“Anticipating” Gibson’s The Passion of the Christ: The controversy over Cecil B. De Mille’s The King of Kings

Yael Ohad-Karny

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“Anticipating” Gibson’s The Passion of the Christ: The controversy over Cecil B. De Mille’s The King of Kings

机译：“期待”吉布森的《基督受难记》：关于塞西尔·B·德米勒的《万王之王》的争议

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Cecil. B. De. Milles epic production The King of Kings (1927), though not the first to recreate a Passion Play, raised first a quiet and then a more public Jewish outcry, which lead to rancor and, eventually, changes, if minor, in the film. The Anti-Defamation League also reached an agreement with the Motion Picture Producers Association allowing it to preview potentially problematic films. Jews were especially outraged at De Milles pernicious portrayal of Caiaphas, but saw the film in its entirety as arousing anti-Semitism. De Mille himself felt misunderstood. By contrast, Mel Gibsons, The Passion of the Christ (2004), which uses cinema realite to create a sense of horror, evoked an immediate public uproar, although with no concessions on Gibsons part. Following the story of reactions to The King of Kings compared to reactions to The Passion of the Christ provides important perspective on the evolving Jewish self image in the United States between 1927 and today.

机译：塞西尔。 B.德米尔斯（Milles）的史诗制片《国王之王》（The King of Kings，1927年）虽然不是第一个重新制作激情剧的人，但首先引起了人们的安静，然后引起了更多犹太人的强烈抗议，这引发了愤怒，并最终改变了影片中的内容。反诽谤联盟还与电影制片人协会达成了协议，允许其预览可能有问题的电影。犹太人对德米勒斯（Cafephas）的有害刻画感到特别愤怒，但他们将这部电影的整体视为激起了反犹太主义。德米勒本人感到被误解了。相比之下，梅尔·吉布森斯（Mel Gibsons）的《基督受难记》（2004），利用电影中的现实来营造一种恐怖感，引起了公众的轩然大波，尽管吉布森斯对此没有任何让步。在对《国王之王》的反应与《基督受难记》的反应进行比较的故事之后，我们对从1927年至今的犹太人自我形象的演变提供了重要的视角。

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《Jewish History》 |2005年第2期|00000189-00000210|共22页
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Yael Ohad-Karny;
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Tel-Aviv University, Israel;

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“Anticipating” Gibson’s The Passion of the Christ: The controversy over Cecil B. De Mille’s The King of Kings

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