In this dissertation, Epstein’s writings about photogénie and two of this films are analysed in order that more light may be shed on this term, and photogénie is shown to be a rich and complex term that functioned on a variety of levels; cultural, theoretical and aesthetic. Download Full PDF Package. abstract = "In 1921 Editions de la Sir{\`e}ne published Jean Epstein{\textquoteright}s first book, Bonjour Cinema, a collection of writings which included the articles Magnification, and The Senses I (b). Find Photogénie de l’impondérable by Jean Epstein - 1935. I would describe as photogenic any aspects of things, being, or souls whose moral character is enhanced by filmic reproduction”. Il est un grand théoricien du cinéma et sa filmographie est conséquente. Adam Stangeby. September 2010; DOI: 10.13140/RG.2.2.25136.40960. 1: 1907 – 1029. Pour Epstein, la photogénie constitue la magie du cinéma, quelque chose qui nous dépasse, qui est inexplicable. keywords = "jean epstein, photogenie, silent cinema, french impressionist cinema, french cinema, narrative avant garde, avant garde", Farmer_Robert_2010_Jean_Epstein_and_Photogénie_Narrative_avant_garde_film_theory_and_practice_in_late_silent_era_French_cinema. It is refreshing to read a study by one so well versed in French literature, cinema, and philosophy, able to situate Epstein's work in the poetic ferment of the 1920s, and perfectly capable of distinguishing Epstein's aesthetic concepts (for example, photogénie and lyrosophie) from those of his contemporaries such as Walter Benjamin, Sergei Eisenstein, and Henri Bergson. Paul Willemen's article "Photogénie and Epstein," surveys the texts of Jean Epstein and his contemporaries (Louis… The term also appears in articles by Louis Delluc, Léon Moussinac, Ricciotto Canudo, Henri Fescourt and Jean‐Louis Bouquet, all published in France between 1920 and 1925. Jean Epstein (Warschau, 25 maart 1897 – Parijs, 2 april 1953) was een Frans filmregisseur, essayist en schrijver. Create. Tu ne trouves pas ce que tu cherches ? First edition, Bibliophile des Papeteries de France issue, limited to 120 numbered copies, of which this is number fifty-five, following thirty copies on vellum, for a total limitation of 150. However, as silent cinema gave way to sound cinema the term faded from use, with only Epstein retaining his commitment to the term. Vous pourrez également modifier vos préférences à tout moment en cliquant sur le lien paramètres des cookies en bas de page de ce site. Dans écrits sur le cinéma, Epstein parle de photogénie, c'est un terme qui apparaît au 18e siècle, il correspond à ce qui produit une image nette. However, as silent cinema gave way to sound cinema the term faded from use, with only Epstein retaining his commitment to the term. Here is a sentence from an article by Jean Epstein called “On Certain Characteristics of Photogénie”. That is the question that Laura Ivins seeks to answer in this video essay. If cinema can be approached as poetry and philosophy, it is because of Jean Epstein. [...], [...] La morale Le terme photogénie est défini par Louis Delluc La photogénie, voyez- vous, est la loi du cinéma. September's Reading: "Epstein and Photogénie" by Paul Willemen Thursday September 29 2011 VIVO Media Arts (1965 Main Street), Vancouver BC 7pm Salon Free Facilitated by Alex Muir No Reading returns in September with materials on early French avant-garde film. Epstein dit en parant de ce genre d'éléments dramatiques qu'ils paraissent vivants, comme étant situés dans l'évolution d'un sentiment Ceci nous amène à une réflexion sur l'aspect poétique que veut faire transparaître un réalisateur. In this essay, I examine the meanings of the concept, drawing examples from my favorite moments of photogénie in films from 1921-2016. Epstein’s Photogénie as Corporeal Vision: Inner Sensation, Queer Embodiment and Ethics : Critical Essays and New Translations. Although he is remembered today primarily for his adaptation of Edgar Allan Poe's "The Fall of the House of Usher", Epstein directed three dozen films and was an influential critic of literature and film from the early 1920s through the late 1940s. Analyse des bandes annonces d'American Horror Story saison 3 - Que représente la femme dans cette vidéo ? Thesis for: Master's Degree in … See, ‘Photogénie and Epstein’, in Paul Willemen, Looks and Frictions: Essays in Cultural Studies and Film Theory, London, BFI Publishing, 1994, p. 126. The term also appears in articles by Louis Delluc, Léon Moussinac, Ricciotto Canudo, Henri Fescourt and Jean‐Louis Bouquet, all published in France between 1920 and 1925. Il faut pour la reconnaître des yeux qui soient réellement des yeux Aussi le cinéma nous montre des choses qui ne se voient pas. La photogénie révèle les choses, elle doit transcender et renvoyer l'homme à sa nature. It goes like this: “What is photogénie? nos formules d'abonnement. When photogénie is written about today it is generally referred to as a mysterious, elusive, enigmatic, ineffable or indefinable term that refers to the magic of cinema, the essence or nature of cinema, and the power that cinema has to transform the everyday into something special. At her website, photographer Joanne Lee--who has entitled one of her pieces "Photogénie"--traces the term's usage to film-maker Jean Epstein who, in … Dive into the research topics of 'Jean Epstein and Photogénie: Narrative avant garde film theory and practice in late silent era French cinema'. By using a metaphor involving saimese twins, Jean Epstein brilliantly opens his speech 'On Certain Characteristics of Photogénie'. In this dissertation, Epstein’s writings about photogénie and two of this films are analysed in order that more light may be shed on this term, and photogénie is shown to be a rich and complex term that functioned on a variety of levels; cultural, theoretical and aesthetic. Starting from a reading of Epstein's final fictional film Le Tempestaire (1947), we can see that Epstein collapses the distinction between human and technological. However, as silent cinema gave way to sound cinema the term faded from use, with only Epstein retaining his commitment to the term. By using a metaphor involving saimese twins, Jean Epstein brilliantly opens his speech ‘On Certain Characteristics of Photogénie’. Voyons d'abord la photogénie morale, la représentation des êtres, des choses et des âmes Il y a là un côté mystérieux autant que spirituel ressenti par le spectateur. Pensée par des étudiants, la plateforme Pimido utilise des outils de détection anti-plagiat pointus, permettant l'analyse et l'optimisation de contenu rédigé par des étudiants ou des professionnels. Et en cela elle rejoint la morale. Photogénie was an important concept for Epstein, although it was not only he that wrote about it. The term also appears in articles by Louis Delluc, L{\'e}on Moussinac, Ricciotto Canudo, Henri Fescourt and Jean‐Louis Bouquet, all published in France between 1920 and 1925. Jean Epstein was a French filmmaker, film theorist, literary critic, and novelist. Photog{\'e}nie was an important concept for Epstein, although it was not only he that wrote about it. Research output: Types of Thesis › Master's Thesis. Pimido, c'est 20 ans d'expérience dans la rédaction, l'optimisation, l'achat et la vente en ligne de documents. Jean Epstein and Photogénie : Narrative avant garde film theory and practice in late silent era French cinema. Photogénie is seen today as something vague, obscure, even mystical; something that was part of a more primitive attitude towards cinema. La personnalité et la poésie La personnalité est un point important de la cinématographie. Epstein puts forth that 'only… Photogénie was an important concept for Epstein, although it was not only he that wrote about it. Décryptage géocinématographique d'Indiana Jones et l'Arche perdue, Entre les murs - Laurent Cantet (2008) - Résumé et analyse, Conditions générales & politique de confidentialité. ... Jean Epstein ou le Cinéma pour lui-même (1978) - Duration: 23:55. In 1921 Editions de la Sirène published Jean Epstein’s first book, Bonjour Cinema, a collection of writings which included the articles Magnification, and The Senses I (b). Il augmente la qualité morale étant donné qu'il nous donne à voir des choses établies dans un certain ordre par le réalisateur, qui cherche à nous toucher et à nous faire comprendre, ressentir les sentiments qui paraissent à travers l'espace-temps. Pimido.com et ses partenaires utilisent des cookies ou traceurs pour mesurer la performance publicitaire et du contenu, pour afficher de la publicité personnalisée en fonction de votre navigation et de votre profil ; pour personnaliser l'affichage des contenus sur le site en fonction de ce que vous avez précédemment consulté ; ou pour vous permettre d'interagir avec les réseaux sociaux. In this dissertation, Epstein{\textquoteright}s writings about photog{\'e}nie and two of this films are analysed in order that more light may be shed on this term, and photog{\'e}nie is shown to be a rich and complex term that functioned on a variety of levels; cultural, theoretical and aesthetic. Epstein’s Photogénie as Corporeal Vision: Inner Sensation,Queer Embodiment, and Ethics 51 Christophe Wall-Romana Novelty and Poiesis in the Early Writings of Jean Epstein 73 Stuart Liebman The Cinema of the Kaleidoscope 93 Katie Kirtland Distance Is [Im]material: Epstein Versus Etna 115 Jennifer Wild Download PDF. The term also appears in articles by Louis Delluc, Léon Moussinac, Ricciotto Canudo, Henri Fescourt and Jean‐Louis Bouquet, all published in France between 1920 and 1925. En rapprochant ce projet d'enquête de l'essai théorique de Jean Epstein, « le Cinéma du diable», paru en 1947, Laurent Le Forestier rappelle au lecteur d'aujourd'hui l'extraordinaire modernité de l'oeuvre de Jean Epstein. In both of these articles Epstein refers to photogénie, a term which he also used in many of his later writings on film, and which he made the central topic of two articles, one in 1924, On Certain Characteristics of Photogénie, and one in 1935, Photogénie and the Imponderable. Pour en savoir plus consulter notre Politique de confidentialité. / Wall-Romana, Christophe M. The Cinema of Jean Epstein: Critical Essays and New Translations. This is the first comprehensive study of Jean Epstein's fiction and documentary films, film theory, and writings on poetry and homosexuality. Mais il est plus connu pour ses écrits que pour ses films. These various aspects of the term are considered in detail, as is the general context in which the term was used, and photogénie is shown not to be vague and obscure, but to be an argument for a new and distinctly modern way of thinking about cinema. Photogénie was an important concept for Epstein, although it was not only he that wrote about it. However, as silent cinema gave way to sound cinema the term faded from use, with only Epstein retaining his commitment to the term. [...], [...] Il est un grand théoricien du cinéma et sa filmographie est conséquente. It goes like this: “What is photogénie? On dit de quelque chose de photogénique qu'il a une bonne teinte, qu'il laisse paraître la séduction, la beauté Le terme s'est réduit à quelque chose qui passe bien en photographie. Adam Stangeby. Adam Stangeby. When photogénie is written about today it is generally referred to as a mysterious, elusive, enigmatic, ineffable or indefinable term that refers to the magic of cinema, the essence or nature of cinema, and the power that cinema has to transform the everyday into something special. Jean Epstein est né à Varsovie en 1897, il publie son premier ouvrage en 1921 grâce à Blaise Cendrars et réalise son premier film, un documentaire, en 1922. Jean Epstein ( Frans: [ɛp.ʃtajn] ; 25 maart 1897-2 april 1953) was een Franse filmmaker, filmtheoreticus, literair criticus en romanschrijver. Together they form a unique fingerprint. @phdthesis{99e20dc7a9b9494492f71e00c71af834. Although he is remembered today primarily for his adaptation of Edgar Allan Poe's The Fall of the House of Usher, he directed three dozen films and was an influential critic of … / Jason Paul; Sarah Keller. Il s'agit d'un art ayant son domaine propre ainsi Epstein le compare à la peinture qui doit être picturale, à la littérature qui doit être littéraire Tous les arts sont donc autonomes et la photogénie fait le cinéma. Jean Epstein was a French filmmaker, film theorist, literary critic, and novelist. These various aspects of the term are considered in detail, as is the general context in which the term was used, and photogénie is shown not to be vague and obscure, but to be an argument for a new and distinctly modern way of thinking about cinema. A short summary of this paper. Histoire du cinéma : du parlant aux années 50, Snake Eyes - Brian De Palma (1998) - Le jeu sur le regard et le voyeurisme, 2001, l'Odyssée de l'espace - Stanley Kubrick (1968) - Analyse du film, Nosferatu le Vampire - Friedrich Wilhelm Murnau (1922). In both of these articles Epstein refers to photogénie, a term which he also used in many of his later writings on film, and which he made the central topic of two articles, one in 1924, On Certain Characteristics of Photogénie, and one in 1935, Photogénie and the Imponderable. ed. When photogénie is written about today it is generally referred to as a mysterious, elusive, enigmatic, ineffable or indefinable term that refers to the magic of cinema, the essence or nature of cinema, and the power that cinema has to transform the everyday into something special. Par exemple, il a beaucoup critiqué le cinéma parlant : « Le cinéma sonore est devenu le cinéma bavard », ceci restera une phrase très célèbre. N2 - In 1921 Editions de la Sirène published Jean Epstein’s first book, Bonjour Cinema, a collection of writings which included the articles Magnification, and The Senses I (b). 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. 37 Full PDFs related to this paper. Photogénie is seen today as something vague, obscure, even mystical; something that was part of a more primitive attitude towards cinema. Amsterdam, Netherlands : University of … Photogénie was an important concept for Epstein, although it was not only he that wrote about it. Photogénie de l’impondérable by Jean Epstein Edition: First edition, Bibliophile des Papeteries de France issue, limit Photog{\'e}nie is seen today as something vague, obscure, even mystical; something that was part of a more primitive attitude towards cinema. Jean Epstein and Photogénie: Narrative avant garde film theory and practice in late silent era French cinema, Narrative avant garde film theory and practice in late silent era French cinema. [...], [...] Il s'agit d'un nouveau rapport à la réalité créé par le mouvement, le temps et comment sont montrées les divers éléments d'un film seuls les aspects mobiles du monde, des choses et des âmes peuvent voir leur valeur morale accrue par la reproduction cinématographique Vertov définit le cinéma comme étant une machine à enregistrer le monde mieux que l'œil humain, ainsi le cinéma modèle son propre univers. C'est une conception humaniste et même mystique qui renvoie au surnaturel, elle interroge un au-delà. Vous pouvez paramétrer vos choix pour accepter les cookies ou non, nous conservons ce choix pendant 6 mois. Make social videos in an instant: use custom templates to tell the right story for your business. Ed Richard Abel. On dit de quelque chose de photogénique qu'il a une bonne teinte, qu'il laisse paraître la séduction, la beauté Le terme s'est réduit à quelque chose qui passe bien en photographie. Celui-ci lui vaut d'ailleurs d'être engagé chez Pathé. To quote, Epstein believes cinema is ‘sundered at the heart, or by the higher necessities of emotion’, and hence needs a surgeon to separate the business from the art of it all. I would describe as photogenic any aspects of things, being, or souls whose moral character is enhanced by filmic reproduction”. An adaptation of Jean Epstein's essay: On Certain Characteristics of Photogenie. Nevertheless, it is Epstein’s work on photogénie that is the most important because it was he who developed the idea most fully. By continuing you agree to the use of cookies, University of Northampton's Research Explorer data protection policy, University of Northampton's Research Explorer contact form. Jean Epstein (French: ; 25 March 1897 – 2 April 1953) was a French filmmaker, film theorist, literary critic, and novelist.Although he is remembered today primarily for his adaptation of Edgar Allan Poe's The Fall of the House of Usher, he directed three dozen films and was an influential critic of literature and film from the early 1920s through the late 1940s. See also Jean Epstein, Photogénie de l’impondérable (1935): “No, no one in this assembly that seemed free, in what he had been, in what he was, or in what he would be. This paper. Consulte plus de 198066 documents en illimité sans engagement de durée. L'espace-temps Le mouvement correspond à la conjonction de l'espace et du temps. T2 - Narrative avant garde film theory and practice in late silent era French cinema. Wiki for Collaborative Studies of Arts, Media and Humanities Epstein, Jean. L'action se déroule dans un certain ordre, pas nécessairement historique ou chronologique, c'est le spectateur qui va déduire de l'actualité d'un moment. [...]. Mais il est plus connu pour ses écrits que pour ses films. [...] L'exemple du revolver que prend Epstein dans ses écrits est significatif puisqu'il est utilisé dans bon nombre de films. Paris: Éditions Corymbe, 1935. Powered by Pure, Scopus & Elsevier Fingerprint Engine™ © 2021 Elsevier B.V. We use cookies to help provide and enhance our service and tailor content. The term also appears in articles by Louis Delluc, Léon Moussinac, Ricciotto Canudo, Henri Fescourt and Jean‐Louis Bouquet, all published in France between 1920 and 1925. Here is a sentence from an article by Jean Epstein called “On Certain Characteristics of Photogénie”. d'enquête de Jean Epstein intitulé « le Cinéma du diable » datant probablement de 1951. En effet, c'est d'abord une arme qui symbolise la mort, mais il y a d'autres significations à cet instrument qui peuvent être mises en valeur par certaines mises en place techniques. Corporeality and the Prosthetic Being: Christophe Wall-Romana on the Cinema of Jean Epstein Princeton, New … Jean Epstein’s legacy, in relation to his work both as filmmaker and film theorist, has often centered on his development of the idea of photogénie, a notion usually accompanied by apologies for its abstraction, anagogy, or outright inexplicability.The perceived need for apologies might to some degree contribute to the relative neglect of Epstein for film scholars. Par exemple, il a beaucoup critiqué le cinéma parlant : Le cinéma sonore est devenu le cinéma bavard ceci restera une phrase très célèbre. Le cinéma est-il un art ou une industrie ? Cocteau, Buñuel (who was his assistant), Hitchcock, Pasolini and Godard, and theoreticians Kracauer, Deleuze and Rancière are directly influenced by Epstein's pioneering film work, writings, and concepts. Aussi il y a une certaine dimension religieuse. These various aspects of the term are considered in detail, as is the general context in which the term was used, and photog{\'e}nie is shown not to be vague and obscure, but to be an argument for a new and distinctly modern way of thinking about cinema.". Adam Stangeby. In 1921 Editions de la Sirène published Jean Epstein’s first book, Bonjour Cinema, a collection of writings which included the articles Magnification, and The Senses I (b). It's hard not to read Jean Epstein's essay "On Certain Characteristics of Photogenie" and immediately draw comparisons to Sergei Eisenstein's "The Filmic Fourth Dimension" and Rudolf Arnheim's "Film and Reality". And whether it is through one mouth or another, it was the family that answered me through its one unique voice, with its permanent mode of thinking that would carry on through many past, present and future bodies. Dans Ecrits sur le cinéma, Epstein parle de photogénie, c'est un terme qui apparaît au 18e siècle, il correspond à ce qui produit une image nette. AB - In 1921 Editions de la Sirène published Jean Epstein’s first book, Bonjour Cinema, a collection of writings which included the articles Magnification, and The Senses I (b). In both of these articles Epstein refers to photogénie, a term which he also used in many of his later writings on film, and which he made the central topic of two articles, one in 1924, On Certain Characteristics of Photogénie, and one in 1935, Photogénie and the Imponderable. Association copy, inscribed by the author for André Robert, who interviewed Epstein for Marianne Jean Epstein and Photogénie: Suturing the Discursively Interstitial. Jean Epstein est né à Varsovie en 1897, il publie son premier ouvrage en 1921 grâce à Blaise Cendrars et réalise son premier film, un documentaire, en 1922. Photogénie is seen today as something vague, obscure, even mystical; something that was part of a more primitive attitude towards cinema. Il est un grand théoricien du cinéma et sa filmographie est conséquente. To quote, Epstein believes cinema is 'sundered at the heart, or by the higher necessities of emotion', and hence needs a surgeon to separate the business from the art of it all. / Farmer, Robert. In both of these articles Epstein refers to photog{\'e}nie, a term which he also used in many of his later writings on film, and which he made the central topic of two articles, one in 1924, On Certain Characteristics of Photog{\'e}nie, and one in 1935, Photog{\'e}nie and the Imponderable. [...], [...] Aussi tous ces éléments sont mis en place dans un espace-temps précis. Celui-ci lui vaut d'ailleurs d'être engagé chez Pathé. Jean Epstein and Photogenie: narrative avant-garde film theory and practice in late silent-era French cinema. Commande ton devoir, sur mesure ! This article argues that we can understand Jean Epstein's theory of photogénie as an instance of technics. La mondialisation de la culture, Jean-Pierre Warnier. title = "Jean Epstein and Photog{\'e}nie: Narrative avant garde film theory and practice in late silent era French cinema". Ainsi c'est un terme qui comprend plusieurs éléments devant être mis en place cinématographiquement. In this dissertation, Epstein’s writings about photogénie and two of this films are analysed in order that more light may be shed on this term, and photogénie is shown to be a rich and complex term that functioned on a variety of levels; cultural, theoretical and aesthetic. These various aspects of the term are considered in detail, as is the general context in which the term was used, and photogénie is shown not to be vague and obscure, but to be an argument for a new and distinctly modern way of thinking about cinema. One one hand, the argument that Epstein makes in terms of cinema's detachment of time is very similar to Arnheim's: that cinema and cinema's perception… “On Certain Characteristics of Photogenie.” French Film Theory and Criticism 1907-1939.Vol. Until now no general introduction to this very influential filmmaker, thinker and writer was available in English. What is photogénie? When photog{\'e}nie is written about today it is generally referred to as a mysterious, elusive, enigmatic, ineffable or indefinable term that refers to the magic of cinema, the essence or nature of cinema, and the power that cinema has to transform the everyday into something special. 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