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(单词翻译:双击或拖选)
Kitty Genovese, a 28-year-old woman who managed a bar, was stabbed to death on March 13, 1964, outside of her apartment building in Queens. That terrible crime, shocking in itself, became notorious when the vaunted New York Times reported that 38 people saw Kitty Genovese being murdered and did nothing.
(SOUNDBITE OF ARCHIVED RECORDING)
UNIDENTIFIED MAN #1: Tomorrow marks what many people regard as one of the most shameful1 anniversaries in New York City history.
UNIDENTIFIED MAN #2: Police discovered that more than 30 people had witnessed her attack. And no one had picked up the phone to call the police.
SIMON: It was a story of cruel indifference2 that became a signature of an uncaring New York in the 1960s. A new documentary re-examines the case and questions if that's what really happened. The film is by James Solomon and it features Bill Genovese, who is Kitty Genovese's younger brother. They both join us now from our studios in New York. Gentlemen, thanks so much for being with us.
BILL GENOVESE: You're welcome. Thank you.
JAMES SOLOMON: Thanks so much for having us on, Scott.
SIMON: Mr. Genovese, let me turn to you first. Not to give away too much of the film, what did you discover, Mr. Genovese?
GENOVESE: There were a lot of things we discovered. During the course of 11 years, there was a lot of stones we overturned. But basically the most fundamental thing was that the 38 eyewitness3 story and three attacks was not true.
SOLOMON: What's been incredibly striking is for 50 - now 52 - years, everybody has been telling a story of Kitty Genovese, but the voices that have not been heard are those who are actually the most impacted, most specifically Kitty's family. It turns out that the horror of her death and the public nature of her death, as Bill's older brother says in the film, it was so horrible, so terrible, that we basically erased4 her from our lives so that the next generation of Kitty's family can only tell you the story of her death. They don't have a story of her life. And what Bill has done in the film - and in my opinion, makes this the ultimate sibling5 love story - is reclaimed6 Kitty's life from her death, not just for the public but most importantly for his own family.
SIMON: There are so many emotional points in the film, certainly when you find the woman who held your sister when she died. I mean, you find people who did call the police. You did find the people - you find people who did shout at the murderer. You find a woman who was with your sister when she died.
GENOVESE: That was enormous. It was such a relief. My only regret is that my parents were not able to understand that that was the case. I think probably the worst thing about the whole story was that in the original story, 38 people witnessed that she was attacked three separate times over 32 minutes or some odd. Well, that's horrible. My parents would have been, I'm sure, somewhat relieved to have known that somebody was there and not only somebody, it was a friend of hers.
SOLOMON: Scott, the story of Kitty Genovese is known to all of us. We know the name Kitty Genovese 50 years later because it's the story of no one coming to the aid of someone. And yet, there was, as you point out, a woman who ran down in the middle of the night outside into a rear alley7 and forced her way inside a vestibule and cradled Kitty. How that part of the story has not been told for 50 years is stunning8.
SIMON: We need to mention her name.
SOLOMON: Sophia Farrar.
SIMON: Yeah. I have to be blunt. What you found in this film impeaches9 the editorial integrity of The New York Times. And the man who - A.M. Rosenthal, who eventually became the paper's executive editor, this story did a lot of good for his career. And it suggests that no less than one of the sleazy tabloids10 that The Times often mocks, they sensationalized a story and then put a sociological bent11 on it so that the readers would accept it.
GENOVESE: Yeah. I think it was a case of where Mr. Rosenthal thought through and composed in his head a scenario12 that seemed to fit with the facts that he knew at the time that he was able to speak out to the public that was coming from his heart rather than as a professional, I'm - even though I'm an editor, I'm a reporter, basically. And so I think he spoke13 from his heart and not from his professional point of view.
SIMON: You meet the son of Winston Moseley, your sister's convicted murderer. We should explain Moseley spent the rest of his life in prison, never paroled and died about a month ago
GENOVESE: Right
SIMON: He's a reverend. He seems a very good man, but he apparently14 grew up with some myths about your family.
GENOVESE: Yeah, he did. Stephen (ph) believed that the Genovese family was related to the Genovese crime family. And so the mythology15 that went around within his family was like, oh boy, you know, what's going to happen to us?
SOLOMON: The film is, in many respects, about false narratives17 and the impact of false narratives on our lives, how we hold stories, real or imagined, and they shape our lives. The Times story is a - the original Times story is a deeply flawed narrative16 that did some real good things. It was an inspiration or helped lead to 911 emergency system and Good Samaritan laws and neighborhood watch groups. But the truth is very important, and that's what Bill does within the film is to sort of unravel18 the truth so that we move forward knowing that there was on that night a hero and that some may have called on that night.
SIMON: There's a startling scene toward the end of the film when you get an actress to essentially19 re-enact Kitty Genovese's death, including that bone chilling scream.
(SOUNDBITE OF DOCUMENTARY, "THE WITNESS")
UNIDENTIFIED ACTRESS: (As Kitty Genovese, screaming) Help me.
SIMON: You alerted the neighborhood in advance so that they knew what was happening.
GENOVESE: Well, for me, going in, it was an effort to try to live through what she lived through in the very street with the buildings virtually the same as they were 50 years before. What it turned into for me was a morph to kind of my philosophical/spiritual bent, which is it's not just Kitty on the street. It's all of us on the street.
SOLOMON: Bill needed to feel what it was like that night and there was not a test of the neighborhood or testing of reaction of neighbors. And I think that's actually an incredibly important point. We've been filming in that neighborhood for 11 years and countless20 residents allowed us - welcomed Bill into their homes so he could see, feel and the way this neighborhood - because this neighborhood was branded, stigmatized21, by this narrative of 38 eyewitnesses22 not doing anything.
And yet the moment they met Bill and knew it was Bill, Kitty's brother, it changed everything. And that's why we are hearing from, for the first time in a half-century, the people most deeply affected23 because of Bill.
SIMON: Bill Genovese and James Solomon - their documentary is "The Witness." Gentlemen, thanks so much for being with us.
GENOVESE: Thank you.
SOLOMON: Thank you so much.
点击收听单词发音
1 shameful | |
adj.可耻的,不道德的 | |
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2 indifference | |
n.不感兴趣,不关心,冷淡,不在乎 | |
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3 eyewitness | |
n.目击者,见证人 | |
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4 erased | |
v.擦掉( erase的过去式和过去分词 );抹去;清除 | |
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5 sibling | |
n.同胞手足(指兄、弟、姐或妹) | |
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6 reclaimed | |
adj.再生的;翻造的;收复的;回收的v.开拓( reclaim的过去式和过去分词 );要求收回;从废料中回收(有用的材料);挽救 | |
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7 alley | |
n.小巷,胡同;小径,小路 | |
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8 stunning | |
adj.极好的;使人晕倒的 | |
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9 impeaches | |
v.控告(某人)犯罪( impeach的第三人称单数 );弹劾;对(某事物)怀疑;提出异议 | |
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10 tabloids | |
n.小报,通俗小报(版面通常比大报小一半,文章短,图片多,经常报道名人佚事)( tabloid的名词复数 );药片 | |
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11 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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12 scenario | |
n.剧本,脚本;概要 | |
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13 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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14 apparently | |
adv.显然地;表面上,似乎 | |
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15 mythology | |
n.神话,神话学,神话集 | |
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16 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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17 narratives | |
记叙文( narrative的名词复数 ); 故事; 叙述; 叙述部分 | |
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18 unravel | |
v.弄清楚(秘密);拆开,解开,松开 | |
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19 essentially | |
adv.本质上,实质上,基本上 | |
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20 countless | |
adj.无数的,多得不计其数的 | |
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21 stigmatized | |
v.使受耻辱,指责,污辱( stigmatize的过去式和过去分词 ) | |
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22 eyewitnesses | |
目击者( eyewitness的名词复数 ) | |
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23 affected | |
adj.不自然的,假装的 | |
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