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System shock 2 french epstein1/21/2024 ![]() ![]() As a theoretician and three-sided film director (a member of the Parisian avant-garde, a Breton grappling with the real, a man faced with industry demands), Epstein worked and inspired. Meanwhile, today’s cinephiles and analysts are passionate about Epstein’s most avant-garde and experimental films (Six et demi-onze, La Glace à trois faces, La Chute de la maison Usher, Le Tempestaire ), as well as the entire Breton period. The process was not achieved without breaks and detours, as the brilliant and erudite historian Jean Mitry, for example, wrote in 1966: “Neglecting content in order to pursue only form, his work is now in the past and has become considerably outdated.” 2 For Mitry, only Coeur fidèle (1923) would survive. This name may not mean much to many of those who turn to the screens to provide them with the weekly dose of emotion they need.” 1 Since then, oblivion has swallowed up the cinema of small doses, but the aura of Epstein, defender of great ecstasies, has only continued to grow. At the time, a radio broadcast announced the following obituary: “Jean Epstein has just died. Yet, few filmmakers are still as alive today. Jean Epstein disappeared over half a century ago, in 1953. Paul, Jean Epstein: Critical Essays and New Translations, we are here reprinting the essay by Nicole Brenez, "Ultra-Modern: Jean Epstein, or Cinema 'Serving the Forces of Transgression and Revolt.'" The anthology is published by Amsterdam University Press and available in the US and Canada from the University of Chicago Press. Many thanks to Amsterdam University Press, University of Chicago Press, Magdalena Hernas, Sarah Keller and Nicole Brenez. On the occasion of Anthology Film Archive's retrospective on Jean Epstein and the publishing of a new anthology on the filmmaker edited by Sarah Keller and Jason N. ![]()
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