stanley Kubrick
Jeremy Bernstein, 27th November 1966
Alison Castle, The Stanley Kubrick Archives, 2005 [CD]
2001: A Space Odyssey, 2007 [DVD/blu-ray]

L’Odissea del 2001
[‘the odyssey of 2001’]
Lietta Tornabuoni, L’Europeo, 1968

Ulysses in Space
Alan Brien, The Sunday Times, 1968

Sight and Sound
Lenore Hershey, McCall’s, March 1968

Picture of a Girl on Her Way to the Moon Thirty-Three Years from Now
Alexander Walker, Evening Standard, 12th March 1965

Loew’s Capitol, New York, 1st April 1968

The Territorial Imperative of Stanley Kubrick
Books, Spring 1968
Stephanie Schwam, The Making of 2001: A Space Odyssey, 2000

Tomorrow Will Decide if Kubrick has Goofed
Victor Davis, Daily Express, 1st April 1968

It’s a Fantastic World - Wrapped in Reality
Victor Davis, Daily Express, 3rd April 1968

Kubrick’s Sure ‘2001’ to Click
Variety, 10th April 1968

In 2001, Will Love Be a Seven-Letter Word?
William Kloman, The New York Times, 14th April 1968

Give Me the Moon, Baby...
Victor Davis, Daily Express, 16th April 1968

Kubrick Trims ‘2001’ by 19 Mins, Adds Titles to Frame Sequences; Chi., Houston Hub Reviews Good
Variety, 17th April 1968

So Who Wants to Die on the Moon?
Victor Davis, Daily Express, 18th April 1968

Kazan, Kubrick, and Keaton
A.H. Weiler, The New York Times, 28th April 1968

Sophisticated Science Fiction
Robert Musel, Weekend Magazine vol. 18, no. 20, 18th May 1968

‘2001’ and ‘Hair’ - Are They the Groove of the Future?
William Kloman, The New York Times, 12th May 1968

Filming 2001: A Space Odyssey
Herb A. Lightman, American Cinematographer, June 1968
Stephanie Schwam, The Making of 2001: A Space Odyssey, 2000
Alison Castle, The Stanley Kubrick Archives, 2005

Front-Projection for 2001: A Space Odyssey
Herb A. Lightman, American Cinematographer, June 1968
Stephanie Schwam, The Making of 2001: A Space Odyssey, 2000
Alison Castle, The Stanley Kubrick Archives, 2005

Kubrick’s Message Is Nonverbal
Joseph Gelmis, Newsday, 4th June 1968

Ignore the Audience at Your Peril: Kubrick’s ‘2001’ Revisited
Maurice Rapf, Life vol. 64, no. 23, 7th June 1968
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

For the First Time, Kubrick Explains His Space Odyssey
Clyde Gilmour, The Telegram, 15th June 1968

Stanley Kubrick Raps
Charlie Kohler, The East Village Eye, August 1968
Stephanie Schwam, The Making of 2001: A Space Odyssey, 2000

Le film de l’annee: 2001 de Stanley Kubrick
[‘the film of the year: 2001 by Stanley Kubrick’]
Pierre Billard, Réalités no. 272, September 1968

Playboy Interview: Stanley Kubrick
Eric Norden, Playboy vol. 15, no. 9, September 1968
Jerome Agel, The Making of Kubrick’s 2001, 1970
Stephen Randall, The Playboy Interviews: The Directors, 2006
Gene D. Phillips, Stanley Kubrick: Interviews, 2001
Alison Castle, The Stanley Kubrick Archives, 2005

Stanley Kubrick Answers Questions about Film ‘2001: A Space Odyssey’
Ted Mahar, Sunday Oregonian, 22nd September 1968

Le second berceau de la vie
[‘the second cradle of life’]
Yvette Romi, Le Nouvel Observateur, 23rd September 1968
Yvette Romi, 70 Interviews du Nouvel Observateur, 1969
Yvette Romi, Midi-Minuit Fantastique no. 22, July 1970

Belief in Life Elsewhere in Universe Inspired Stanley Kubrick’s Film ‘2001’
Ted Mahar, Sunday Oregonian, 29th September 1968

Entretien avec Stanley Kubrick
[‘interview with Stanley Kubrick’]
Renaud Walter, Positif no. 100-101, December 1968-January 1969

Kubrick Watches Bronfman’s Flight
Joyce Haber, Los Angeles Times, 18th August 1969

The Making of Kubrick’s 2001
Jerome Agel, 1970

1970s

Stanley Kubrick
Joseph Gelmis, The Film Director as Superstar, 1970
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Stanley Kubrick Directs
Alexander Walker, 1971
Alexander Walker, Stanley Kubrick, Director, 1999

Mind’s Eye: A Clockwork Orange
John Hofsess, Take One vol. 3, no. 5, May 1971
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Kubrick
Gene D. Phillips, Film Comment vol. 7, no. 4, Winter 1971

Kubrick: Degrees of Madness
Jay Cocks, Time vol. 98, no. 25, 20th December 1971

Kubrick Country
Penelope Houston, Saturday Review vol. 54, no. 52, 25th December 1971
Penelope Houston, The Times, 8th January 1972
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Kubrick
Gene D Phillips, Film Comment vol. 7, no. 4, Winter 1971

Kubrick’s Brilliant Vision
Paul D. Zimmerman, Newsweek vol. 79, no. 1, 3rd January 1972

Kubrick Tells What Makes ‘Clockwork Orange’ Tick
Bernard Weinraub, The New York Times, 4th January 1972

This Violent Age
Victor Davis, Daily Express, 6th January 1972

A Clockwork Utopia: Semi-Scrutable Stanley Kubrick Discusses His New Film
Andrew Bailey, Rolling Stone no. 100, 20th January 1972

Nice Boy from the Bronx?
Craig McGregor, The New York Times, 30th January 1972

Kubrick’s Creative Concern
Gene Siskel, Chicago Tribune, 13th February 1972
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Kubrick: ‘Chacun de nous tue et viole’
[‘Kubrick: each of us kills and rapes’]
Michel Ciment, L’Express, 17th April 1972
Michel Ciment, Kubrick, 1982

Interview with Stanley Kubrick
Philip Strick and Penelope Houston, Sight and Sound vol. 41, no. 2, Spring 1972
Gene D. Phillips, Stanley Kubrick: Interviews, 2001
Alison Castle, The Making of a Masterpiece: Stanley Kubrick’s A Clockwork Orange, 2019

A propos de Orange méchanique
[‘in connection with A Clockwork Orange’]
Michel Ciment, Positif no. 139, June 1972
Michel Ciment, Kubrick, 1982

Why Kubrick Thinks ‘A Clockwork Orange’ Ticks
Joseph Gelmis, Newsday, 27th July 1972

Helena Faltysova, Film a doba vol. 18, no. 8, August 1972

Stanley Kubrick: Stop the World
Gene D. Phillips, The Movie Makers: Artists in an Industry, 1973
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

What Stanley Kubrick Has up His Sleeve This Time
David Lewin, Daily Mail, 3rd December 1973

Film Company Denies IRA Intimidation
The Irish Press, 9th February 1974

Stanley Kubrick: A Film Odyssey
Gene D. Phillips, 1975

Les sentiers de la gloire
[‘Paths of Glory’]
Jean-Luc Douin, Telerama, 26th March 1975

Kubrick’s Grandest Gamble: Barry Lyndon
Richard Schickel, Time vol. 106, no. 24, 15th December 1975
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Barry Lyndon, comment Stanley Kubrick a réalisé un chef d’œuvre
Dernieres Nouvelles du Lundi, 1976

Stanley Kubrick’s Time Warp
John Hofsess, The New York Times, 10th January 1976

How I Learned to Stop Worrying and Love ‘Barry Lyndon’
John Hofsess, The New York Times, 11th January 1976

Kubrick’s Done It Again
Judith Crist, The American Way, February 1976

Kubrick Almost a Legend
Evening Post, 24th March 1976

Kubrick à L’Express: ‘Je suis un detective de l’histoire...’
[‘Kubrick to L’Express: I’m a detective of history’]
Michel Ciment, L’Express, 30th August 1976
Michel Ciment, Kubrick, 1982
Alison Castle, The Stanley Kubrick Archives, 2005
Alison Castle, The Making of a Masterpiece: Stanley Kubrick’s Barry Lyndon, 2019
Manoushak Fashahi, A voix nue: Stanley Kubrick episode 1, 21st March 2011
Manoushak Fashahi, A voix nue: Stanley Kubrick episode 2, 22nd March 2011

Filmen Ist Detektivarbeit
[‘filming is detective work’]
Der Spiegel no. 38, 13th September 1976

‘Barry Lyndon’ du pur cinema
[‘Barry Lyndon: pure cinema’]
Alain de Kuysske, Télé Moustique, 16th September 1976

‘Barry Lyndon’ le nouveau film de Stanley Kubrick ‘Orange méchanique’
[‘Barry Lyndon the new film by Stanley Kubrick (A Clockwork Orange)’]
Rene Quinson, Le Dauphiné Libéré, 18th October 1976

La gran adventura de Kubrick
[‘Kubrick’s grand adventure’]
Kena, November 1976

Stanley Kubrick’s Barry Lyndon
Sergio Habib, Jornal de Brasília, 29th May 1977

‘Superman’: Leaping Tall Budgets
Roderick Mann, Los Angeles Times, 6th April 1978

1980s

The Man of Many Myths
Alexander Walker, The Sunday Telegraph Magazine, 1980

Alexander Walker, Los Angeles Herald-Examiner, 23rd May 1980

Stanley Kubrick’s Horror Show
Jack Kroll, Newsweek vol. 95, no. 21, 26th May 1980

Kubrick: Critics Be Damned
John Hofsess, Soho News, 28th May 1980
John Hofsess, The Washington Post, 1st June 1980
John Hofsess, Los Angeles Times, 1st June 1980
John Hofsess, International Herald Tribune, 25th October 1980

’Shining’ and ‘Empire’ Set Records
Aljean Harmetz, The New York Times, 28th May 1980

Kubrick: ‘Tous les fous n’ont pas l’air d’etre fous’
[‘Kubrick: not all crazy people look crazy’]
Robert Benayoun, Le Point no. 422, 20th October 1980

Il faut courir le risque du subtilite: Une rencontre avec Stanley Kubrick
[‘we must run the risk of subtlety: a meeting with Stanley Kubrick’]
Patricia Moraz, Le Monde, 23rd October 1980

‘Oui, il y a des revenants’
[‘yes, there are ghosts’]
Michel Ciment, L’Express, 25th October 1980
Michel Ciment, Kubrick, 1982
Manoushak Fashahi, A Voix Nue: Stanley Kubrick episode 3, 23rd March 2011

Gänsehaut der Luxusklasse
[‘high-class goosebumps’]
Wolf Kohl, Cinema, November 1980

Entretien avec Stanley Kubrick
Vicente Molina Foix, El País vol. 2, no. 59, 20th December 1980
Vicente Molina Foix, Cahiers du cinéma no. 319, January 1981
Alison Castle, The Stanley Kubrick Archives, 2005

Peter Sellers: The Authorized Biography
Alexander Walker, 1981

Cinque film contro Rambo
[‘five films against Rambo’]
Romano Giacchetti, La Repubblica, 17th December 1986

Stanley Kubrick parle de Peter Sellers
[’Stanley Kubrick talks about Peter Sellers’]
Robert Benayoun, Stanley Kubrick Dossier, 1987

Stanley Kubrick’s War Realities
Alexander Walker, Los Angeles Times, 21st June 1987

Stanley Kubrick’s Vietnam
Francis X. Clines, The New York Times, 21st June 1987
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Candidly Kubrick
Gene Siskel, Chicago Tribune, 21st June 1987
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Dig a Foxhole! We’re Fighting in ’Nam Again
Donna Rosenthal, Daily News, 24th June 1987
Donna Rosenthal, Houston Chronicle, 10th July 1987

Vietnam on Thames
Alexander Walker, Evening Standard, 25th June 1987

I’m Always Surprised by the Reactions to My Films
Jay Scott, The Toronto Globe and Mail, 26th June 1987

Stanley Kubrick, at a Distance: The Director Does Vietnam His Way - in London
Lloyd Grove, The Washington Post, 28th June 1987

1968: Kubrick’s Vietnam Odyssey
Jack Kroll, Newsweek vol. 109, no. 26, 29th June 1987

Kubrick’s Odyssey
Alexander Walker, Highlife, July 1987

The Rolling Stone Interview: Stanley Kubrick
Tim Cahill, Rolling Stone, 27th August 1987
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Heavy Metal: Full Metal Jacket or How Stanley Kubrick’s Marines Learned to Stop Worrying and Love Vietnam
Penelope Gilliatt, American Film vol. 12, no. 10, September 1987
Penelope Gilliatt, The Observer, 6th September 1987

Kubrick, enfin!
[‘Kubrick, at last!’]
Michele Halberstadt, Première no. 127, October 1987

Es ist ein Glück das der Krieg so fürchterlich ist
[‘it’s a bit of luck that the war’s so terrible’]
Maria Harlan, Cinema, October 1987

Stanley Kubrick: Der liebe Gott des Kino
[’Stanley Kubrick: beloved god of cinema’]
Tempo, October 1987

Sind Sie ein Misanthrop, Mr Kubrick?: Gesprach mit dem Full Metal Jacket Regisseur
[‘are you a misanthrope, Mr Kubrick?: speaking with the Full Metal Jacket director’]
Hellmuth Karasek, Der Spiegel vol. 41, no. 5, 5th October 1987
Hellmuth Karasek, Karaseks Kulturkritik: Literatur, Film, Theater, 1988

Vietnam, Wie es wirklich war
[‘Vietnam, as it really was’]
Gerald Sturz, Stern, 8th October 1987

Kubrick bei der Arbeit
[‘Kubrick at work’]
Florian Hopf, Stuttgarter Zeitung no. 232, 8th October 1987

Françoise Maupin, Le Figaro, October 1987

Kubrick’s War
Gordon Campbell, New Zealand Listener, 17th October 1987

Un entretien avec le realisteur de Full Metal Jacket: Le Vietnam de Stanley Kubrick
[‘an interview with the director of Full Metal Jacket: Stanley Kubrick’s Vietnam’]
Daniéle Heymann, Le Monde, 20th October 1987

Kubrick übers Filmemachen
[‘Kubrick on filmmaking’]
Florian Hopf, Frankfurter Rundschau, 21st November 1987

The Professionals Reveal Essence of Filmmaking
Gene Siskel, St. Petersberg Times, 4th December 1988

1990s

Ich würde liebend gern mehr Filme machen
[‘I would love to do more films’]
Josef Schneider, Die Weltwoche, 27th September 1993

L’Entrevue
[‘interview’]
Jean-Marc Bouineau, Le petit livre De Stanley Kubrick, 1994

An Interview with Stanley Kubrick, Director of Lolita
Terry Southern, terrysouthern.com, 1999
Alsion Castle, The Stanley Kubrick Archives, 2005

2000s

Entretien avec Stanley Kubrick sur Full Metal Jacket
[‘interview with Stanley Kubrick on Full Metal Jacket’]
Michel Ciment, Positif no. 601, March 2011

Entretien avec Stanley Kubrick: “Full Metal Jacket” (Suite et fin)
[‘interview with Stanley Kubrick: Full Metal Jacket (continuation and end)’]
Michel Ciment, Positif no. 602, April 2011

Written by Stanley Kubrick

Articles and Essays

Director’s Notes
Stanley Kubrick, The Observer, 4th December 1960

Words and Movies
Stanley Kubrick, Sight and Sound vol. 30, no. 1, Winter 1960
Stanley Kubrick, Sight and Sound vol. 32, no. 6, Summer 2022

Why Sue (‘Lolita’) Lyon Was Guarded as If Actress Was an Atomic Bomb
Stanley Kubrick, Lolita, 1962 [pressbook]

How I Learned to Stop Worrying and Love the Cinema
Stanley Kubrick, Films and Filming vol. 9, no. 9, June 1963

The Directors Choose the Best Films
Stanley Kubrick et al., Cinema vol. 1, no. 5, August 1963

Why They’ll Never Ban the Bomb
Stanley Kubrick, Show Time, January 1964

Foreword
Stanley Kubrick and Arthur C. Clarke, 2001: A Space Odyssey, 1968

Critics and Film
Stanley Kubrick, Action: The Magazine of the Directors Guild of America vol. 4, no. 1, January-February 1969
Gene D. Phillips, Stanley Kubrick: Interviews, 2001

Introduction
Stanley Kubrick, A Clockwork Orange, 1972

Kubrick sur Full Metal Jacket
[‘Kubrick on Full Metal Jacket’]
Michel Ciment and Stanley Kubrick, Kubrick, 1987
Michel Ciment, Kubrick: The Definitive Edition, 2001
Manoushak Fashahi, A Voix Nue: Stanley Kubrick episode 4, 24th March 2011
Manoushak Fashahi, A Voix Nue: Stanley Kubrick episode 5, 25th March 2011

Introduction
Stanley Kubrick, Decalogue: The Ten Commandments, 1991

Published Screenplays

Dr. Strangelove
Stanley Kubrick, 1962
The Criterion Collection: Dr. Strangelove, 1992 [laserdisc]

Napoleon
Stanley Kubrick, 1969
Alsion Castle, Stanley Kubrick’s Napoleon: The Greatest Movie Never Made, 2009

A Clockwork Orange
Stanley Kubrick, 1972

Full Metal Jacket
Stanley Kubrick, Gustav Hasford, and Michael Herr, 1987

Eyes Wide Shut
Stanley Kubrick and Frederic Raphael, 1999

Letters to the Editor

Les Sentiers de la gloire: Pourquoi avez-vous choisi les soldats français?
[‘Paths of Glory: why did you choose French soldiers?’]
Stanley Kubrick, L’Express, 5th March 1959

Mr Kubrick on: Lolita and the Press
Stanley Kubrick, The Observer, 24th June 1962

Now Kubrick Fights Back
Stanley Kubrick, The New York Times, 27th February 1972
Alison Castle, The Making of a Masterpiece: Stanley Kubrick’s A Clockwork Orange, 2019

Stan Kubrick to Detroit News
Stanley Kubrick, Detroit News, 9th April 1972

1,001
Stanley Kubrick, New York, 24th November 1975

Public Statements

Dr. Strangelove
Dorchester Hotel, London, 12th February 1963 [press conference]

Commander-1
Peter George, 1965 [blurb]

The Films of Frank Capra
Victor Scherle and William Turner Levy, 1977

The Killer Inside Me
Jim Thompson, 1965 [blurb]

National Film Theatre, London, June 1985 [Bill Rowe retrospective]

This Is Your Life: Arthur C. Clarke
Stanley Kubrick, 22nd August 1994
BBC1, 11th January 1995

Stanley Kubrick, 17th January 1994
Eric Lefcowitz, retrofuture.com, 2001

D.W. Griffith and His Wings of Fortune
Directors Guild of America, D.W. Griffith Award, 1997
DGA Magazine vol. 22, no. 2, May-June 1997
Eyes Wide Shut, 2007 [DVD/blu-ray]

Mostra internazionale d’arte cinematografica
Rai 2, 6th September 1997

The Kubrick Estate

Following his death in 1999, Kubrick’s family permitted Jon Ronson, Bernd Eichhorn, and Alison Castle to visit Childwickbury Manor (his home near St Albans) and catalogue his archives. Ronson made a documentary for More4 (Stanley Kubrick’s Boxes, 15th July 2008). The props and documents Bernd Eichhorn discovered were shown as part of an extensive Stanley Kubrick touring exhibition beginning in 2004, and an exhibition catalogue (Kinematograph XX: Stanley Kubrick, 2004) and documentary (Stanley Kubrick: The Exhibition by Katia de Vidas, 2005) were also released. Alison Castle edited two enormous, lavish books: The Stanley Kubrick Archives (2005) and Stanley Kubrick’s Napoleon: The Greatest Movie Never Made (2009).

Jan Harlan, Kubrick’s brother-in-law, directed A Life in Pictures (2001), a feature-length documentary with extensive and rare footage of Kubrick; he also co-edited a book about AI with Jane M. Struthers: Artificial Intelligence - From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film (2009). Christiane Kubrick, the director’s widow, wrote A Life in Pictures (2002), featuring a large selection of Kubrick photographs. In 2007, Kubrick’s archives were transferred from Childwickbury to the University of the Arts in London. In 2014, two books were produced in cooperation with the Archives: The Making of Stanley Kubrick’s 2001: A Space Odyssey (four volumes, by Piers Bizony) and Stanley Kubrick: New Perspectives (edited by Tatjana Ljujic, Peter Kramer, and Richard Daniels).

Kubrick’s Look Photographs: 1945-1950

At high school (from 1942 to 1946), Kubrick took pictures for the school magazine (Portfolio) and yearbooks. He also sold images to Look magazine, and worked as a photojournalist for the publication until 1950. One of his Look photographs, a portrait of Montgomery Clift, was also published in Flair magazine (vol. 1, no. 8, September 1950); another, taken in the Copacabana nightclub, was published in Quick magazine (Are Nightclubs Old-Fashioned?, 26th November 1951). After leaving Look to become a director, Kubrick had no further photographs published, with one exception: a colour self-portrait for the cover of Newsweek (vol. 79, no. 1; 3rd January 1972).

Kubrick’s photographs were included alongside other Look images in the exhibitions Look at America (1957) and Only in New York: Photographs from Look Magazine (Donald Albrecht and Thomas Mellins, 2009), and the books Our Land, Our People (Edward A. Hamilton and Charles Preston, 1958), School Photojournalism: Telling Your School Story in Pictures (Edward A. Hamilton, 1958), and The Look Book (Leo Calvin Rosten, 1975). Look reprinted two of Kubrick’s photographs after he left the magazine: a portrait of Richard Rodgers and Oscar Hammerstein (12th July 1955), and a photo of cannabis (Dope Is Threatening Our Youth, 13th March 1951). The Look photographic archives are currently held at the Library of Congress in Washington and the Museum of the City of New York.

An exhibition of Kubrick’s photographs curated by Michel Draguet, Stanley Kubrick: Photographer, opened in 2012, and its catalogue was published as Stanley Kubrick: Fotografo. Donald Albrecht and Sean Corcoran curated the exhibition Through a Different Lens: Stanley Kubrick Photographs in 2018, which was accompanied by an extensive catalogue. Rainer Crone curated three exhibitions of Kubrick’s photographs, all with accompanying catalogues: Stanley Kubrick: Still Moving Pictures - Fotografien 1945-1950 (with Petrus Graf Schaesberg, 1999), Stanley Kubrick: Fotografie 1945-1950 (2010), and Stanley Kubrick: Visioni e finzioni 1945-1950 (2011). Selections of Kubrick’s Look photographs have been published in three further books: Stanley Kubrick: Ladro di sguardi - Fotografie di fotografie 1945-1950 (1994), Art by Film Directors (Karl French, 1994), and Stanley Kubrick: Drama and Shadows - Photographs 1945-1950 (Rainer Crone, 2005).

A copy of this first comprehensive list of Kubrick’s photographs is included in the Stanley Kubrick Archive at the University of the Arts, London, and it was reprinted in Stanley Kubrick: Fotografie 1945-1950 - Un narratore della condizione (Rainer Crone, 2010). Unless stated otherwise, all images were photographed in New York and published in black-and-white. Entries are listed according to the date of their first publication.

1945

Truman and Roosevelt
Look vol. 9, no. 13; 26th June 1945
(a newsvendor reacting to the death of Franklin D. Roosevelt)

Kids at a Ball Game
Look vol. 9, no. 19; 16th October 1945
(eight photographs of children watching a baseball game)

1946

Psychoquiz: Are You a Fatalist?
Look vol. 10, no. 1, 8th January 1946
(photographs to accompany a personality test)

Look vol. 10, no. 1, 8th January 1946
(recording the Boston Blackie radio show)

Teacher Puts “Ham” in Hamlet
Look vol. 10, no. 7, 2nd April 1946
(four photographs of Aaron Traister teaching Hamlet)

A Short-Short an a Movie Balcony
Look vol. 10, no. 8, 16th April 1946
(four photographs showing an unsuccessful seduction in a cinema: a boy and girl sit together, they look at each other, and she slaps him)

A Woman Buys a Hat
Look vol. 10, no. 12, 11th June 1946
(a woman browses for hats in a department store)

Meet the People: How Many Times Did You Propose?
Look vol. 10, no. 15, 23rd July 1946
(vox pop portraits of Lee Bowman, Harry Cohen, Mario Mascolo, Vincent Costello, and Manning Halpert)

How a Monkey Looks to People............And How People Look to a Monkey
Look vol. 10, no. 17, 20th August 1946
(three pictures of visitors at a zoo, photographed from inside a monkey cage)

Buy Victory Bonds
Look vol. 10, no. 18, 3rd September 1946
(Victory Bonds advertisement)

Meet the People: What Was Your Childhood Ambition?
Look vol. 10, no. 19, 17th September 1946
(twelve vox pop portraits: Sunny Skylar, Art Ford, D.L. Toffenetti, Martha Rountree, John Sebastian, Jayne Westbrook, Thomas Carroll, Vincente Gomez, Joan Roberts, Nancy White, James Gardiner, and Rosmarie Brancato)

Psychoquiz: Do You Have Imaginary Illnesses?
Look vol. 10, no. 19, 17th September 1946
(three photographs to accompany a hypochondria test: a boy receiving a diphtheria vaccination, a bed-ridden woman, and a woman opening a telegram envelope)

Dentist’s Office
Look vol. 10, no. 20, 1st October 1946
(eighteen photographs of patients in a dentist’s waiting room)

Meet the People: How Would You Spend $1,000 in a Week?
Look vol. 10, no. 24, 26th November 1946
(vox pop portraits of Alexander Singer, Al Mele, Pat Reinders, John Conte, Roberta Adams, Nikke Montan, and others)

Bronx Street Scene
Look vol. 10, no. 24, 26th November 1946
(four photographs of women admiring their friend’s haircut)

Johnny on the Spot
Look vol. 10, no. 24, 26th November 1946
(portraits of Johnny Grant interviewing Joe Louis, showgirls, a monkey, a woman being massaged, and others)

Midsummer Nights in New York
Look vol. 10, no. 24, 26th November 1946
(stage shows by nightclub dancers)

Meet the People: What’s Your Idea of a Good Time?
Look vol. 10, no. 25,, 10th December 1946
(vox pop portraits of Marvin Traub, Harold Shaw, Kubrick’s first wife Toba Metz, and others)

1947

Television: It Will Start to Grow Up
Look vol. 11, no. 1, 7th January 1947
(a photograph of the layout of a television studio)

Meet the People: What Part of America Would You Like to See This Year?
Look vol. 11, no. 1, 7th January 1947
(vox pop portraits)

Photoquiz
Look vol. 11, no. 2, 21st January 1947
(a jaguar growling)

How to Spot a Communist
Look vol. 11, no. 5, 4th March 1947
(photograph of Joseph Stalin’s book Foundations of Leninism)

Meet the People: Why Do You Wear a Mustache?
Look vol. 11, no. 5, 4th March 1947
(vox pop portraits of Edward Kahn, Sy Lover, Gardy Martin, John Jondeleit, Cecil Brown, George Harbaugh, and James Sloane)

Life and Love on the New York Subway
Look vol. 11, no. 5, 4th March 1947
(twenty-nine photographs of commuters, including Toba Metz, sleeping, gossiping, and flirting on the subway)

Photocrime: Cobb Reasons It Out
Look vol. 11, no. 6, 18th March 1947
(portraits of Don Briggs, Jan Miner, and Paul Potter)

Meet the People: What Is Your Favorite Way of Loafing?
Look vol. 11, no. 6, 18th March 1947
(vox pop portraits of Steve Driver, Louise Oliver, Myrtle Martin, Gene Leone, Larry Bledsoe, and Sandie Meandro)

Baby Wears Out 205lb Athlete
Look vol. 11, no. 6, 18th March 1947
(Bob Beldon playing with Dennis Henry)

While Mama Shops
Look vol. 11, no. 6, 18th March 1947
(children playing in prams whilst their mothers are shopping)

Meet the People: What Was Your Worst Experience?
Look vol. 11, no. 10, 13th May 1947
(vox pop portraits of orphans whose parents died in concentration camps during World War II)

First Look at Mirror Bewilders Baby
Look vol. 11, no. 10, 13th May 1947
(George Eckert and his reflection)

Photoquiz
Look vol. 11, no. 11, 27th May 1947
(furniture)

Meet the People: Do You Have Any Desire to Go West?
Look vol. 11, no. 11, 27th May 1947
(vox pop portraits of James White, Myrtle Harris, Jonas Kreitzer, Harry Riegel, Lyle McPherson, Lillian Takooshian, and others)

Meet the People: What Celebrity Would You Like to Marry?
Look vol. 11, no. 12, 10th June 1947
(vox pop portraits of Anthony Ianule, Andre Baruch, Naomi Rubrum, Esther Stanberg, John Cleary, and Thelma Gellman)

Fun at an Amusement Park
Look vol. 11, no. 13, 24th June 1947
(twenty-six photographs, including roller-coasters, a palm-reader, and a ‘sex-o-meter’ machine at the Palisades amusement park in New Jersey)

Look vol. 11, no. 15, 22nd July 1947
(a scientific drinking-bird toy)

Look vol. 11, no. 16, 5th August 1947
(colour cover photograph of a boy soaked by a running tap)

Photoquiz
Look vol. 11, no. 16, 5th August 1947
(two photographs: a knotted rope and the Brazilian flag)

In Amerika Habe Ich die Freiheit Gefunden (I Found Freedom in America)
Look vol. 11, no. 16, 5th August 1947
(thirteen portraits of Jack Milnik, including portraits of Cheney Jones, Patsy Mazzucchelli, Roy Clark, and Helen Yarosh)

Look’s 5th Annual All-America High School Track Team
Look vol. 11, no. 16, 5th August 1947
(portrait of Jack Murphy throwing a javelin)

Family Full of Health: The Jantzens Enjoy Keeping Fit
Look vol. 11, no. 17, 19th August 1947
(Gene Jantzen with his wife Pat and son Kent in Bartelso, Illinois)

The 5 and 10
Look vol. 11, no. 18, 2nd September 1947
(thirty-two photographs: shoppers browsing at a store, including eight photographs of a girl reading a comic)

Meet the People: Children Tell How They Should Be Punished
Look vol. 11, no. 19, 16th September 1947
(vox pop portraits of Peggy Bruder, Charlie Hankinson, Robin Morgan, Dickie Orlan, Patsy Walker, and Glenn Mark Arthurs)

Walkathon: The World’s Wackiest Show - It Gets 4,000 Customers a Night
Look vol. 11, no. 20, 30th September 1947
(portraits of Flo McGinnis, Bob Robinson, Johnny Makar, Johnny Longo, King Brady, and others at a Kansas City speed derby)

Look vol. 11, no. 20, 30th September 1947
(a mother separating her two fighting babies in Philadelphia)

Teen-Agers Take Over a Radio Station
Look vol. 11, no. 21, 14th October 1947
(portraits of Phil Jansen, Ned Calmer, Gloria Swanson, Francis Kearney, and Irving Ritz at radio station WTAG)

Look vol. 11, no. 22, 28th October 1947
(portrait of Joseph L. Mankiewicz)

Look vol. 11, no. 23, 11th November 1947
(Dick Tracy dolls)

Look vol. 11, no. 24, 25th November 1947
(a model wearing a dress)

Meet the People: Who Stands Pain the Best?
Look vol. 11, no. 24, 25th November 1947
(vox pop portraits of Barbara Williams, Gail McCammon, R.E. Krause, Mary Linsley, R.V. Martin, Ellen MacKensie, H.B. Nunnally, Margaret Baker, and Catherine Miller)

Look vol. 11, no. 25, 9th December 1947
(fans, including some colour images)

High Button Shoes
Look vol. 11, no. 25, 9th December 1947
(a photograph of three members of the cast of the Broadway musical High Button Shoes, taken in a photography studio)

Look vol. 11, no. 25, 9th December 1947
(coffee machines)

1948

Look vol. 12, no. 1, 6th January 1948
(portrait of Doris Day)

Bubble-Gum Contest
Look vol. 12, no. 2, 20th January 1948
(a bubble-gum competition)

Help Your Doctor Diagnose Appendicitis
Look vol. 12, no. 2, 20th January 1948
(an appendicitis x-ray)

It Happened Here
Look vol. 12, no. 5, 2nd March 1948
(a portrait of Nanette Frederies with her sandwich board)

Miss America Goes to the Methodist Youth Conference
Look vol. 12, no. 6, 16th March 1948
(portraits of Barbara Jo Walker and Larry Eisenberg)

Photocrime: Death in a Flash
Look vol. 12, no. 6, 16th March 1948
(a woman is poisoned)

The Case Against Universal Military Training
Look vol. 12, no. 7, 30th March 1948
(a former soldier)

The Boss Talks It Over with Labor
Look vol. 12, no. 7, 30th March 1948
(Eric O. Johnson addresses his employees in Connersville, Indiana)

Art Gallery Dalí Exhibition
Look vol. 12, no. 7, 30th March 1948
(private view of a Salvador Dalí exhibition)

Psychoquiz
Look vol. 12, no. 7, 30th March 1948
(a bowl of popcorn)

Look vol. 12, no. 8, 13th April 1948
(portrait of Miguelito Valdes)

Wash Day in a Self-Service Laundry
Look vol. 12, no. 9, 27th April 1948
(thirteen photographs of customers, including John Carradine, at a launderette)

Rheumatic Fever: Childhood’s Most Neglected Disease
Look vol. 12, no. 9, 27th April 1948
(children with rheumatic fever at La Rabida Jackson Park Sanitorium, Chicago)

Meet the People: Meet President Truman?
Look vol. 12, no. 9, 27th April 1948
(vox pop portraits)

Musical Tycoon
Look vol. 12, no. 9, 27th April 1948
(portrait of Henry Reichhold)

Columbia
Look vol. 12, no. 10, 11th May 1948
(profile of Columbia University, including the library, a painting class with a nude model, a laboratory, a caged rat, and a portrait of Dwight D. Eisenhower)

How the Circus Gets Set
Look vol. 12, no. 11, 25th May 1948
(backstage at the Ringling circus, Florida, including the ringmaster with a clown, tightrope walkers, trapeze artists, a tattooed man with rings stretching his nipples, a monkey on a lead and on stilts, a gorilla, an elephant, a leopard, a giraffe, a tiger, and a man somersaulting over a horse; also a colour portrait of Lou Jacobs as an inset cover picture; reprinted on 6th September 1955)

Look vol. 12, no. 11, 25th May 1948
(portraits of Electric Light and Power employees)

He Sells Success
Look vol. 12, no. 11, 25th May 1948
(portraits of Dale Carnegie and his wife)

Deaf Children Hear for the First Time
Look vol. 12, no. 11, 25th May 1948
(seven photographs of a party for deaf children held by Rise Stevens)

Mooseheart: The Child City
Look vol. 12, no. 12, 8th June 1948
(pupils at a preparatory school in Mooseheart, Illinois: with one of their teachers, with a cow, doing the splits, and eating a meal)

Look vol. 12, no. 12, 8th June 1948
(portraits of a fashion model)

One-Man Track Team: Irving Mondschein Reaches for Olympic Honors
Look vol. 12, no. 12, 8th June 1948
(portraits of Irving Mondschein during a decathalon)

New York: World Art Center
Look vol. 12, no. 12, 8th June 1948
(portrait of George Grosz)

Holiday in Portugal
Look vol. 12, no. 16, 3rd August 1948
(a Portugal travelogue with Jan Cook and her husband Bill, including a woman in a burka silhouetted on a beach, and a windmill; reprinted on 1st December 1953)

Bumper Baby Crop Starts School
Look vol. 12, no. 17, 17th August 1948
(children trying on new clothes)

Will This Be the New Look for Men?
Look vol. 12, no. 17, 17th August 1948
(two pictures of a male model wearing a convertible coat)

Wally Conquers Polio
Look vol. 12, no. 21, 12th October 1948
(portraits of Wally Ward)

Look vol. 12, no. 21, 12th October 1948
(artworks by Frank Sinatra, John Garfield, Joe Louis, Katharine Cornell, and Esme Sarnoff)

What Makes Their Eyes Pop?
Look vol. 12, no. 21, 12th October 1948
(portraits of gallery visitors viewing the Mona Lisa at the Louvre in Paris)

Look vol. 12, no. 22, 26th October 1948
(Ringling Museum of Art, Florida)

New Toy Spurs Milk Drinking
Look vol. 12, no. 25, 7th December 1948
(a boy making a toy train from milk cartons)

The Races
Look vol. 12, no. 25, 7th December 1948
(the Aqueduct race track)

How Eight Look Photographers See Jane Greer
Look vol. 12, no. 26, 21st December 1948
(a portrait of Jane Greer holding a pencil)

1949

Kiss Me, Kate
Look vol. 13, no. 2, 18th Janaury 1949
(the Broadway musical Kiss Me, Kate)

Prizefighter
Look vol. 13, no. 2, 18th January 1949
(a day in the life of Walter Cartier, the inspiration for Day of the Fight, twenty photographs: Cartier with his manager Bobby Gleason, with his brother Vincent, eating breakfast with his aunt Eva, weighing in at the State Athletic Commission, having his eyes examined, with one of his neighbours, praying in a church, on the beach at Staten Island with Dolores Germaine, rowing a sailboat, spectating at Yankee Stadium, playing with his nephew Charlie, in his dressing-room, fighting Jimmy Mangia at Roosevelt Stadium in New Jersey, during a training session, and on the street in Greenwich Village)

Taft Meets the People - And Proves a Human Campaigner
Look vol. 13, no. 3, 1st February 1949
(Robert A. Taft campaigning in Ohio)

America’s Man Godfrey: One of the Highest Paid and Most Listened to Entertainers in the Nation
Look vol. 13, no. 3, 1st February 1949
(portraits of Arthur Godfrey with his wife Mary, his son Mike, his daughter Pat, Gene Autry, Jack Carson, and others; reprinted on 22nd September 1953)

Fight Night at the Garden: Some Fans Roar for Gore
Look vol. 13, no. 4, 15th February 1949
(Bill Corum, Don Murphy, and a large crowd watching a boxing match between Eduardo Carrasco and Nunzio Carto at Madison Square Garden; reprinted on 1st June 1954)

Lobster Comes Home
Look vol. 13, no. 5, 1st March 1949
(portraits of Jose Ferrer and Phyllis Hill eating lobsters)

The American Look Is a Proud Thing
Look vol. 13, no. 6, 15th March 1949
(photographs of fashion models luggage, a purse and umbrella, an airline ticket, a champagne glass, a baby’s bottle and rattle, a tennis racket and skiing poles, office equipment, cleaning equipment, and a portrait of Dorothy McGuire)

Look vol. 13, no. 7, 29th March 1949
(photographs of the Keeley Institute)

Chicago: City of Extremes
Look vol. 13, no. 8, 12th April 1949
(landscapes and portraits photographed in Chicago, including the city’s streets illuminated at night, a dress shop, a poor woman washing dishes, and a lavish banquet)

It Takes These 103 Persons to Stop the Music
Look vol. 13, no. 9, 26th April 1949
(Bert Parks recording the Stop the Music radio show)

Pint-Size Sculptor with Big Ideas: Koren der Harootian
Look vol. 13, no. 10, 10th May 1949
(profile of Koren der Harootian)

Gridiron Show: St. Louis Stages Its Own
Look vol. 13, no. 10, 10th May 1949
(Forest Smith and A.P. Kaufman at the St. Louis Advertising Club Gridiron Dinner)

University Of Michigan
Look vol. 13, no. 10, 10th May 1949
(profile of the University of Michigan, including a man and woman holding hands, a woman lighting a man’s cigarette, a man and woman dancing, a man sitting beside a globe, and a man with a dog; portraits include Alexander Grant Ruthven, Ralph A. Sawyer, Randolph G. Adams, T. Hawley Tapping, Jean Paul Slusser, C.W. Spooner, H..R Crane, Ben Oosterbaan, Matt Mann, Val Johnson, Al Wistert, Pat Crotty, Buzz Durant, Carolyn Daugherty, Albert Samborn, Dick Maloy, Harriet Friedman, Arthur Dudden, Katryna Dudden, and others)

Carl Milles
Look vol. 13, no. 11, 24th May 1949
(detail of Meeting of Waters, a fountain sculpted by Carl Milles in St. Louis)

The 16-Ounce Look
Look vol. 13, no. 12, 7th June 1949
(sportswear on a tennis court)

Father’s Day for Father Berle
Look vol. 13, no. 13, 21st June 1949
(portraits of Milton Berle and his daughter Vickie, Ezio Pinza and his son Peter, and Peter Pinza alone; reprinted on 8th July 1958)

Montgomery Clift... Glamour Boy in Baggy Pants
Look vol. 13, no. 15, 19th July 1949
(eight portraits of Montgomery Clift: having breakfast, yawning while reading a script, playing with a baby, carrying his coat, drinking coffee, and drunk on the floor)

Look vol. 13, no. 5, 19th July 1949
(portrait of Arthur Godfrey)

Look vol. 13, no. 5, 19th July 1949
(the Copacabana nightclub)

Guy Lombardo
Look vol. 13, no. 16, 2nd August 1949
(portraits of Guy Lombardo, at home and on stage)

Look vol. 13, no. 16, 2nd August 1949
(the Broadway production of Miss Liberty: portraits of Mary McCarthy, Eddie Albert, Allyn McLerie, and Moss Hart)

Look vol. 13, no. 17, 16th August 1949
(a Lexington Avenue subway station)

Vaughn Monroe: He Makes a Mint out of Music
Look vol. 13, no. 17, 16th August 1949
(portraits of Vaughn Monroe)

Look vol. 13, no. 17, 16th August 1949
(profile of Masterpiece, a prize-winning poodle)

Philadelphia’s First Beaux Arts Ball
Look vol. 13, no. 19, 13th September 1949
(portraits of Royal Lewando, Belinda Elson, Robert Newman, Harold Diehl, Sally Kravitch, Nelson Reed, Charles Coiner, Paul Darrow, Gloria Braggiotti, and others at the Philadelphia Beaux Arts Ball)

Teenage Columnist
Look vol. 13, no. 20, 27th September 1949
(portraits of Pat White)

Look vol. 13, no. 20, 27th September 1949
(Jule Styne, Anita Loos, and others at the auditions for the Gentlemen Prefer Blondes musical)

Peter Arno... Sophisticated Cartoonist
Look vol. 13, no. 20, 27th September 1949
(five photographs: portraits of Peter Arno, Joan Sinclair, Tom Murphy, and a nude model)

World’s Most Escape-Proof Paddy-Wagon
Look vol. 13, no. 20, 27th September 1949
(six photographs: a prison van, the prisoners inside it, a revolver, a gas gun, an acetylene torch, and Harry Silberglitt)

Nehru: Charles Baskerville Paints India’s Prime Minister
Look vol. 13, no. 21, 11th October 1949
(portraits of Charles Baskerville)

Home-Town Hero
Look vol. 13, no. 22, 25th October 1949
(portraits of Lou Maxon celebrating Lou Maxon Day in Onaway, Michigan)

Meet the Chairman of the GOP
Look vol. 13, no. 22, 25th October 1949
(portraits of Guy G. Gabrielson and his family)

A Dog’s Life in the Big City
Look vol. 13, no. 23, 8th November 1949
(dogs in various urban locations)

Divorce: A Woman’s Tragedy
Look vol. 13, no. 24, 22nd November 1949
(portraits of divorced women)

Celebrities Paint to Raise Money for Charity
Look vol. 13, no. 24, 22nd November 1949
(paintings by Mary Martin, Ezio Pinza, Henry Fonda, Harry Vaughan, and Charles F. Brannan)

New York Society Ball
Look vol. 13, no. 25, 6th December 1949
(portraits of Nancy Oakes, Ilka Chase, Norton Brown, Pat Ogden, Enrico Donati, Janet Blair, Sally DeMarco, and others at the Wedgewood Ball)

Look vol. 13, no. 25, 6th December 1949
(portraits of Jere Whaley)

Look vol. 13, no. 25, 6th December 1949
(portrait of Buffalo Bob Smith)

Portable Porter: Luggage on Wheels
Look vol. 13, no. 26, 20th December 1949
(a new range of luggage)

Look vol. 13, no. 26, 20th December 1949
(portrait of Sherman Billingsley)

Look vol. 13, no. 26, 20th December 1949
(the Museum of Modern Art)

Howdy Doody WOWS the Kids
Look vol. 13, no. 26, 20th December 1949
(the television show Howdy Doody)

1950

Look vol. 14, no. 1, 3rd January 1950
(portrait of Robert Montgomery)

Look vol. 14, no. 1, 3rd January 1950
(a human brain next to a boxer’s skull)

The Mid-Century Look Is Now the American Look
Look vol. 14, no. 1, 3rd January 1950
(portraits of Ann Klem, Gene Wallace, Phyllis Rowand, and Nina Rowand)

Eisenhower Is Open to Being a Republican Candidate
Look vol. 14, no. 2, 17th January 1950
(portrait of Dwight D. Eisenhower)

Don’t Be Afraid of Middle Age
Look vol. 14, no. 3, 31st January 1950
(portraits of middle-aged couples)

Candidate Robert A. Taft
Look vol. 14, no. 3, 31st January 1950
(portraits of Robert A. Taft)

Sinatra and Kirsten Take Richmond
Look vol. 14, no. 3, 31st January 1950
(portraits of Frank Sinatra and Dorothy Kirsten at public engagements in Richmond)

Rocky Graziano: He’s a Good Boy Now
Look vol. 14, no. 4, 14th February 1950
(another boxing day-in-the-life; portraits of Rocky Graziano: with Whitney Bimstein, Irving Cohen, Eddie Marotta, Roxie Graziano, during a telephone call, and boxing with Sonny Horne; reprinted on 14th December 1954, 28th December 1954, 7th August 1956, and 30th April 1957)

Lady Lecturer Hits the Road
Look vol. 14, no. 5, 28th February 1950
(Emily Kimbrough giving lectures in St. Louis)

Big Little Art Collection
Look vol. 14, no. 5, 28th February 1950
(art collectors Milton Kramer and Helen Kramer)

Traveling Saleswoman USA
Look vol. 14, no. 6, 14th March 1950
(portraits of Sue Hughes as she travels around Indiana, Kentucky, and Tennesse; also, portraits of Margaret Barrows, Deane Elliot, Florence Miller, Morton Baum, Red Miller, Lee Gladstein, Bonner Wilkinson, Francelle Gorbett, James Lanham, and others)

Leonard Bernstein: Boy Wonder Grows Up
Look vol. 14, no. 6, 14th March 1950
(portraits of Leonard Bernstein playing the piano, in his dressing-gown, reading, and wearing swimming-trunks; also, portraits of Serge Koussevitsky, Stella Adler, Oscar Levant, Aaron Copland, and William Kapell; reprinted on 25th August 1953)

Look vol. 14, no. 7, 28th March 1950
(portraits of Bill Cullen, Gene Tierney, Mercedes McCambridge, and others on the Quick as a Flash television quiz)

Baseball Player Don Newcombe: Can He Win the Next 30 Games?
Look vol. 14, no. 8, 11th April 1950
(Don Newcombe at a baseball game)

Phil Rizzuto: The Yankee Nipper
Look vol. 14, no. 10, 9th May 1950
(portraits of Phil Rizzuto and Joe di Maggio; reprinted on 15th January 1952 and 5th August 1958)

Ken Murray Tries out TV Talent
Look vol. 14, no. 10, 9th May 1950
(Ken Murray auditioning women for his Ken Murray Show on television)

Look vol. 14, no. 10, 9th May 1950
(portraits of Phil Rizzuto with Joe di Maggio, Yogi Berra, and Vic Raschi)

The GOP Has a Roosevelt Too
Look vol. 14, no. 11, 23rd May 1950
(portraits of Theodore Roosevelt and his family)

Dixieland Jazz Is “Hot” Again
Look vol. 14, no. 12, 6th June 1950
(portraits of Jazz musicians and their intruments: George Lewis, Elmer Talbot, Alcide Pavageau, Lawrence Marrero, Jim Robinson, Joe Watkins, Sidney Bechet, Louis Armstrong, Jack Teagarden, Eddie Condon, Phil Napoleon, Oscar Celestin, Alphonse Picou, Muggsy Spanier, Art Hodes, Pee Wee Russell, Lee Collins, Georg Brunis, Sharkey Bonano, Red Nichols, Isaac Mason, and others performing at various New Orleans jazz clubs; reprinted on 13th December 1955 and 18th March 1969)

Double or Nothing Guests See Sights of Hollywood
Look vol. 14, no. 12, 6th June 1950
(recording the Double or Nothing radio show, including portraits of Judy Canova, Bing Crosby, Jane Wyman, Edith Head, and others)

Look vol. 14, no. 13, 20th June 1950
(profile of Russ Hodges)

12 Children - $75 A Week
Look vol. 14, no. 14, 4th July 1950
(the Bova family from Stamford, Connecticut)

The Ballad of Peggy Lee
Look vol. 14, no. 15, 18th July 1950
(portraits of Peggy Lee and Dave Barbour in Valley City; reprinted on 29th August 1950)

The Debutante Who Went to Work
Look vol. 14, no. 15, 18th July 1950
(a day-in-the-life profile of Betsy von Furstenberg, including a colour cover photograph; von Furstenberg is shown taking her poodle for a trim, playing with a cat, dancing, playing tennis, sitting beneath Pablo Picasso’s ‘blue period’ portrait of Angel Fernandez de Soto, and reading on a window seat; also featuring portraits of Sandra Stralem, Buddy Joyce, John Hamlin, and Gilbert Miller; reprinted on 12th September 1950 and 15th January 1952)

The US Is Going Cowboy Crazy
Look vol. 14, no. 15, 18th July 1950
(Roy Rogers with children wearing cowboy costumes)

What Every Teenager Should Know About Dating
Look vol. 14, no. 16, 1st August 1950
(teenagers out on dates)

Look vol. 14, no. 16, 1st August 1950
(portraits of Gene Autry at Madison Square Garden)

Look vol. 14, no. 16, 1st August 1950
(portraits of Erroll Garner)

Faye Emerson: Young Lady in a Hurry
Look vol. 14, no. 17, 15th August 1950
(colour cover photograph and ten other portraits of Faye Emerson, for a Picture Personality feature: filming her Fifteen with Faye television show, rehearsing with Sam Wanamaker, having her portrait painted by Mildred Atkins, at the Roxy theatre with Sid Caesar, at a party with Jack Moone, with an interior decorator in her apartment, being interviewed by Eleanor Harris, at Costello’s restaurant with Robert Q. Lewis, and in the office of her production company)

Hair Coloring Becomes Part of the American Look
Look vol. 14, no. 17, 15th August 1950
(one colour photograph of women on a beach, one photograph of a blonde woman, and four photographs of Faye Emerson dying her hair honey blonde)

Canasta Mistakes You Can Avoid
Look vol. 14, no. 17, 15th August 1950
(one photograph of a hand holding twelve playing-cards)

Our Last Frontier: Transoceanic TV
Look vol. 14, no. 19, 12th September 1950
(David Sarnoff in a television studio; reprinted on 29th November 1955)

Look vol. 14, no. 19, 12th September 1950
(the final episode of the television quiz Break the Bank, with host Bert Parks and contestant Narcisse Brown)

Red Rolfe: The Heart of the Tiger
Look vol. 14, no. 20, 26th September 1950
(three photographs: portraits of Red Rolfe with John McHale, Wish Egan, Bill McGowan, Ed Hurley, Dick Bartell, and the Detroit Tigers baseball team)

Meet the People: Mind Your Manners
Look vol. 14, no. 20, 26th September 1950
(seven vox pop portraits: Alan Ludden interviewing Betty Ann Kelly, Janet Bronson, Lewis P. James, Patricia McCormick, Joan McAlpin, Margaret Andrews, and Fred Smith)

Record Guide
Look vol. 14, no. 20, 26th September 1950
(one portrait of George Lewis performing with his clarinet, with other musicians in the background)

What Teenagers Should Know About Love
Look vol. 14, no. 21, 10th October 1950
(teenagers with their parents and pets, and ‘I hate love!’ written in lipstick)

The Look All-American Baseball Team
Look vol. 14, no. 21, 10th October 1950
(Ralph Kiner during and after a Pittsburgh Pirates baseball game)

Ballet Is Fast Becoming Entertainment for the Masses
Look vol. 14, no. 22, 24th October 1950
(portraits of Moira Shearer, Margot Fonteyn, Robert Helpmann, Frederick Ashton, Nadia Nerina, and other members of the Sadler’s Wells ballet company)

Jealousy: A Threat to Marriage
Look vol. 14, no. 22, 24th October 1950
(a woman who suspects her husband is unfaithful)

Peter Lind Hayes Puts the Stork Club on TV
Look vol. 14, no. 22, 24th October 1950
(Peter Lind Hayes and Mary Healy hosting a television show, with guests including Dorothy Kilgallen and John Daly)

How to Check Your City’s Health
Look vol. 14, no. 24, 21st November 1950
(Rosemary Howren participating in a health-check programme)

Fifty Years of Model Railroads
Look vol. 14, no. 25, 5th December 1950
(J.L. Cowen, Lawrence Cowen, and George C. Marshall with model trains)

How Radio’s Top News Team Covers the World
Look vol. 14, no. 25, 5th December 1950
(CBS news reporters in the studio)