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If cinema can be approached as poetry and philosophy, it is because
of Jean Epstein. Cocteau, Bunuel (who was his assistant),
Hitchcock, Pasolini and Godard, and theoreticians Kracauer, Deleuze
and Ranciere are directly influenced by Epstein's pioneering film
work, writings, and concepts. This book is the first in English to
examine his oeuvre comprehensively. An avant-garde artist and an
anti-elitist intellectual, Epstein wanted to craft moments of pure
transformative cinema. Using familiar genres - melodramas and
documentaries - he hoped to heal viewers of all classes and hasten
social utopia. A lover of cinema as cognitive and sensorial
technology, and a poet of the screen, he pushed cinematography - as
photogenie - towards the experimental sublime, through daring
close-ups, rhythmic montage, slow motion, even reverse motion.
Polish-born, half-Jewish, and the author of a treatise on
homosexuality, Epstein has been unfairly relegated to the shadows
of film history. This book restores him to the limelight of
interwar world cinema, on a par with Renoir, Lang, Capra and
Eisenstein. -- .
Cinepoetry analyzes how French poets have remapped poetry through
the lens of cinema for more than a century. In showing how poets
have drawn on mass culture, technology, and material images to
incorporate the idea, technique, and experience of cinema into
writing, Wall-Romana documents the long history of cross-media
concepts and practices often thought to emerge with the digital. In
showing the cinematic consciousness of Mallarme and Breton and
calling for a reappraisal of the influential poetry theory of the
early filmmaker Jean Epstein, Cinepoetry reevaluates the bases of
literary modernism. The book also explores the crucial link between
trauma and trans-medium experiments in the wake of two world wars
and highlights the marginal identity of cinepoets who were often
Jewish, gay, foreign-born, or on the margins. What results is a
broad rethinking of the relationship between film and literature.
The episteme of cinema, the book demonstates, reached the very core
of its supposedly highbrow rival, while at the same time modern
poetry cultivated the technocultural savvy that is found today in
slams, e-poetry, and poetic-digital hybrids.
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