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The cinema is poetry's most powerful medium, the truest medium for the untrue, the unreal, the "surreal" as Apollinaire would have said. This is why some of us have entrusted to it our highest hopes."1
"The recording apparatus that brings the film actor's performance to the public need not respect the performance as an integral whole…
It's a completely different discipline, it exists on its own. I would say that the beauty of it is it's not the theater, it's not done over again. It's done in bits and pieces. Things are happening which you can't get again."
When the French poet, theorist-filmmaker, Jean Epstein, first delivered his concept of Photogenie to Parisian salons and academic circles at the Sorbonne in 1923 and 1924, film as an art form was in its infancy. The whole idea of film as a medium worthy of serious scholarship, along with the evolution of the auteur theory, was still decades off. Yet, the seeds were planted and if it wasn't for his early, groundbreaking works, (or in Walter Benjamin's case, "shocking" words), we wouldn't have the concept of "independent film" or cinema as an art form onto itself, something we often take for granted today. The films of director Nicolas Roeg, taken as a whole, have been read as experimental, voyeuristic, brilliant and bombastic. Roeg started out working in the British film industry in London and developed his craft working as a camera assistant. He ended up heading second units on two films for director David Lean, the epic masterpieces, Lawrence of Arabia and Doctor Zhivago. ...
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