ABSTRACT
This essay interrogates how the processes of curation and organization involved in the Toronto International Film Festival’s (TIFF) staging of the Kubrick estate-sanctioned exhibition contribute to the management of the filmmaker’s official legacy. Drawing from interviews with TIFF staff, and cogent analysis of the exhibition itself, it explores how Stanley Kubrick is represented as a curatorial ‘presence’ throughout the exhibition. The essay further demonstrates how the TIFF exhibition (in combination with its gift shop) embodies a larger trend within film culture whereby auteurs are increasingly understood through paratexts, both official and fan-made, that can circulate more freely than films.
