ABSTRACT
This chapter considers the Jewess in relation to the art of Stanley Kubrick. By utilizing the latest insights in the emerging field of Kubrick studies—namely, the “new historical turn” that is based on exploiting material now deposited in his archive at the University of Arts, London, combined with the growing work on Kubrick’s Jewishness and on Kubrick and feminism, it argues for a reconsideration of Kubrick’s working practices with regards to Jewish women but also that the notion of the Jewess helps us to understand Kubrick’s work. It attempts to do so by combining a survey of those Jewish women with whom Kubrick worked and how they may have influenced his films before analyzing the Jewesses in both his realized and unrealized projects, in particular how his casting choices, among other factors, leave palimpsestic traces in his films and hence allows us to read those Jewish actresses as Jewesses on-screen.
