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Stanley Kubrick: New York Intellectual

斯坦利·库布里克：纽约知识分子

基本信息

批准号：
AH/J003603/1
负责人：
Nathan Abrams
金额：
$ 9.71万
依托单位：
Bangor University
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2012
资助国家：
英国
起止时间：
2012 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FJ003603%2F1
关键词：
Stanley Kubrick New York Intellectual

项目摘要

Stanley Kubrick (1928-1999) demonstrated a commitment to the dynamics of ethics and ethnicity that informed his craft. Tracing the development of Kubrick's work over his entire career, I will examine the subtle link between then moral and intellectual vision that distinguishes his films and its foundation in Jewish thought, values and cultural experience, which have been insufficiently acknowledged or understood hitherto.This project is the first major study to investigate the intellectual, religious, ethnic and moral foundations upon which the aesthetic vision of a seminal figure in postwar film are established. It will explore the impact of personal experience upon aesthetic vision to illustrate the presence of substantive Jewish content and methodology. It will also investigate how Kubrick fuses identity with Jewish cultural experience and moral imperative in films seemingly devoid of ethnic reference and where the deliberate suppression of the explicit reference to Jewish culture and historical experience appears evident.Kubrick's first principles were informed by Jewish cultural and historical experience. Although not immediately noticeable or obvious in his films, Kubrick's Jewishness was indelibly inscribed, forming the bedrock of his filmmaking, what George Steiner referred to as 'the pride and the burden of the Jewish tradition' (1961: 4). As historian Paula Hyman has observed, 'Even secularized Jews were likely to retain a strong ethnic Jewish identification, generally internally and reinforced from without' (1997: 91). For example, Kubrick displayed a pattern of casting such identifiably Jewish actors as Kirk Douglas, Tony Curtis, Peter Sellers, Miriam Karlin and Sydney Pollack in key roles in his films.The first tropological study of Kubrick's work, this project explores Kubrick from a cultural, historical, intellectual and ethnic perspective, exploring the diction, discourse, depiction and disconnected nature of Kubrick's characters who by conduct or particularized portrayals invite identification as Jews. Close scrutiny of Kubrick's canon reveals that Jewish thought and values are not a digression but an intrinsic, integral element of his work fundamental to his artistic vision.Frustratingly, however, unlike his contemporaries (Woody Allen, Mel Brooks, David Mamet, Arthur Miller), Kubrick refused to affirm his Jewish identity and offers us no easy way into ethnic identification in his work (but then Kubrick offers us no easy way into anything!). As a New York Jew, with a central European background, Kubrick shared with his coreligionist emigre filmmakers-Billy Wilder, Fritz Lang, Otto Preminger and Josef von Sternberg-a reluctance ever to explain his intentions (Ciment 2003: 59). Stripped of overt, explicit Jewish reference, Kubrick's films appear severed from his ethnic and cultural roots, ostensibly the least Jewish of the twentieth century's Jewish filmmakers. It is not my intention, however, to reduce Kubrick to a single message or to suggest that he had 'Jewish films', whatever that may mean, with purely literal and exhaustive meaning. Indeed, Kubrick's work can be enjoyed without recourse to its Jewish aesthetic or vision. Yet to do so, is to fail to read it backward, to understand the impact and sweep of history that inform his canon. Rather than diminish the universality that he has achieved in his cinematic oeuvre, I will illuminate the sources and scope of Kubrick's body of work in the hope of enhancing our understanding of his artistic expression by intensive and comprehensive re(viewing) of the work of the US' foremost postwar filmmaker. The principal output of this Fellowship will be an 80,000-word monograph on Kubrick.

斯坦利·库布里克（Stanley Kubrick, 1928-1999）表现出对伦理和种族动态的承诺，这些都影响了他的艺术。我将追溯库布里克整个职业生涯中作品的发展，考察他的电影中道德和知识视野之间的微妙联系，以及迄今为止尚未得到充分承认或理解的犹太思想、价值观和文化经验的基础。这个项目是第一个对战后电影中一个重要人物的美学视野所建立的知识、宗教、种族和道德基础进行调查的主要研究。它将探讨个人经验对审美视觉的影响，以说明实质性犹太内容和方法论的存在。它还将研究库布里克如何在看似缺乏种族参考的电影中融合犹太文化经验和道德要求的身份，以及故意压制对犹太文化和历史经验的明确参考。库布里克的首要原则受到犹太文化和历史经验的影响。虽然在他的电影中没有立即引起注意或明显，但库布里克的犹太性是不可磨灭的，形成了他电影制作的基石，乔治斯坦纳称之为“犹太传统的骄傲和负担”（1961:4）。正如历史学家Paula Hyman所观察到的那样，“即使是世俗化的犹太人也可能保留强烈的犹太民族认同，通常是内部的，并从外部得到加强”（1997:91）。例如，库布里克展示了一种模式，让柯克·道格拉斯、托尼·柯蒂斯、彼得·塞勒斯、米里亚姆·卡林和西德尼·波拉克等明显的犹太演员在他的电影中扮演关键角色。作为对库布里克作品的第一次人类学研究，该项目从文化、历史、知识和种族的角度探讨了库布里克的作品，探索了库布里克人物的措辞、话语、描述和不连贯的本质，这些人物的行为或特定的描绘会让人认同他是犹太人。仔细研究库布里克的经典作品就会发现，犹太人的思想和价值观并不是离题，而是他作品中内在的、不可或缺的元素，对他的艺术视野至关重要。然而，令人沮丧的是，与他的同时代人（伍迪·艾伦、梅尔·布鲁克斯、大卫·马梅特、亚瑟·米勒）不同，库布里克拒绝确认自己的犹太人身份，在他的作品中，他没有给我们提供任何容易的种族认同的方法（但库布里克也没有给我们提供任何容易的方法！）作为一个有中欧背景的纽约犹太人，库布里克和他的同宗移民电影制作人——比利·怀尔德、弗里茨·朗、奥托·普雷明格和约瑟夫·冯·斯特恩伯格——都不愿解释他的意图（《梦》2003:59）。库布里克的电影没有公开、明确地提及犹太人，似乎脱离了他的种族和文化根源，表面上是20世纪犹太电影人中最不犹太的。然而，我的意图并不是要把库布里克简化为一个单一的信息，或者暗示他有“犹太电影”，无论这可能意味着什么，纯粹是字面上的和详尽的含义。的确，库布里克的作品可以不依赖于其犹太美学或视觉来欣赏。然而，如果这样做，就不能反向阅读，不能理解他的经典所蕴含的历史影响和影响。与其贬低他在电影作品中所取得的普遍性，我将阐明库布里克作品的来源和范围，希望通过对这位美国战后最重要的电影制作人的作品的深入和全面的重新审视，提高我们对他的艺术表达的理解。该奖学金的主要成果将是一本关于库布里克的8万字专著。