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BECKETT AND EISENSTEIN ON LIGHT AND CONTRAPUNTAL MONTAGE
J. M. B. Antoine-Dunne
Samuel Beckett Today / Aujourd'hui
Vol. 11, SAMUEL BECKETT: ENDLESSNESS IN THE YEAR 2000 / SAMUEL BECKETT: FIN SANS FIN EN L'AN 2000 (2001), pp. 315-323
Published by: Brill
Stable URL: http://www.jstor.org/stable/25781382
Page Count: 9
You can always find the topics here!Topics: Montage, Movies, Audiovisuals, Musical rhythm, Counterpoint, Sound, Pathos, Theater, Reality, Vibration
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Beckett's interest in film led to his absorption of film forms, in particular those structures Sergei Eisenstein interrogated in his various writings on film montage. Eisenstein believed that film brought to fulfilment the promise of all other art forms and that film's capacity to unite time and space in movement enabled it to bridge the gap between subjective and objective reality. This paper analyses Beckett's use of light and shows that this unique usage is based on a belief in the ability of film to project directly into the mind of viewer or auditor and to map psychic states.
Samuel Beckett Today / Aujourd'hui © 2001 Brill