Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity

Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity
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成为大男子主义:斯坦利·库布里克、斯巴达克斯和 20 世纪 50 年代的犹太男子气概

DOI:
10.1093/adaptation/apv006
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发表时间:
2015
期刊:
Adaptation
影响因子:
--
通讯作者:
Abrams N
Abrams N
中科院分区:
--
文献类型:
--
作者:
Abrams N

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本文试图揭示斯坦利·库布里克的《斯巴达克斯》(1960)中潜在的犹太主题。电影中明显没有明确提到犹太人,犹太人和犹太教,但霍华德法斯特1951年小说的犹太人,加上编剧道尔顿特朗博的各种草稿,以及主要动力和星星柯克道格拉斯和库布里克的干预,仍然渗透到最终的屏幕版本。男性犹太人自我形象的要素:犹太人大卫的性格,安东尼性格的犹太性,以及被称为“menschlikay”的犹太哲学“男子气概”,它赋予犹太人胆怯的姿态,并诋毁为“goyish”或“un/non-Jewish/Gentile”,传统的男子气概。在考虑了库布里克在制作这部电影中实际扮演的角色以及最初是什么吸引了他之后,我将依次处理这些问题,然后总结斯巴达克斯的犹太性对于理解库布里克和他的整个职业生涯的重要性。在这方面,它广泛利用档案材料来探索改编过程。
This article seeks to uncover the underlying Jewish thematics of Stanley Kubrick’sSpartacus(1960). Explicit references to Jews, Jewishness, and Judaism were conspicuously absent from the film, but the Jewishness of Howard Fast’s 1951 novel, combined with screenwriter Dalton Trumbo’s various drafts, as well as the interventions of prime motivating force and star Kirk Douglas and Kubrick, still penetrated through to the final screen version, It focuses on three interrelated, yet wholly and previously unexplored, elements of the male Jewish self-image: the character of David the Jew, the Jewishness of the character Antoninus, and the Jewish philosophy of ‘manliness’ known as ‘menschlikayt’, which privileged a Jewish posture of timidity, and denigrated as ‘goyish’ or ‘un/non-Jewish/Gentile’, conventional masculinity. These I will deal with in turn, after having considered the role Kubrick actually played in making the film and what drew him to the material in the first place, before concluding with the importance of the Jewishness of Spartacus for understanding both Kubrick and his career as a whole. In so doing, it makes extensive use of archival materials in exploring the adaptation process.
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