In 1936, Samuel Beckett wrote a letter to the Soviet film director
Sergei Eisenstein expressing a desire to work in the lost tradition
of silent film. The production of Beckett's Film in 1964, on the
cusp of his work as a director for stage and screen, coincides with
a widespread revival of silent film in the period of cinema's
modernist second wave. Drawing on recently published letters,
archival material and production notebooks, Samuel Beckett and
Cinema is the first book to examine comprehensively the full extent
of Beckett's engagement with cinema and its influence on his work
for stage and screen. The book situates Beckett within the context
of first and second wave modernist filmmaking, including the work
of figures such as Vertov, Keaton, Lang, Epstein, Flaherty, Dreyer,
Godard, Bresson, Resnais, Duras, Rogosin and Hitchcock. By
examining the parallels between Beckett's methods, as a
writer-director, and particular techniques, such as the embodied
presence of the camera, the use of asynchronous sound, and the
cross-pollination of theatricality and cinema, as well as the
connections between his collaborators and the nouvelle vague, the
book reveals how Beckett's aesthetic is fundamentally altered by
his work for the screen, and his formative encounters with
modernist film culture.
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