Whether or not you self-identify as a cinephile, the chances you’ve escaped references to Stanley Kubrick’s contributions to cinema are slim to none. For those who aren’t familiar and those who are familiar with Kubrick’s beloved classics such as “A Clockwork Orange” and “The Shining,” the Berkeley Art Museum and Pacific Film Archive offers a unique opportunity to piece together a greater idea of Kubrick’s legacy as a filmmaker. Running until Aug. 30, the BAMPFA fills our sweltering summer days with the screening of the film series, “A Complete Stanley Kubrick.” The BAMPFA’s associate film curator Jeff Griffith-Perham spoke with The Daily Californian on June 29 about the decision to bring the exhibition to Berkeley.

“Part of what we’re doing is presenting a history of that person’s life. So much of Kubrick’s narrative has taken on something of a mythic quality, and when people see long gaps between his movies and later works, they’re always like, ‘Well, what was he even doing?’” Griffith-Perham explained, highlighting the enriching quality of becoming familiar with Kubrick’s work between films, as much as with the making of the blockbusters audiences know and love.

The “complete” screenings include Kubrick’s mini-documentaries such as “Flying Padre” and “The Seafarers,” unfinished films and features Kubrick handed off to other directors after completing preproduction. The formats range from 35 mm archival print for war drama “Paths of Glory” to 4K restorations for films such as political comedy “Dr. Strangelove” and science fiction epic “2001: A Space Odyssey.”

For Griffith-Perham, the audience’s ability to immersively experience a film such as those made by Kubrick is a higher priority than showing the original film itself. “When I’m thinking about such an exacting filmmaker who puts in so much effort into every detail of his image, the idea of having a scratched print or something like that didn’t sit right with me,” he said.

Griffith-Perham further discussed the work involving directors such as Martin Scorsese and Steven Spielberg to restore films such as “One-Eyed Jacks” to 4K quality and resolution. “Oftentimes the studios themselves are very proud of the work that was done for the restorations,” he explained.

Additionally, Griffith-Perham acknowledges Kubrick’s original intent to capture an audience and curates the formats according to what will engage the audience in the stories themselves. “I think if you can’t get into a movie theater, if you can’t see movies at the Pacific Film Archive, see the movies wherever you can. And if a scratch print is all there is of something, you can go see that scratch print, but that doesn’t mean we’re going to show it — as an archive with certain standards of presentation,” he elaborated.

In piecing together the exhibit, Griffith-Perham made deliberate choices to showcase Kubrick’s original intent and vision in the filmmaking process. This includes a showing of the “imported uncensored 35 mm archival print” of Eyes Wide Shut, which has subtle changes, ranging from inserted establishing shots at the beginning of the film to non-blacked-out erotic scenes — “What you’re seeing doesn’t dramatically change how you’re experiencing the scene, but it’s what Kubrick wanted you to see,” he explained.

Griffith-Perham’s reasoning for the films’ formats and curation is simple: “When we are presenting a film, we want to present the version that best represents the filmmakers,” he said.

Kubrick’s legacy as a filmmaker is certainly an ambitious one to represent, often characterized by his almost obsessive desire to control every element of his film’s making and distribution.

“He has a certain visual style that is, even from his very early black and white films, carried over, as well as just the general camera movements and the elegance of those. He brought that sort of exacting personality down to every phase of the process and the latter half of his career, where he had complete control,” Griffith-Perham highlights.

Though summer is a quieter season for the BAMPFA, the screenings have been filled with buzzing crowds — a likely outcome for the July 23 showing of “The Shining,” with visiting guest “Toy Story 3” director Lee Unkrich, who will hold a book signing for “Stanley Kubrick’s ‘The Shining.’”

“He interviewed everyone you could possibly interview. There are a number of anecdotes and interesting tidbits…all of this incredible behind-the-scenes photography and storytelling, and so much of it is also getting a sense of Kubrick as a human being.” Griffith-Perham explained in regards to Unkrich’s book.

The book, published by Taschen, grounds Kubrick’s sense of genius in his greater collaboration with his crews.

While Kubrick will turn 100 in just two years, Griffith-Perham highlighted the importance of showcasing Kubrick’s oeuvre for generations to come.

“Our first screening that we kicked off with was ‘2001,’” he said. “You could hear a pin drop during a very very quiet movie; in the audience, there were younger kids there, kids in their early teens, folks who probably saw it when it came out in 70 mm. There’s always a generation of people who have not seen these movies yet, so it’s nice to be able to provide them with an opportunity to see them.”