. The airline brand Pan-Am, synonymous with the 1960s and the by-word for (then) contemporaneity, style, prestige, travel, transatlanticism and the traversing of space, plays a prominent role in Catch Me If You Can – where Abignale Jr, adopts the persona and disguise of a Pan-Am airline pilot – just as it does in 2001: A Space Odyssey (1969). This ending also seems incongruous with some of the harsher aspects of the treatment, with its opening intimations of eugenics and the creation of a ‘perfect’ improved child. The many Kubrick obsessives studying his oeuvre, like Dan Brown characters poring over the Mona Lisa or rabbis holed up with The Torah, believe that Kubrick’s films are a star gate leading to alchemical transformation. . Images of flight, and suspension in space are recurrent throughout Kubrick’s cinema whether it is in images of the Pan-Am branded space travel of 2001 or in the famous opening ‘fly-over’ shot of The Shining (1981) as the camera glides over the mirror-like lake, moving to pick up the Torrance’s car as it wends its way along the surrounding mountain highway (an image of circularity and containment). Through a close reading of primary and secondary archival sources I propose that, in adapting Kubrick’s work, Spielberg films are both palimpsests (as Hutcheon describes the term) in the sense that the films both recall and (artificially) recreate the memory of Kubrick’s work through deliberately referential use of imagery, iconography, space and architecture, and yet remain profoundly auteuristic and Spielbergian.  Alison Castle, “Stanley Kubrick’s A.I.” in Alison Castle (ed.). Stanley Kubrick, New Perspectives (London: Black Dog Publishing, 2015) p. 328
 One might argue and hypothesise that the dissonance which is exhibited here also exhibits a contested, placeless, identity as both an American and British film maker. Is it evidence of artistic narcissism taken beyond the infinite? If the films interact with the viewer’s own consciousness in some hitherto insufficiently-grokked, quantum-mechanistic fashion, then the viewer would be putting the clues into the work before finding them — or rather, via the act of finding them. If Spielberg had made it 20 years ago about an adorable, unearthly creature estranged from human love, that too might have been stunning. Poole accepts HAL’s forecast and quits. Loneliness pervades A.I. Posted by 8 months ago. Challenging the assumption that the work of eighteenth and nineteenth century British artists like Constable, Hogarth, and Gainsborough dominate the frame, Ljujić offers a roster of European visual sources based on evidence found in the Kubrick Archive which include (among others) the nineteenth century realist painter Adolph Menzel, the French landscape artist Camille Corot and the Russian realist painter Nikolai Ge.
This document offers a dialogue between the film’s two ‘parents’ (the film’s titles open with “An Amblin/Stanley Kubrick production”) and elicits questions of authorship, ownership, replication, and adaption that hang over the film – issues central to the narrative of the film. I believe very strongly in parliamentary democracy, and I am of the opinion that the power and authority of the State should be optimized and exercised only to the extent that is required to keep things civilized. There is, however, no evidence (yet) to suggest that Kubrick’s work on the 1952 series had any impact on Spielberg’s film, but it is nevertheless interesting to note the symmetry, hence it is included here chiefly as an interesting aside. There's a side to the human personality that somehow senses that wherever the cosmic truth may lie, it doesn't lie in A, B, C, D. It lies somewhere in the mysterious, unknowable aspects of thought and life and experience. There are protean designs for The Shanty Town (where David meets Joe); the Robotics Institute (not realised in Spielberg’s film) and Rouge City, a hybrid, postmodern city space of desire and wish fulfilment that melds noir, Las Vegas, expressionism, art deco and Egyptian iconography. Humor me.
Where these also form points of reference for Peter Krämer, I will use them to offer a close analysis of the presence and role of space and architecture, in the film and the construction of Kubrickian and Spielbergian filmic environments.  When asked by Michel Ciment in an interview if he had a religious upbringing, Kubrick replied: "No, not at all. —Stanley Kubrick, What I want to argue (knowing I risk the ire of a legion of exegetists) is that Stanley Kubrick’s last few movies (from 2001 to Eyes Wide Shut) do not work as conventional dramatic narratives; that this is deliberate; and that it is for two primary reasons. If David is ‘imprinted’ to impersonate a ‘real’ child then one might argue that A.I.