一个关于库布里克的读书吐槽笔记（缓慢更新）

Day 1 Excerpt from Cinema 2, The Time Image 今天醒着的一半时间都献给这篇文章了，所以我至今都怀疑自己是不是还在梦里... ‘Give me a brain’ would be the other figure of modern cinema, ［the first figure is the body - Ed］ This is an intellectual cinema, as distinct from the physical cinema. 这是开头第一句，非常抽象，而且全篇风格非常统一，往后走每逢论述到关键部分就是一系列的同源词汇或者正反义词的教学... 集中讨论的阿伦雷乃，which I know nothing about，于是我决定蒙C；安东尼奥尼，我觉得是B，不过D也有点像；库布里克，肯定选A啦 这不是寻找灵感，最近毫无灵感，这是在表扬我自己，今天阅读做得还不错，蒙的都全对了... Day 2 Two Views of Lolita 两篇都是在谈库布里克改编的《洛丽塔》 断断续续居然看了两三天。Robert Stam写的第一篇，没什么好看的，他觉得这个是有负盛名的一部，又正好夹在《斯巴达克斯》（很卖座的一部，有吗？其实感觉库布里克的电影都挺卖座的样子）和《奇爱博士》（算是评价特好的一部）之间。 Robert Stam只提出了两处他觉得从小说改编至电影仍然很出彩的地方：科幻电影（《弗兰肯斯坦》）直接跳切进入日常生活，以及彼得塞勒斯扮演的Clare Quilty的一系列人物变型。 还说了一下当时的审查制度限制了蛮多表达空间（其实下一篇也有说到这个，但是也有说库布里克怎么把这些限制变成了他电影的优势） 作者还希望让之后拍出了《奇爱博士》和《发条橙》的库布里克来尝试拍《洛丽塔》会更好。（但其实我倒觉得《洛丽塔》反而更像这些再加上《巴里林登》的祖师爷...） Thomas Allen Nelson写的第二篇，虽然很长但是真的太漂亮了。这里省略一万字对于这位Nelson对欲望、投射和想象，奥森威尔斯、库布里克和纳博科夫的严谨又诗意的串联的赞美。 最后一句"Tragically, Humbert never sees the twofold truth Kubrick shows us: Quilty mirrors the perverse underside of that dream, and Lolita never embodies its romantic substance." 我当时拼命把电影和小说都解读成自由人文主义对大众文化的批评，多么响亮的一个巴掌啊！ 补一个小札记：看的这篇文章里这个人说库布里克的《洛丽塔》里面有很多关于bedroom和bathroom的场景，和纳博科夫的原著相呼应，而且是一种对于psychological/sexual的暗示... public domesticity和guilty and repressed secrets of suburbia也真是好词（而且这两个形容好像可以套林奇脑袋上【Doge】）

Day 3

The Herd & Self-Reflexiveness 以及 On Viewing The Killing

其实都一般，好在都很短

两篇都直接间接引了这段台词：

"You have not yet learned that in life you have to be like everyone else. The perfect mediocrity; no better, no worse. Individuality is a monster and it must be strangled in its cradle to make our friends feel confident. You know, I have often thought that gangsters and artists are the same in the eyes of the masses. They are admired and hero-worshipped, but there is always present an underlying wish to see them destroyed at the peak of their glory."

第一篇里说库布里克在此以后所有的人物都有一种"desperately trying to lose themselves in the Herd" 的倾向，并且"They recognize the material near-necessity of denying the individual, but also (this is evident in Maurice's inflection) the genuine personal (and, in the final analysis, societal) catastrophe inherent in such a bargain."

第二篇相比第一篇好点，而且集中在说为什么这个剧本里出现了这么多的偶然，而且那个不扎实的行李箱不见得就是这个完美抢劫计划的阿喀琉斯之踵，"Kubrick's theme of perfect reason destroying the thinker because reason alone cannot anticipate every error in the cosmic labyrinth of fate."（这个确实很好玩，其实感觉这部离标准的黑色电影很远（不过显然作者不这么觉得，"The film is never quite comic in tone, yet it's not quite drama; and this uncertainty keeps one's mind off the thinly developed motivations. But the story's true noirish spirit flourishes during the queasy exposition of these weak, hopeless dreamers who follow the pied-piper of logistical genius, Johnny Clay (or Stanley Kubrick). "），但是整个电影里的第三人独白有种超级过瘾的宿命感...）

Day 4

Kubrick & The Fantastic

其实这个还蛮好玩，最起码是有个主题的：

"the fantastic can only originate from a background of strongly defined "realism". For there to exist an opposition between the real and the imaginary, and conceivably a fusion between the two, the framework of reality must be scrupulously respected. The whole tradition of fantastic literature was founded in the century of enlightenment (a period which Kubrick regards as the representation of all our current problems), from the English Gothic novel to German Romanticism. Its development in the nineteenth century ran parallel to that of science and positivism (of which it may be considered the shadowy underside); and it is instructive to note that, ...the greatest authors of the fantastic were also adepts of realism, even naturalism -- ...used science-fiction to illustrate the encounter between technology and magic."（虽然后来基本像万花筒一样瞎扯了很多东西）

主要讲的是《太空漫游》和《闪灵》，同类型片里面的翘楚。所有可以用来解读这两部电影的概念基本都涉及到了，甚至提到了前一部里面的essential humour...

《闪灵》的那一段论得很好，尤其是开头把它和《太空漫游》并举的论述尤其棒！

亮点超多的一篇，不过散到神伤。要是整篇文章都像结尾总结导演特色的那两段该有多好：

"Artistic creation has, after all, a genuine cathartic value. Just as myths do, Kubrick appears to be telling us, which is why he has always wished to identify his films with the collective subconscious. Modern civilization and science have divested our conception of the world of all its mythologies, and are exclusively bound by the principle of reality and the death instinct. It therefore befits the film-maker to create for the largest possible numbers -- with no distinction of class or society -- archetypal, mythopoeic works in which the spectator will find a balm for his torments and desires.

So it is, perhaps, that Kubrick, a disillusioned romantic become a "disillusionist" in his turn, rejecting lies and subterfuges, regarding life as either a tragedy or a grotesque farce, and often accused for just those reasons of being a nihilist, is in reality a great liberator. Helping us to know ourselves better is the same thing as allowing us to gain our independence. The contradiction which he has been exploring -- that of admitting the importance and legitimacy of the instincts and the subconscious, while at the same time regarding reason as the only solution for both the individual and mankind as a whole -- is one that confronts us all. Kubrick does not know the answer, even if the artist in him seems to have found it, but he poses the question with a magnificent and endlessly renewed invention of forms."

Day 5

三篇《奇爱博士》，其实这部没有多少好说的，不过库布里克的电影短于小个小时的长于两个小时的完全是不同的观影体验，短于两个小时常见的有这部，还有《全金属外壳》也很典型来着...

Last secrets of Strangelove revealed

没有什么好看的，值得一说的就是这里提到了Dr. No（..."Apart from being a favorite author of President Kennedy, Bond creator Ian Fleming was regularly serialized in Playboy, including the edition featuring a favorable profile about Kubrick himself."）还有就是The wheelchair-bound motif（提了一下查泰来，不过倒是不一定就是查泰来...大概是时间符合一点..."...believed that politically powerful figures were really overcompensating for being impotent in some hidden way and that could be indicated by the wheelchair. "）

摘一下结尾，导演的话："If I told you [the meanings of my films] it wouldn't be ambiguous - and if you didn't discover it for yourself, it wouldn't mean anything anyway."

Just What the Doctor Ordered: Cold War Purging, Political Dissent, and the Right Hand of Dr. Strangelove

摘个开头先..."Why should the bomb be approached with reverence? Reverence can be a paralyzing state of mind. For me the comic sense is the most eminently human reaction to the mysteries and the paradoxes of life. I just hope some of them are illuminated by the exaggerations and the style of the film. And I don't see why an artist has to do any more than produce an artistic experience that reflects his thinking."

无聊的历史和文化考察，无聊的历史和文化考察，无聊的历史和文化考察...then! "Rather than depicting sexual intercourse, however, the film seems to function on levels akin to masturbation. "一个巨大的隐喻！（可总算说回电影了！！！）

至于这部过于直白的电影究竟是不是a piece of self-indulgent farce on the part of Kubrick的问题...或者又是"High Maestro Film," which is defined by him as "aritistically and culturally hip ... appealing to the intelligentsia but generally popular as well, so the intellectuals have a major topic to address when they discuss it"...桑塔格不也说了16岁的观影者比大多数知识分子更能感到这部片子的价值嘛【Doge】

Dr. Strangelove

这篇随便翻了一下，感觉更没东西可以看，不过还蛮好看的吧，"We'll Meet Again Some Sunny Day."

Day 6

The Country of the Mind in Kubrick's Fear and Desire

把《恐惧与欲望》设置成所有库布里克后来作品的正（负）迁移的文本，其实感觉这样处理很讨巧，只要整个后面的论述能够跟上来可以自圆其说就很好...不过其实看完还是觉得乱，而且本来是建构的话就不能把太多该论述的地方当成理所当然。

而且从voice-over narrator的角度来说电影的narrative ambiguity真的好漂亮，而且线基本还是顺的，这里作者应该感谢大导演用《大开眼戒》结束了整个长途旅行，要不然也是该要掉河里的...不过说回来，大导演也可以对作者笑一个（如果有机会的话），毕竟这条线还勾勒出了一个非常自觉自省的创作者的样子。

这个话题下论得最好的：《大开眼戒》，其次《洛丽塔》，第三《恐惧与欲望》

摘一下《大开眼戒》里两夫妻对于这场nightmare的最终对话：

Thus, Bill is willing finally to talk with her about "what . . . you think we should do," as though struggling to construct a new narrative together.

Alice reasserts her own perceptions-in her most focused counterpoint to Bill's previous attempts at narrative order-that "the reality of one night, let alone that of a whole lifetime, can never be the whole truth," negating the significance of many of the film's events and thus reaffirming narrative ambiguity as the primary subject of Eyes Wide Shut.

Bill, meanwhile, responds by stating that "no dream is ever just a dream," indicating a willingness to listen to Alice's concerns while also voicing his own.

...Alice and Bill have found some kind of agreed meaning, on some level. Both are "awake now and hopefully for a long time to come."

At this point, Bill again attempts to impose narrative order by suggesting that they will be happy together "forever," but Alice cautions him not to think in those terms.

Alice's warning highlights how the marriage here is by no means saved, but that the union at least understands the dangerous potential for some...

现实不会醒来，噩梦仿佛没有尽头（我对《大开眼戒》应该是足金真爱【Doge】）

Day 7

A Commentary on Dr. Strangelove

有一半不用看的一篇（难怪我撑着看完了）

摘几个好玩的地方

1 By most reports, many of the best lines were improvised by Peter Sellers

2 In a Playboy interview, George C. Scott claims that the entire cast should have gotten screenplay credit, and that Kubrick had the wildest sense of humor of anyone he'd ever met

3 The film is presented as a recovered record found by aliens on a dead planet called Earth (The opening credits describe a "Micro-Galaxy-Meteor" logo with a squalling alien head. Amusing, in light of the stylized MGM logo used in 2001.)

5 在Dr. Strangelove究竟可能是谁的问题里，基辛格得到了最多的票数，第二名是个纳粹科学家，第三名是个匈牙利物理学家

6 The film is full of tiny jokes and references, mostly sexual in nature（这个说过了，下一个）

7 原著里，有一颗导弹就叫Lolita

Day 8

Excerpts from The Wolf at the Door: Stanley Kubrick, History and the Holocaust

用《大开眼戒》里阿汤哥撞在路边一辆蓝色的奔驰开始说"like many details small and large in Kubrick’s films, it is an example of the way in which Kubrick communicates meaning"简直梦幻开局，然后就是说《闪灵》怎么成为了大屠杀的一个subtext, "a close reading of Kubrick’s life and work reveals that the ocean of blood flowing from the elevator in The Shining in its sheer volume is the blood of centuries, the blood of millions, and, in particular, the blood of war and genocide in Kubrick’s own century"

而且《闪灵》参照了曼的《魔山》和卡夫卡的《城堡》..." as a Jew in a Gentile world, Kubrick would use his position as an outsider with a deep sensitivity to social injustice to expose the dark underside of society"

标记：Like Theodor Adorno, who famously declared that poetry was impossible after Auschwitz, Kubrick was aware of the problem of how to do ethical and artistic justice to depiction of the horror of mass extermination. This was especially true in his case, since his chief means of critical artistic inquiry was a satire whose style reflected not only the postmodern practice of play but also the tradition of "Jewish comedy [that] mixes laughter and trembling . . . [and] pain and pleasure"11. Kubrick himself noted "it was only possible to be a satirist briefly nowadays, as reality soon outstripped you"

Although, as we shall see, Kubrick often used words with great effect, he noted that "film operates on a level much closer to music and to painting than the printed word. . . . The thing a film does best is to use pictures with music" to create a dynamic living space of rich allusive potential and effect

一直到” Such indirection fit Kubrick’s open-narrative style of filmmaking, the narrative economy of film, the priority he gave to images over words, and the dreamlike structure of his films.”都是完美的。

接下来是《三只小猪》百年流变时间…The "Big Bad Wolf" in The Shining, therefore, is the product of many years of cultural evolution and reflects in particular the transformation wrought in the symbolic meaning of the wolf during the 1930s and 1940s.

The House of Harlan这个部分非常厉害…基本是库布里克老婆一家（德国人，而且是相当有教养而且和纳粹有千丝万缕的关系的那种）的地毯式背景搜刮…

Kubrick’s complicated processing of his own Jewish past was now colliding directly with a German presence. Ironically, perhaps, this helped produce an enduring and satisfying marriage.

其实这句话在我看来极度冒犯，大概让我困惑的是我怎么和一个我认为凡俗之外的人过凡俗的生活吧…

对《辛德勒名单》：… later went on record that Spielberg’s film was not about the Holocaust. As he told Frederic Raphael: "The Holocaust is about six million people who get killed. Schindler’s List was about six hundred who don’t" 93. Interestingly, Kubrick uses the present tense for the event and the past tense for the film, indicating the proximity the Holocaust itself had to Kubrick as well as dismissal of the film by consigning it to history.

"The Most Horrible Dream I Ever Had"

音乐（真的可以压缩一下）

最后一段：For Kubrick…the inextricability of good and evil, and precisely here in its highest cosmic sense and its worst terrestrial one. For Kubrick the cosmic is the inscription of the mundane. As Kafka too held, the realm of the monstrous, the grotesque, and the uncanny is not that of demons beyond our world, it is our own history: "the realm of primitive fears, of what has been forgotten and left behind, yet returns on occasion to plague us; it is the sense of alienation, of things we have made turning against us, of historical and social forces that we are helping to shape and that yet escape or our control and even our knowledge; and it may be also be a sense of the ‘wholly other’ invading our lives, of a deus absconditus choosing, suddenly, to reveal himself" 120. Even this God is of our own making. In the modern era we have killed God while failing to assert a new morality in God’s place. We are adrift, paradoxically, in an iron cage of institutions out of which fall, like hammers, the hard edicts of the heartless. The implications of The Dream of Jacob as composed and as placed within the dreamlike symbolic structure of The Shining are rendered brutally clear. The world has often been an abattoir and never more so than during the Holocaust. As, in Danny’s inner eye, the mountain of blood cascades from the elevator (a mechanical Jacob’s ladder), we are instructed in the single most terrible lesson of modern history: In twentieth-century Christian and Nazi Poland the descendants of Jacob–Israel’s father and Stanley’s–would awaken not, like the Biblical Jacob, to salvation, but to slaughter.

Day 9

Stanley Kubrick: The New Humanist

quite convincing...

Day 10

'Animals in My Head': Stanley Kubrick's Preoccupation with Bathrooms

这篇很好玩，库布里克电影里对盥洗室的执念。

'What in the name of Jesus H. Christ are you animals doing in my head?' 解题关键句也非常可爱（不过有语境的话其实有点吓人）

"This is the room in which the human pretense of civilization falls away and the one place in which out animal instincts are revealed, because as Erving Goffman said. it is the one 'backstage area' where we take off our social masks and where truth is spoken."

涉及到《洛丽塔》、《奇爱博士》、《太空漫游》、《发条橙》、《巴里林登》、《闪灵》、《全金属外壳》和《大开眼戒》（后三部是大头，说得非常精彩）

摘个结尾：It would appear that, with each successive bathroom episode, Kubrick etched the importance of that room with greater clarity and directness. Here is the place where all ambition, pretension, and vanity are cast into stark relief against the reality of the physical bodies we inhabit, grow old in, die in. No matter how high-flown humanity's grand designs are, people are ultimately seduced and fooled by them. These highly un-glamorous plumbing facilities are the last chance available to remind us of natural laws, actual humanity, perhaps the integrity of the animals we humans still simply are, and often resent being. Once we cross into the realm of living in our heads, we've cut ourselves off from the wisdom and knowledge our bodies ground us in. If we only live in our heads, and begin to lose the fear of the consequences our bodies may experience due to our minds running riot, we're certain to be smacked down by the brick wall of physical reality. And there's hardly a more incontrovertible proof of human existence than the necessary activities attended to in the bathroom. Absolutely no pretense is possible sitting on a toilet. We can conquer the animals in our heads only so long as we remember exactly what we are - animals in the "head."