Stanley Kubrick: New York Intellectual

斯坦利·库布里克(1928-1999)展示了他对伦理和种族动态的承诺，这影响了他的创作。追溯库布里克整个职业生涯的发展，我将考察当时区别于他的电影的道德和智力愿景与其在犹太思想、价值观和文化经历中的基础之间的微妙联系，这些到目前为止还没有得到足够的承认或理解。这个项目是第一个调查战后电影中开创性人物的审美愿景建立在其智力、宗教、种族和道德基础上的重大研究。它将探索个人经验对审美视觉的影响，以说明实质性的犹太内容和方法的存在。它还将调查库布里克如何在似乎缺乏种族参照的电影中将身份认同与犹太文化经验和道德要求融合在一起，以及在哪里明显地刻意压抑对犹太文化和历史经验的明确提及。库布里克的第一原则是由犹太人的文化和历史经验提供的。尽管在他的电影中没有立即引起人们的注意或明显，但库布里克的犹太性是不可磨灭的，构成了他电影制作的基石，乔治·斯坦纳将其称为“犹太传统的骄傲和负担”(1961：4)。正如历史学家保拉·海曼所观察到的，“即使是世俗化的犹太人也可能保留着强烈的犹太族群认同，通常在内部和外部得到加强”(1997：91)。例如，库布里克展示了在他的电影中扮演关键角色的典型犹太演员，如柯克·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。本项目是对库布里克作品的第一次地理学研究，从文化、历史、智力和种族的角度探索库布里克，探索库布里克笔下的人物的措辞、话语、描绘和脱节的性质，这些人物通过行为或特殊的刻画而被认为是犹太人。仔细研究库布里克的经典作品可以发现，犹太思想和价值观并不是一种离题的东西，而是他作品中内在的、不可或缺的元素，对他的艺术愿景至关重要。然而，与他的同时代人(伍迪·艾伦、梅尔·布鲁克斯、大卫·马梅特、阿瑟·米勒)不同的是，库布里克拒绝肯定他的犹太人身份，并在他的作品中为我们提供了一条通向种族认同的捷径(但库布里克也没有给我们提供任何通向任何东西的捷径！)作为一名中欧背景的纽约犹太人，库布里克与他的同教流亡电影制作人--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--分享了一种永远不愿解释他的意图的想法(Ciment 2003：59)。除去公开的、明确的犹太元素，库布里克的电影似乎脱离了他的种族和文化根源，表面上是20世纪犹太电影制作人中最不像犹太人的人。然而，我并不打算将库布里克简化为一个单一的信息，也不是暗示他有纯粹字面上和详尽的意义的“犹太电影”，无论这意味着什么。事实上，库布里克的作品可以在不依赖其犹太美学或视觉的情况下被欣赏。然而，这样做，就是无法向后阅读，无法理解历史的影响和影响，这些影响和影响影响了他的经典。我不会贬低他在电影作品中实现的普遍性，而是阐释库布里克作品的来源和范围，希望通过深入和全面地回顾这位美国战后最重要的电影制作人的作品来加深我们对他的艺术表现的理解。这个联谊会的主要成果将是一本关于库布里克的8万字的专著。

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.