Stanley Kubrick: 1928-1999

Throughout his fifty-year film-making career, Stanley Kubrick retained his fascination for cameras and lenses, and his photographer's eye for precise visual compositions. As a director, Kubrick was entirely self-taught, making a series of short documentaries and independent features completely by himself. For these early films, he was not only the director but also the producer, cinematographer, writer, editor, and sound recordist.

Kubrick's films are unique for the diversity of their subject-matter and the consistency of their quality. He moved from genre to genre, epitomising and redefining each one in the process. Each of his films is a masterpiece, and each is his own singular vision. Kubrick involved himself, to the minutest detail, in every aspect of film-making, often personally operating the camera, for example (especially for hand-held sequences).

He also supervised the post-production of his films, including their trailers and posters (even personally mixing the Spanish, Italian, German, and French dub tracks of his later films). He was equally concerned with video releases, and collaborated with Criterion on laserdisc versions of Killer's Kiss, The Killing, Paths Of Glory, Spartacus, Lolita, Dr Strangelove, and 2001. He also supervised the laserdisc transfers of A Clockwork Ornage, Barry Lyndon, and The Shining for Warner.

The ultimate 'auteur' director, Kubrick avoided the Hollywood system by living and working in England, where he spent several years in the making of each film. His extensive retakes and obsessive editing revisions demonstrate his absolute perfectionism.

Stanley Kubrick Filmography

In addition to the films listed below, Kubrick is known to have worked on a documentary about the World Assembly of Youth in 1952, though the extent of his involvement is unclear as the film is no longer extant. 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, 26/10/1952). 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.

The aspect ratios of Kubrick's films have been the subject of considerable debate and confusion, especially following the video releases of his films after his death. The technical specifications in the following filmography have been meticulously researched and verified.

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 (though an alternate version 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, who worked uncredited as the film's sound recordist, 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 Pathe Screenliner series. Stadtmuller, a priest from New Mexico who travelled around his parish by aeroplane, is an unusual topic for a Kubrick film, and the subject-matter was presumably imposed on the director rather than chosen by him. Consequently, Flying Padre has little of the kinetic energy Kubrick demonstrated in Day Of The Fight. Though no screen credit is given, Kubrick was the film's writer and cinematographer.

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 is significant, however, 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 un-named 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 (photographing the stars for posters and lobby cards).

Kubrick subsequently regarded the film as below his later standards and 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 filmed surreptitiously on the streets of New York and a surreal fight in a mannequin factory. Kubrick was photographed on the set by Life magazine in 1954. Despite the ambiguous screen credit 'Story by Stanley Kubrick', Kubrick actually co-wrote the film's screenplay.

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's original title, Kiss Me Kill Me, was changed to Killer's Kiss before general release, though a version with the original title is still extant.

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 inter-connecting 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) and a realistic budget. 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 French-speaking countries La Marseillaise 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 is telling that Kubrick's most personal contributions - the battle scenes - are the film's most powerful sequences, despite the restrictions he worked under. 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. The UK general release was almost identical to this, except for the scene in which Simmons attempts to seduce Douglas, which was re-edited. 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 US version of the Simmons seduction scene was used. 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, and was thus not incorporated into the restoration.

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 risque 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. He partially rewrote the screenplay, though uncharacteristically decided not to give himself a screen credit for this. 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.

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. Exploring the history of evolution, the destiny of humankind, and the existence of alien intelligence, 2001 is a visually stunning masterpiece. Its cinematography is perhaps the greatest of any film in 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 which 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 ever Academy Award (for Special Visual Effects). 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 (#60.20, 20/5/1966) during the making of the film.

Nineteen minutes were cut from 2001 by Kubrick after preview screenings, and two of the inter-titles were also added at this time; a prologue and voice-over 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 4-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. For a split second, Kubrick himself can apparently be heard laughing from behind the camera, while McDowell is being spoon-fed in hospital. More importantly, he was an uncredited co-cinematographer for the film.

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, and he wielded a knife used to cut Nicholson's hand in one scene. 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.

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-matter given the notable cinematic predecessors dealing with the same subject. 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 sexual and psychological thriller starring Tom Cruise and Nicole Kidman, released in 1999. The narrative concerns marital jealousy and temptation, and it seemed to prefigure the collapse of Cruise and Kidman's own off-screen 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.

Kubrick died of a heart-attack a few days after completing Eyes Wide Shut and it is perhaps no coincidence that this posthumously-released film is not available in the version he originally intended. Although Kubrick had edited the film before he died, he had neither completed the sound mix nor recorded the music. The precise state of the film circa March 1999, at the time of his death, may never be known.

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, black-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 from the soundtrack, replaced by meaningless chanting. 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: Selected Interviews

Kubrick avoided public appearances, television interviews, and photographers, though he was not an eccentric recluse, despite persistent rumours to the contrary. The following list of Kubrick's interviews - the most comprehensive ever compiled - demonstrates the surprising frequency with which he actually spoke to journalists. Kubrick also published some of his screenplays, and wrote several published articles and letters; these activities are all listed here. (Kubrick: The Last Interview, by Adrian Rigelsford and Kim Meffen (TV Times, 4/9/1999), 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

Snap Hundreds, Says 'Boy Genius' (1946) [Arthur Juntunen, Detroit Free Press]
Camera Quiz Kid... Stan Kubrick (10/1948) [Mildred Stagg, The Camera]

1950s

A 22-Year-Old Producer Makes Real Films For Fun And Profit (27/12/1950) [New York Journal-American]
Young Man With Ideas And A Camera (14/1/1951) [Thomas M Pryor, The New York Times]
By Way Of Report (29/6/1952) [AH Weiler, The New York Times]
Kubrick Another Boy Film Producer (27/3/1953) [Irene Thirer, New York Post]
Sultry New Siren And New All-Around Movie Wizard Spark 'Fear And Desire' (8/4/1953) [People Today]
Of Pictures And People: New Drama, 'Kiss Me, Kill Me,' Filmed Here In Its Entirety (23/5/1954) [AH Weiler, The New York Times]
Bonjour M. Kubrick (7/1957) [Raymond Haine, Cahiers Du Cinema #13.73]
Twenty-Nine And Running: The Director With Hollywood By The Horns... Dissects The Movies (2/12/1957) [Simon Bourgin, Newsweek #50.23]
Conversation With Stanley Kubrick (Spring 1958) [Jay Varela, El Playano]
Film Fan To Film-Maker (12/10/1958) [Joanne Stang, The New York Times, Magazine]
The Changing Face Of Hollywood (12/1958) [Joseph Laitin, CBS]
Hollywood 'Rome' (22/3/1959) [Thomas M Pryor, The New York Times]
The Hollywood War Of Independence (Spring 1959) [Colin Young, Film Quarterly #12.3]
No Art And No Box Office (7/1959) [Dwight MacDonald, Encounter #13.1]

1960s

The Artist Speaks For Himself: Stanley Kubrick (1960) [Robert Emmett Ginna, The Odyssey Begins, Entertainment Weekly #480 (9/4/1999) | Robert Emmett Ginna, A Film Odyssey, The Guardian, Friday Review (16/7/1999)]
Teenager Will Play 'Lolita': She's Sue Lyon Of TV Show (27/9/1960) [Louella O Parsons, Los Angeles Examiner]
Schoolgirl Gets Lead In 'Lolita' (28/9/1960) [Eugene Archer, The New York Times]
$12 Million Risk Taken By Douglas (29/9/1960) [Philip K Scheuer, Los Angeles Times]
Hailed In Farewell: 'Spartacus' Gets Praise Of Pleased Director (2/10/1960) [Eugene Archer, The New York Times]
Nymphet Found (10/10/1960) [Time #76.15]
Stanley Kubrick... Thirty-Two-Year-Old Director Of A $12,000,000 Movie (22/11/1960) [Look #24.24]
Interview With Kubrick (12/1960) [Charles Reynolds, Popular Photography #47.6]
Oriental Invasion On - But Peacefully: 'Lolita' - A Report From London (13/12/1960) [Philip K Scheuer, Los Angeles Times]
MGM To Release 'Lolita' In Spring (14/2/1962) [Eugene Archer, The New York Times]
The East: Kubrick's And Sellers' New Film (6/5/1962) [AH Weiler, The New York Times]
How To Make A Film That Can't Be Made (25/5/1962) [Peter Bunzel, Life #52.21]
Kubrick Escaped Interference By Taking 'Lolita' To England (24/6/1962) [San Francisco Chronicle]
An Interview With Stanley Kubrick Director Of Lolita (7/1962) [Terry Southern, terrysouthern.com (1999) | Terry Southern, An Interview With Stanley Kubrick, The Stanley Kubrick Archives (2005)]
Nymphets, Naivete, And A New Star (1/7/1962) [Don Wegars, San Francisco Examiner]
Stanley Kubrick's Point Of View (26/2/1963) [Jack Piler, Variety]
Coming: The End Of The World (4/3/1963) [Newsweek #61.9]
Kubrick's Sellers Takes Four Parts (7/3/1963) [Philip K Scheuer, Los Angeles Times]
Everybody Blows Up! (8/4/1963) [Life International]
Stanley Kubrick And Dr Strangelove (13/3/1963) [Elaine Dundy, Queen]
Folly On Film (16/4/1963) [Max Lerner, New York Post]
'Nerve Center' For A Nuclear Nightmare (21/4/1963) [Leon Minoff, The New York Times]
Not With A Bang But A Simper (28/4/1963) [New York Herald Tribune]
Kubrick Ci Parla Del Suo Film Su Un Generale Demente Che Scatena La Guerra Atomica (29/4/1963) [Giorgio Fanti, Paese Sera]
Kubrick Explains 'Movie Of Absurd' (2/5/1963) [Philip K Scheuer, Los Angeles Times]
A Bombastic Bit Of Irony Is Ready To Be Let Loose (9/6/1963) [Flora Lewis, The Washington Post]
Atomic Bomb Spoofed - Grin And Bear It (16/6/1963) [Gerard Fay, Los Angeles Times]
The Ubiquitous, Multifarious Sellers (23/6/1963) [Flora Lewis, The New York Times]
Anthony Quinn Having Ball In Paris (23/8/1963) [Dorothy Kilgallen, The Washington Post]
The Bomb And Stanley Kubrick (11/1963) [Lyn Tornabene, Cosmopolitan]
Do They Hit The Target? (20/12/1963) [Tom Prideaux, Life #55.25]
The Directors: The New Creators And Rulers Of The Movie Realms Reveal The Skills And Egos That Go Into Their Art (20/12/1963) [Robert Coughlan, Life #55.25]
Contradicting The Hollywood Image (28/12/1963) [Lyn Tornabene, Saturday Review]
(1964) [Joseph Heller, A Conversation, The Stanley Kubrick Archives (2005)]
Hot Line On Dr Strangelove (1/1964) [Stanley Price, Town]
How To Learn To Love World Destruction (26/1/1964) [Eugene Archer, The New York Times]
The Astonishing Stanley Kubrick (2/1964) [Peter Lyon, Holiday #35.2]
Direct Hit (3/2/1964) [Newsweek #63.5]
What Makes Kubrick Laugh? It's The Bomb (9/2/1964) [Don Alpert, Los Angeles Times]
The Strange Case Of Dr Strangelove (13/3/1964) [Loudon Wainwright, Life #56.11]
Ten Questions To Nine Directors: Stanley Kubrick (Spring 1964) [Sight And Sound #33.2]
How Mr Kubrick Learned To Stop Worrying (11/12/1964) [Alexander Walker, Evening Standard]
'Strangelove' First Planned As Serious Film (21/1/1965) [Los Angeles Times]
Beyond The Blue Horizon (21/2/1965) [AH Weiler, The New York Times]
Beyond The Stars (24/4/1965) [Jeremy Bernstein, The New Yorker #41]
Sex And Dr Strangelove (Summer 1965) [F Anthony Macklin, Film Comment #3.3]
Space Film By Kubrick Will Break Image Of Madmen And Monsters (24/10/1965) [Robert Musel, The Detroit News]
Somebody Up There Likes Me, I Hope (11/1965) [Philip Oakes]
Happiness Is A Film-Maker In London (25/12/1965) [Hollis Alpert, Saturday Review]
Is It Strangelove? Is It Buck Rogers? Is It The Future? Offbeat Director In Outer Space (16/1/1966) [Hollis Alpert, The New York Times, Magazine]
2001: An Informal Diary Of An Infernal Machine (7/1966) [Clancy Sigal, Town]
Kubrick, Farther Out (12/9/1966) [Henry T Simmons, Newsweek #58.11]
How About A Little Game? (12/11/1966) [Jeremy Bernstein, The New Yorker #42]
(27/11/1966) [Jeremy Bernstein, Interview With Stanley Kubrick, The Stanley Kubrick Archives (2005)]
Picture Of A Girl On Her Way To The Moon Thirty-Three Years From Now (12/3/1965) [Alexander Walker, Evening Standard]
The Territorial Imperative Of Stanley Kubrick (Spring 1968) [Books]
Kubrick Trims '2001' By 19 Mins, Adds Titles To Frame Sequences; Chi., Houston Hub Reviews Good (4/1968) [Variety]
Kubrick's Sure '2001' To Click (10/4/1968) [Variety]
In 2001, Will Love Be A Seven-Letter Word? (14/4/1968) [William Kloman, The New York Times, Section Two]
Kazan, Kubrick, And Keaton (28/4/1968) [AH Weiler, The New York Times]
'2001' And 'Hair' - Are They The Groove Of The Future? (12/5/1968) [William Kloman, The New York Times]
Filming 2001: A Space Odyssey (6/1968) [Herb A Lightman, American Cinematographer]
Front-Projection For 2001: A Space Odyssey (6/1968) [Herb A Lightman, American Cinematographer]
Kubrick's Message Is Nonverbal (4/6/1968) [Joseph Gelmis, Newsday]
Ignore The Audience At Your Peril: Kubrick's '2001' Revisited (7/6/1968) [Maurice Rapf, Life #64.23]
For The First Time, Kubrick Explains His Space Odyssey (15/6/1968) [Clyde Gilmour, The Telegram, Weekend Showcase]
Stanley Kubrick Raps (8/1968) [Charlie Kohler, The East Village Eye]
Le Film De L'Annee: 2001 De Stanley Kubrick (9/1968) [Pierre Billard, Realites #272]
Playboy Interview: Stanley Kubrick (9/1968) [Eric Norden, Playboy #15.9]
Stanley Kubrick Answers Questions About Film '2001: A Space Odyssey' (22/9/1968) [Ted Mahar, Sunday Oregonian]
Le Second Berceau De La Vie (23/9/1968) [Yvette Romi, Le Nouvel Observateur]
Belief In Life Elsewhere In Universe Inspired Stanley Kubrick's Film '2001' (29/9/1968) [Ted Mahar, Sunday Oregonian]
Entretien Avec Stanley Kubrick (12/1968-1/1969) [Renaud Walter, Positif #100-101]
A Talk With Stanley Kubrick (1/1969) [Maurice Rapf, Action #4.1]
Kubrick Watches Bronfman's Flight (18/8/1969) [Joyce Haber, Los Angeles Times]

1970s

The Making Of Kubrick's 2001 (1970) [Jerome Agel]
Stanley Kubrick (1970) [Joseph Gelmis, The Film Director As Superstar]
Stanley Kubrick Directs (1971) [Alexander Walker]
Mind's Eye: A Clockwork Orange (5/1971) [John Hofsess, Take One #3.5]
Kubrick (Winter 1971) [Gene D Phillips, Film Comment #7.4]
Kubrick: Degrees Of Madness (20/12/1971) [Jay Cocks, Time #98.25]
Kubrick Country (25/12/1971) [Penelope Houston, Saturday Review #54.52]
Kubrick (Winter 1971) [Gene D Phillips, Film Comment #7.4]
Kubrick's Brilliant Vision (3/1/1972) [Paul D Zimmerman, Newsweek #79.1]
Kubrick Tells What Makes 'Clockwork Orange' Tick (4/1/1972) [Bernard Weinraub, The New York Times]
A Clockwork Utopia: Semi-Scrutable Stanley Kubrick Discusses His New Film (20/1/1972) [Andrew Bailey, Rolling Stone #100]
Nice Boy From The Bronx? (30/1/1972) [Craig McGregor, The New York Times, Section Two]
Kubrick's Creative Concern (13/2/1972) [Gene Siskel, Chicago Tribune]
Kubrick: 'Chacun De Nous Tue Et Viole' (17/4/1972) [Michel Ciment, L'Express | Michel Ciment, First Interview: A Clockwork Orange, Kubrick (1982)]
Interview With Stanley Kubrick (Spring 1972) [Philip Strick and Penelope Houston, Sight And Sound #41.2
A Propos De Orange Mechanique (6/1972) [Michel Ciment, Positif #139 | Michel Ciment, First Interview: A Clockwork Orange, Kubrick (1982)]
Why Kubrick Thinks 'A Clockwork Orange' Ticks (27/7/1972) [Joseph Gelmis, Newsday]
Stanley Kubrick: Stop The World (1973) [Gene D Phillips, The Movie Makers: Artists In An Industry]
Stanley Kubrick: A Film Odyssey (1975) [Gene D Phillips]
Les Sentiers De La Gloire (26/3/1975) [Jean-Luc Douin, Telerama]
Kubrick's Grandest Gamble: Barry Lyndon (15/12/1975) [Richard Schickel, Time #106.24]
Barry Lyndon, Comment Stanley Kubrick A Realise Un Chef D'Oeuvre (1976) [Dernieres Nouvelles Du Lundi]
Stanley Kubrick's Time Warp (10/1/1976) [John Hofsess, The New York Times
How I Learned To Stop Worrying And Love 'Barry Lyndon' (11/1/1976) [John Hofsess, The New York Times]
Kubrick's Done It Again (2/1976) [Judith Crist, The American Way]
Kubrick Almost A Legend (24/3/1976) [Evening Post]
Kubrick A L'Express: 'Je Suis Un Detective De L'Histoire...' (30/8/1976) [Michel Ciment, L'Express | Michel Ciment, Second Interview: Barry Lyndon, Kubrick (1982) | Manoushak Fashahi, A Voix Nue: Stanley Kubrick #1 (21/3/2011) | Manoushak Fashahi, A Voix Nue: Stanley Kubrick #2 (22/3/2011)]
Filmen Ist Detektivarbeit (13/9/1976) [Der Spiegel #38]

1980s

The Man Of Many Myths (1980) [Alexander Walker, The Sunday Telegraph, Magazine]
(23/5/1980) [Alexander Walker, Los Angeles Herald-Examiner]
Stanley Kubrick's Horror Show (26/5/1980) [Jack Kroll, Newsweek #95.21]
Kubrick: Critics Be Damned (28/5/1980) [John Hofsess, Soho News]
'Shining' And 'Empire' Set Records (28/5/1980) [Aljean Harmetz, The New York Times]
Stanley Kubrick Parle De Peter Sellers (10/1980) [Robert Benayoun, Stanley Kubrick Dossier (1987)]
Kubrick: 'Tous Les Fous N'Ont Pas L'Air D'Etre Fous' (20/10/1980) [Robert Benayoun, Le Point #422]
Il Faut Courir Le Risque Du Subtilite: Une Rencontre Avec Stanley Kubrick (23/10/1980) [Patricia Moraz, Le Monde]
Stanley Kubrick Strikes Back With The Shining (25/10/1980) [John Hofsess, International Herald Tribune]
'Oui, Il Y A Des Revenants' (25/10/1980) [Michel Ciment, L'Express | Michel Ciment, Third Interview: The Shining, Kubrick (1982) | Manoushak Fashahi, A Voix Nue: Stanley Kubrick #3 (23/3/2011)]
Gansehaut Der Luxusklasse (11/1980) [Wolf Kohl, Cinema]
(20/12/1980) [Vicente Molina Foix, El Pais #2.59 | Vicente Molina Foix, An Interview With Stanley Kubrick, The Stanley Kubrick Archives (2005)]
Peter Sellers: The Authorized Biography (1981) [Alexander Walker]
Cinque Film Contro Rambo (17/12/1986) [Romano Giacchetti, La Repubblica]
Entretien Avec Stanley Kubrick Sur Full Metal Jacket (1987) [Michel Ciment, Positif #601 (3/2011)]
Entretien Avec Stanley Kubrick: "Full Metal Jacket" (Suite Et Fin) (1987) [Michel Ciment, Positif #602 (4/2011)]
Stanley Kubrick's War Realities (21/6/1987) [Alexander Walker, Los Angeles Times]
Stanley Kubrick's Vietnam (21/6/1987) [Francis X Clines, The New York Times]
Candidly Kubrick (21/6/1987) [Gene Siskel, Chicago Tribune]
Dig A Foxhole! We're Fighting In 'Nam Again (24/6/1987) [Donna Rosenthal, Daily News | Donna Rosenthal, Kubrick Disputes Label Of Eccentric Recluse, Houston Chronicle (10/7/1987)]
Vietnam On Thames (25/6/1987) [Alexander Walker, Evening Standard, Metro]
I'm Always Surprised By The Reactions To My Films (26/6/1987) [Jay Scott, The Toronto Globe And Mail]
Stanley Kubrick, At A Distance: The Director Does Vietnam His Way - In London (28/6/1987) [Lloyd Grove, The Washington Post]
1968: Kubrick's Vietnam Odyssey (29/6/1987) [Jack Kroll, Newsweek #109.26]
Kubrick's Odyssey (7/1987) [Alexander Walker, Highlife]
The Rolling Stone Interview: Stanley Kubrick (27/8/1987) [Tim Cahill, Rolling Stone]
Heavy Metal: Full Metal Jacket Or How Stanley Kubrick's Marines Learned To Stop Worrying And Love Vietnam (9/1987) [Penelope Gilliatt, American Film #12.10]
Kubrick, Enfin! (10/1987) [Michele Halberstadt, Premiere #127]
Es Ist Ein Gluck Das Der Krieg So Furchterlich Ist (10/1987) [Maria Harlan, Cinema]
Stanley Kubrick: Der Liebe Gott Des Kino (10/1987) [Tempo]
Sind Sie Ein Misanthrop, Mr Kubrick?: Gesprach Mit Dem Full Metal Jacket Regisseur (5/10/1987) [Hellmuth Karasek, Der Spiegel #41.5]
Vietnam, Wie Es Wirklich War (8/10/1987) [Gerald Sturz, Stern]
Kubrick's War (17/10/1987) [Gordon Campbell, New Zealand Listener]
Un Entretien Avec Le Realisteur De Full Metal Jacket: Le Vietnam De Stanley Kubrick (20/10/1987) [Daniele Heymann, Le Monde]

1990s

L'Entrevue (1994) [Jean-Marc Bouineau, Le Petit Livre De Stanley Kubrick]

Written By Stanley Kubrick

Articles & Essays

Director's Notes (4/12/1960) [Stanley Kubrick, The Observer]
Words And Movies (Winter 1960) [Stanley Kubrick, Sight And Sound #30.1]
Why Sue ('Lolita') Lyon Was Guarded As If Actress Was An Atomic Bomb (1962) [Stanley Kubrick, Lolita pressbook]
How I Learned To Stop Worrying And Love The Cinema (6/1963) [Stanley Kubrick, Films And Filming #9.9]
The Directors Choose The Best Films (8/1963) [Stanley Kubrick et al., Cinema #1.5]
Why They'll Never Ban The Bomb (1/1964) [Stanley Kubrick, Show Time]
Foreword (1968) [Stanley Kubrick and Arthur C Clarke, 2001: A Space Odyssey]
Introduction (1972) [Stanley Kubrick, A Clockwork Orange]
Kubrick Sur Full Metal Jacket (1987) [Michel Ciment and Stanley Kubrick, Kubrick | Michel Ciment and Stanley Kubrick, Kubrick On Full Metal Jacket, Kubrick: The Definitive Edition (2001) | Manoushak Fashahi, A Voix Nue: Stanley Kubrick #4 (24/3/2011) | Manoushak Fashahi, A Voix Nue: Stanley Kubrick #5 (25/3/2011)]
Introduction (1991) [Stanley Kubrick, Decalogue: The Ten Commandments]

Published Screenplays

Napoleon (1969) [Stanley Kubrick, Stanley Kubrick's Napoleon: The Greatest Movie Never Made (2009)]
A Clockwork Orange (1972) [Stanley Kubrick]
Full Metal Jacket (1987) [Stanley Kubrick, Gustav Hasford, and Michael Herr]
Eyes Wide Shut (1999) [Stanley Kubrick and Frederic Raphael]

Letters To The Editor

Les Sentiers De La Gloire: Pourquoi Avez-Vous Choisi Des Soldats Francais? (5/3/1959) [Stanley Kubrick, L'Express]
Mr Kubrick On: Lolita And The Press (24/6/1962) [Stanley Kubrick, The Observer]
Now Kubrick Fights Back (27/2/1972) [Stanley Kubrick, The New York Times, Section Two]
Stan Kubrick To Detroit News (9/4/1972) [Stanley Kubrick, Detroit News]
1,001 (24/11/1975) [Stanley Kubrick, New York]

Public Statements

(12/2/1963) [Dorchester Hotel, London; Dr Strangelove press-conference]
Commander-1 (1965) [dustjacket blurb]
The Films Of Frank Capra (1977) [open letter]
The Killer Inside Me (1965) [cover blurb]
(6/1985) [Stanley Kubrick, National Film Theatre, London; Bill Rowe Tribute]
This Is Your Life: Arthur C Clarke (1994) [Stanley Kubrick, open letter]
(17/1/1994) [retrofuture.com (2001)]
DW Griffith And His Wings Of Fortune (1997) [Directors Guild of America DW Griffith Award]
(1997) [Mostra Internazionale d'Arte Cinematografica Leone d'Oro]

The Kubrick Estate

Following his death in 1999, Kubrick's family permitted Jon Ronson, Bernd Eichhorn, and Alison Castle to visit Childwickbury Manor and catalogue his archives. Ronson made a documentary for More4 (Stanley Kubrick's Boxes, 15/7/2008), giving a brief survey of Kubrick's store-rooms. 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 (his home near St Albans) to the University of the Arts in London. Artists Jane and Louise Wilson used photographs from the archives for their installation Unfolding The Aryan Papers (2009), and a selection of artefacts from the archives was exhibited at the Barbican in London (Stanley Kubrick - 2008: A Film Odyssey, 2008).

Kubrick's Look Photographs: 1945-1950

At high school (1942-1946), Kubrick took pictures for the school magazine (Portfolio) and yearbook. 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 (#1.8, 9/1950); another, taken in the Copacabana nightclub, was published in Quick magazine (Are Nightclubs Old-Fashioned?, 26/11/1951). After leaving Look to become a director, Kubrick had no further images published, with one exception: a colour self-portrait for the cover of Newsweek (#79.1, 3/1/1972).

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 (12/7/1955), and a photo of cannabis (Dope Is Threatening Our Youth, 13/3/1951). 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. Rainer Crone curated three exhibitions of Kubrick's photographs: 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).

This is the first comprehensive list of Kubrick's published photographs, and it remains the most extensive list ever compiled. A copy 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.

1945

(#9.13, 26/6/1945) [newsvendor reacting to the death of Franklin D Roosevelt]
Kids At A Ball Game (#9.19, 16/10/1945) [eight photographs of various children watching a baseball game]

1946

Psychoquiz: Are You A Fatalist? (#10.1, 8/1/1946) [photographs to accompany a personality test]
(#10.1, 8/1/1946) [recording the Boston Blackie radio show]
Teacher Puts 'Ham' In Hamlet (#10.7, 2/4/1946) [Aaron Traister teaching Hamlet]
A Short-Short In A Movie Balcony (#10.8, 16/4/1946) [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 (#10.12, 11/6/1946) [a woman browses for hats in a department store]
Meet The People: How Many Times Did You Propose? (#10.15, 23/7/1946) [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 (#10.17, 20/8/1946) [visitors at a zoo stare at captive monkeys, and vice-versa]
Buy Victory Bonds (#10.18, 3/9/1946) [Victory Bonds advertisement]
Meet The People: What Was Your Childhood Ambition? (#10.19, 17/9/1946) [twelve vox pop portraits: Sunny Skylar, Art Ford, DL 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? (#10.19, 17/9/1946) [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 (#10.20, 1/10/1946) [eighteen photographs of patients in a dentist's waiting-room]
Meet The People: How Would You Spend $1,000 In A Week? (#10.24, 26/11/1946) [vox pop portraits of Alexander Singer, Al Mele, Pat Reinders, John Conte, Roberta Adams, Nikke Montan, and others]
Bronx Street Scene (#10.24, 26/11/1946) [two women admiring their friend's haircut]
(#10.24, 26/11/1946) [portraits of Johnny Grant interviewing showgirls, a monkey, a woman being massaged, and others]
Midsummer Nights In New York (#10.24, 26/11/1946) [four photographs of various nightclubs, including Ezio Pinza performing in South Pacific]
Meet The People: What's Your Idea Of A Good Time? (#10.25, 10/12/1946) [vox pop portraits of Marvin Traub, Harold Shaw, Kubrick's first wife Toba Metz, and others]

1947

Television: It Will Start To Grow Up (#11.1, 7/1/1947) [the layout of a television studio]
Meet The People: What Part Of America Would You Like To See This Year? (#11.1, 7/1/1947) [vox pop portraits]
Photoquiz (#11.2, 21/1/1947) [a jaguar growling]
How To Spot A Communist (#11.5, 4/3/1947) [photograph of Joseph Stalin's book Foundations Of Leninism]
Meet The People: Why Do You Wear A Mustache? (#11.5, 4/3/1947) [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 (#11.5, 4/3/1947) [clandestine portraits of commuters, including Toba Metz, sleeping, gossiping, and flirting on the subway]
Photocrime: Cobb Reasons It Out (#11.6, 18/3/1947) [portraits of Don Briggs, Jan Miner, and Paul Potter]
Meet The People: What Is Your Favorite Way Of Loafing? (#11.6, 18/3/1947) [vox pop portraits of Steve Driver, Louise Oliver, Myrtle Martin, Gene Leone, Larry Bledsoe, and Sandie Meandro]
Baby Wears Out 205lb Athlete (#11.6, 18/3/1947) [Bob Beldon playing with Dennis Henry]
First Look At Mirror Bewilders Baby (#11.10, 13/5/1947) [George Eckert and his reflection]
While Mama Shops (#11.6, 18/3/1947) [children playing in prams whilst their mothers are shopping]
Meet The People: What Was Your Worst Experience? (#11.10, 13/5/1947) [vox pop portraits of orphans whose parents died in concentration camps during World War II]
Photoquiz (#11.11, 27/5/1947) [furniture]
Meet The People: Do You Have Any Desire To Go West? (#11.11, 27/5/1947) [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? (#11.12, 10/6/1947) [vox pop portraits of Anthony Ianule, Andre Baruch, Naomi Rubrum, Esther Stanberg, John Cleary, and Thelma Gellman]
Fun At An Amusement Park (#11.13, 24/6/1947) [roller-coasters, a palm-reader, and a 'sex-o-meter' machine at the Palisades amusement park in New Jersey]
(#11.15, 22/7/1947) [a scientific drinking-bird toy]
(#11.16, 5/8/1947) [colour cover photograph of a boy soaked by a running tap]
Photoquiz (#11.16, 5/8/1947) [two photographs: a knotted rope and the Brazilian flag]
In Amerika Habe Ich Die Freiheit Gefunden (I Found Freedom In America) (#11.16, 5/8/1947) [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 (#11.16, 5/8/1947) [portrait of Jack Murphy throwing a javelin]
Family Full Of Health: The Jantzens Enjoy Keeping Fit (#11.17, 19/8/1947) [Gene Jantzen with his wife Pat and son Kent in Bartelso, Illinois]
The 5 And 10 (#11.18, 2/9/1947) [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 (#11.19, 16/9/1947) [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 (#11.20, 30/9/1947) [portraits of Flo McGinnis, Bob Robinson, Johnny Makar, Johnny Longo, King Brady, and others at a Kansas City speed derby]
(#11.20, 30/9/1947) [a mother separating her two fighting babies in Philadelphia]
Teen-Agers Take Over A Radio Station (#11.21, 14/10/1947) [portraits of Phil Jansen, Ned Calmer, Gloria Swanson, Francis Kearney, and Irving Ritz at radio station WTAG]
(#11.22, 28/10/1947) [portrait of Joseph L Mankiewicz]
(#11.23, 11/11/1947) [Dick Tracy dolls]
(#11.24, 25/11/1947) [a model wearing a dress]
Meet The People: Who Stands Pain The Best? (#11.24, 25/11/1947) [vox pop portraits of Barbara Williams, Gail McCammon, RE Krause, Mary Linsley, RV Martin, Ellen MacKensie, HB Nunnally, Margaret Baker, and Catherine Miller]
(#11.25, 9/12/1947) [fans, including some colour images]
(#11.25, 9/12/1947) [the Broadway musical High Button Shoes, with portraits of Phil Silvers, Nanette Fabray, and others]
(#11.25, 9/12/1947) [coffee machines]

1948

(#12.1, 6/1/1948) [portrait of Doris Day]
Bubble-Gum Contest (#12.2, 20/1/1948) [a bubble-gum competition]
Help Your Doctor Diagnose Appendicitis (#12.2, 20/1/1948) [an appendicitis x-ray]
It Happened Here (#12.5, 2/3/1948) [portrait of Nanette Frederies]
(#12.5, 2/3/1948) [advertising sandwich board]
Miss America Goes To The Methodist Youth Conference (#12.6, 16/3/1948) [portraits of Barbara Jo Walker and Larry Eisenberg]
Photocrime: Death In A Flash (#12.6, 16/3/1948) [a photo-story in which a woman is poisoned]
The Case Against Universal Military Training (#12.7, 30/3/1948) [a former GI soldier]
The Boss Talks It Over With Labor (#12.7, 30/3/1948) [Eric O Johnson addresses his employees in Connersville, Indiana]
Art Gallery Dali Exhibition (#12.7, 30/3/1948) [private view of a Salvador Dali exhibition]
Psychoquiz (#12.7, 30/3/1948) [a bowl of popcorn]
(#12.8, 13/4/1948) [portrait of Miguelito Valdes]
Wash Day In A Self-Service Laundry (#12.9, 27/4/1948) [John Carradine at a launderette]
Rheumatic Fever: Childhood's Most Neglected Disease (#12.9, 27/4/1948) [children with rheumatic fever at La Rabida Jackson Park Sanitorium, Chicago]
Meet The People: Meet President Truman? (#12.9, 27/4/1948) [vox pop portraits]
Musical Tycoon (#12.9, 27/4/1948) [portrait of Henry Reichhold]
Columbia: It's New Head Is Eisenhower (#12.10, 11/5/1948) [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 (#12.11, 25/5/1948) [backstage at the Ringling circus, Florida, including the ringmaster with a clown, tight-rope-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 picture on the cover; reprinted on 6/9/1955]
(#12.11, 25/5/1948) [portraits of Electric Light and Power employees]
Dale Carnegie: He Sells Success (#12.11, 25/5/1948) [portraits of Dale Carnegie and his wife]
Deaf Children Hear For The First Time (#12.11, 25/5/1948) [a party for deaf children held by Rise Stevens]
Mooseheart: The Child City (#12.12, 8/6/1948) [pupils at a preparatory school in Mooseheart, Illinois, with one of their teachers, with a cow, doing the splits, and eating a meal]
(#12.12, 8/6/1948) [portraits of a fashion model]
One-Man Track Team: Irving Mondschein Reaches For Olympic Honors (#12.12, 8/6/1948) [portraits of Irving Mondschein during a decathalon]
New York: World Art Center (#12.12, 8/6/1948) [portrait of George Grosz]
Holiday In Portugal (#12.16, 3/8/1948) [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 1/12/1953]
Bumper Baby Crop Starts School (#12.17, 17/8/1948) [children trying on new clothes]
Will This Be The New Look For Men? (#12.17, 17/8/1948) [two pictures of a male model wearing a convertible coat]
Wally Conquers Polio (#12.21, 12/10/1948) [portraits of Wally Ward]
(#12.21, 12/10/1948) [artworks by Frank Sinatra, John Garfield, Joe Louis, Katharine Cornell, and Esme Sarnoff]
What Makes Their Eyes Pop? (#12.21, 12/10/1948) [portraits of gallery visitors viewing the Mona Lisa at the Louvre in Paris]
(#12.22, 26/10/1948) [Ringling Museum of Art, Florida]
New Toy Spurs Milk Drinking (#12.25, 7/12/1948) [a boy making a toy train from milk cartons]
The Truth About The World's Richest Race Track (#12.25, 7/12/1948) [the Aqueduct race track]
How Eight Look Photographers See Jane Greer (#12.26, 21/12/1948) [portrait of Jane Greer]

1949

(#13.2, 18/1/1949) [the Broadway musical Kiss Me, Kate]
Prizefighter (#13.2, 18/1/1949) [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 (#13.3, 1/2/1949) [Robert Taft campaigning for re-election in Ohio]
America's Man Godfrey: One Of The Highest Paid And Most Listened To Entertainers In The Nation (#13.3, 1/2/1949) [portraits of Arthur Godfrey with his wife Mary, his son Mike, his daughter Pat, Gene Autry, Jack Carson, and others; reprinted on 22/9/1953]
Fight Night At The Garden: Some Fans Roar For Gore (#13.4, 15/2/1949) [Bill Corum, Don Murphy, and a large crowd all watching a boxing match between Eduardo Carrasco and Nunzio Carto at Madison Square Garden; reprinted on 1/6/1954]
Lobster Comes Home (#13.5, 1/3/1949) [portraits of Jose Ferrer and Phyllis Hill eating lobsters]
The American Look Is A Proud Thing (#13.6, 15/3/1949) [photographs of fashion models; luggage; a purse and umbrella; an airline ticket; a menu, telegram, playbill, and champagne glass; a baby's bottle and rattle; a tennis racket and skiing poles; office equipment; cleaning equipment; a portrait of Dorothy McGuire]
(#13.7, 29/3/1949) [photographs of the Keeley Institute]
Chicago: City Of Extremes (#13.8, 12/4/1949) [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]
(#13.9, 26/4/1949) [Bert Parks recording the Stop The Music radio show]
Pint-Size Sculptor With Big Ideas: Koren der Harootian (#13.10, 10/5/1949) [profile of Koren der Harootian]
Gridiron Show: St Louis Stages Its Own (#13.10, 10/5/1949) [Forest Smith and AP Kaufman at the St Louis Advertising Club Gridiron Dinner]
University Of Michigan (#13.10, 10/5/1949) [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, CW Spooner, HR 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]
The 16-Ounce Look (#13.12, 7/6/1949) [sportswear on a tennis court]
Father's Day For Father Berle (#13.13, 21/6/1949) [portraits of Milton Berle and his daughter Vickie, Ezio Pinza and his son Peter, and Peter Pinza alone; reprinted on 8/7/1958]
Montgomery Clift... Glamour Boy In Baggy Pants (#13.15, 19/7/1949) [portraits of Montgomery Clift, showing him drinking milk, yawning while reading a script, playing with a baby, carrying his coat, drinking coffee, and drunk on the floor]
(#13.5, 19/7/1949) [portrait of Arthur Godfrey]
(#13.5, 19/7/1949) [Copacabana nightclub]
Guy Lombardo Makes Sweet Music (#13.16, 2/8/1949) [portraits of Guy Lombardo]
(#13.16, 2/8/1949) [the Broadway production of Miss Liberty: portraits of Mary McCarthy, Eddie Albert, Allyn McLerie, and Moss Hart]
(#13.17, 16/8/1949) [a Lexington Avenue subway station]
(#13.17, 16/8/1949) [portraits of Vaughn Monroe]
(#13.17, 16/8/1949) [profile of Masterpiece, a prize-winning poodle]
The American Look... Sweaters (#13.18, 30/8/1949) [colour cover photograph of a model wearing a red jumper]
Philadelphia's First Beaux Arts Ball (#13.19, 13/9/1949) [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 (#13.20, 27/9/1949) [portraits of Pat White]
(#13.20, 27/9/1949) [Jule Styne, Anita Loos, and others at the auditions for the Gentlemen Prefer Blondes musical]
Peter Arno: Sophisticated Cartoonist (#13.20, 27/9/1949) [portraits of Peter Arno, Joan Sinclair, and Tom Murphy]
World's Most Escape-Proof Paddy-Wagon (#13.20, 27/9/1949) [the world's most escape-proof prison van, including images of the prisoners inside it, a gun, and some bullets]
Nehru: Charles Baskerville Paints India's Prime Minister (#13.21, 11/10/1949) [portraits of Charles Baskerville]
Home-Town Hero (#13.22, 25/10/1949) [portraits of Lou Maxon celebrating Lou Maxon Day in Onaway, Michigan]
Meet The Chairman Of The GOP (#13.22, 25/10/1949) [portraits of Guy G Gabrielson and his family]
A Dog's Life In The Big City (#13.23, 8/11/1949) [dogs in various urban locations]
Divorce: A Woman's Tragedy (#13.24, 22/11/1949) [portraits of divorced women]
Celebrities Paint To Raise Money For Charity (#13.24, 22/11/1949) [paintings by Mary Martin, Ezio Pinza, Henry Fonda, General Harry Vaughan, and Charles F Brannan]
New York Society Ball (#13.25, 6/12/1949) [portraits of Nancy Oakes, Ilka Chase, Norton Brown, Pat Ogden, Enrico Donati, Janet Blair, Sally DeMarco, and others at the Wedgewood Ball]
(#13.25, 6/12/1949) [portraits of Jere Whaley]
(#13.25, 6/12/1949) [portrait of Buffalo Bob Smith]
Portable Porter: Luggage On Wheels (#13.26, 20/12/1949) [a new range of luggage]
(#13.26, 20/12/1949) [portrait of Sherman Billingsley]
(#13.26, 20/12/1949) [the Museum of Modern Art]
Howdy Doody Wows The Kids (#13.26, 20/12/1949) [the television show Howdy Doody]

1950

(#14.1, 3/1/1950) [portrait of Robert Montgomery]
(#14.1, 3/1/1950) [a human brain next to a boxer's skull]
The Mid-Century Look Is Now The American Look (#14.1, 3/1/1950) [portraits of Ann Klem, Gene Wallace, Phyllis Rowand, and Nina Rowand]
Eisenhower Is Open To Being A Republican Candidate (#14.2, 17/1/1950) [portrait of Dwight D Eisenhower]
Don't Be Afraid Of Middle Age (#14.3, 31/1/1950) [portraits of middle-aged couples]
Candidate Robert A Taft (#14.3, 31/1/1950) [portraits of Robert Taft]
Sinatra And Kirsten Take Richmond (#14.3, 31/1/1950) [portraits of Frank Sinatra and Dorothy Kirsten at public engagements in Richmond]
Rocky Graziano: He's A Good Boy Now (#14.4, 14/2/1950) [portraits of Rocky Graziano, another boxing day-in-the-life; features Graziano with Whitney Bimstein, Irving Cohen, Eddie Marotta, Roxie Graziano, during a telephone call, and boxing with Sonny Horne; reprinted on 14/12/1954, 28/12/1954, 7/8/1956, and 30/4/1957]
Lady Lecturer Hits The Road (#14.5, 28/2/1950) [Emily Kimbrough giving lectures in St Louis]
Big Little Art Collection (#14.5, 28/2/1950) [art collectors Milton Kramer and Helen Kramer]
Traveling Saleswoman USA (#14.6, 14/3/1950) [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]
Boy Wonder Grows Up (#14.6, 14/3/1950) [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 25/8/1953]
(#14.7, 28/3/1950) [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? (#14.8, 11/4/1950) [Don Newcombe at a baseball game]
Phil Rizzuto: The Yankee Nipper (#14.10, 9/5/1950) [portraits of Phil Rizzuto and Joe di Maggio; reprinted on 15/1/1952 and 5/8/1958]
Ken Murray Tries Out TV Talent (#14.10, 9/5/1950) [Ken Murray auditioning women for his Ken Murray Show on television]
(#14.10, 9/5/1950) [portraits of Phil Rizzuto with Joe di Maggio, Yogi Berra, and Vic Raschi]
The GOP Has A Roosevelt Too (#14.11, 23/5/1950) [portraits of Theodore Roosevelt and his family]
Dixieland Jazz Is "Hot" Again (#14.12, 6/6/1950) [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 13/12/1955 and 18/3/1969]
Double Or Nothing Guests See Sights Of Hollywood (#14.12, 6/6/1950) [recording the Double Or Nothing radio show, including portraits of Judy Canova, Bing Crosby, Jane Wyman, Edith Head, and others]
(#14.13, 20/6/1950) [profile of Russ Hodges]
12 Children - $75 A Week (#14.14, 4/7/1950) [the Bova family from Stamford, Connecticut]
The Ballad Of Peggy Lee (#14.15, 18/7/1950) [portraits of Peggy Lee and Dave Barbour in Valley City; reprinted on 29/8/1950]
The Debutante Who Went To Work (#14.15, 18/7/1950) [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 12/9/1950 and 15/1/1952]
The US Is Going Cowboy Crazy (#14.15, 18/7/1950) [Roy Rogers with children wearing cowboy costumes]
What Every Teenager Should Know About Dating (#14.16, 1/8/1950) [teenagers out on dates]
(#14.16, 1/8/1950) [portraits of Gene Autry at Madison Square Garden]
(#14.16, 1/8/1950) [portraits of Erroll Garner]
Faye Emerson: Young Lady In A Hurry (#14.17, 15/8/1950) [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 (#14.17, 15/8/1950) [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 (#14.17, 15/8/1950) [one photograph of a hand holding twelve playing-cards]
Our Last Frontier: Transoceanic TV (#14.19, 12/9/1950) [David Sarnoff in a television studio; reprinted on 29/11/1955]
(#14.19, 12/9/1950) [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 (#14.20, 26/9/1950) [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 (#14.20, 26/9/1950) [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 (#14.20, 26/9/1950) [one portrait of George Lewis performing with his clarinet, with other musicians in the background]
What Teenagers Should Know About Love (#14.21, 10/10/1950) [teenagers with their parents and pets, and 'I hate love!' written in lipstick]
The Look All-American Baseball Team (#14.21, 10/10/1950) [Ralph Kiner during and after a Pittsburgh Pirates baseball game]
Ballet Is Fast Becoming Entertainment For The Masses (#14.22, 24/10/1950) [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 (#14.22, 24/10/1950) [a woman who suspects her husband is unfaithful]
Peter Lind Hayes Puts The Stork Club On TV (#14.22, 24/10/1950) [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 (#14.24, 21/11/1950) [Rosemary Howren participating in a health-screening programme]
Fifty Years Of Model Railroads (#14.25, 5/12/1950) [JL Cowen, Lawrence Cowen, and George C Marshall with model trains]
How Radio's Top News Team Covers The World (#14.25, 5/12/1950) [CBS news reporters in the studio]