Jean Epstein: Corporeal Cinema And Film Philosophy (french Film Directors Mup)
by Christophe Wall-Romana /
2013 / English / PDF
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This is the first comprehensive study of Jean Epstein's fiction and
documentary films, film theory, and writings on poetry and
homosexuality. Until now no general introduction to this very
influential filmmaker, thinker and writer was available in English.
The book unfolds the intellectual trajectory of Epstein, describes
and comments on his most famous films and little-known
documentaries, both silent and sound works, and defines the key
terms and concepts of his philosophy of cinema. Wall-Romana argues
that Epstein is among the most transformational thinkers of
modernity in that he brought together, before Walter Benjamin,
moving images, technology, embodiment and affect, philosophy and
literature.
This is the first comprehensive study of Jean Epstein's fiction and
documentary films, film theory, and writings on poetry and
homosexuality. Until now no general introduction to this very
influential filmmaker, thinker and writer was available in English.
The book unfolds the intellectual trajectory of Epstein, describes
and comments on his most famous films and little-known
documentaries, both silent and sound works, and defines the key
terms and concepts of his philosophy of cinema. Wall-Romana argues
that Epstein is among the most transformational thinkers of
modernity in that he brought together, before Walter Benjamin,
moving images, technology, embodiment and affect, philosophy and
literature.
After an introduction retracing Epstein's life and place in cinema
history, the first chapter shows the links between his early career
in medicine, his early writings (on poetry, cinema and
'lyrosophy'), and his conceptions of photogénie as embodied
viewing. The next two chapters examine his best-known film work
situated at the intersection of avant-garde and melodrama, and
bring a new focus on the interplay of technics, failed romance, and
queer themes and figures. The following three chapters take up his
metaphysical Brittany cycle of the 1920s, his documentary committed
to the Front Populaire, and his overall philosophy of the cinema.
The conclusion explores the surprisingly Epsteinian dimension of
some recent cinema, such as films by Soderbergh and Ang Lee, or the
wuxia genre.
After an introduction retracing Epstein's life and place in cinema
history, the first chapter shows the links between his early career
in medicine, his early writings (on poetry, cinema and
'lyrosophy'), and his conceptions of photogénie as embodied
viewing. The next two chapters examine his best-known film work
situated at the intersection of avant-garde and melodrama, and
bring a new focus on the interplay of technics, failed romance, and
queer themes and figures. The following three chapters take up his
metaphysical Brittany cycle of the 1920s, his documentary committed
to the Front Populaire, and his overall philosophy of the cinema.
The conclusion explores the surprisingly Epsteinian dimension of
some recent cinema, such as films by Soderbergh and Ang Lee, or the
wuxia genre.
Jean Epstein: Corporeal cinema and film philosophy is aimed at
students, lecturers, and scholars of silent cinema, film theory,
French studies, queer studies, poetry studies, and media and
digital studies in their turn towards embodiment and affect.
Jean Epstein: Corporeal cinema and film philosophy is aimed at
students, lecturers, and scholars of silent cinema, film theory,
French studies, queer studies, poetry studies, and media and
digital studies in their turn towards embodiment and affect.
