The film script is a challenging entity for criticism. Its destiny is to disappear, its function to contribute to the production of a screen of image, music, and voice, behind which it dissolves and is forgotten. Film scripts are in principle not meant to be read. Nor are they meant to be inscribed directly into our archives and libraries. They are transient and ‘functional’.
Keywords: Eclipses; Semprún, Jorge; Resnais, Alain; Film scripts; Screenwriting; Scenarios; Cinematography; Wholeness
Title
An Eclipse of the Screen
Subtitle
Jorge Semprún’s Scripts for Alain Resnais
Author(s)
Marcus Coelen
Identifier
DOI Target
Description
The film script is a challenging entity for criticism. Its destiny is to disappear, its function to contribute to the production of a screen of image, music, and voice, behind which it dissolves and is forgotten. Film scripts are in principle not meant to be read. Nor are they meant to be inscribed directly into our archives and libraries. They are transient and ‘functional’.
Is Part Of
Place
Vienna
Publisher
Turia + Kant
Date
2017
Subject
Eclipses
Semprún, Jorge
Resnais, Alain
Film scripts
Screenwriting
Scenarios
Cinematography
Wholeness
Rights
© by the author(s)
This version is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Harvested
yes
Language
en-GB
short title
Eclipse of the Screen
page start
215
page end
237
Source
De/Constituting Wholes: Towards Partiality Without Parts, ed. by Christoph F. E. Holzhey and Manuele Gragnolati, Cultural Inquiry, 11 (Vienna: Turia + Kant, 2017), pp. 215–37
Bibliographic Citation
Marcus Coelen, ‘An Eclipse of the Screen: Jorge Semprún’s Scripts for Alain Resnais’, in De/Constituting Wholes: Towards Partiality Without Parts, ed. by Christoph F. E. Holzhey and Manuele Gragnolati, Cultural Inquiry, 11 (Vienna: Turia + Kant, 2017), pp. 215–37 <https://doi.org/10.37050/ci-11_10>
Format
application/pdf

References

  • Aguada, Txetxu, ‘Dissidence, Citizenry, and Witnessing: Three Screenplays by Jorge Semprún’, in A Critical Companion to Jorge Semprún, pp. 187–201
  • Céspedes, Jaime, ed., Cinéma et engagement: Jorge Semprún scénariste, CinémAction, 140 (2011)
  • Deleuze, Gilles, Cinema 2: The Time-Image, trans. by Hugh Tomlinson and Robert Galeta (Minneapolis: Minnesota University Press, 1989)
  • Freud, Sigmund, ‘Konstruktionen in der Analyse’ (1937), in Gesammelte Werke (Frankfurt a.M.: Fischer, 1950), xvi, pp. 41–56
  • Jankowski, Paul F., Stavisky: A Confidence Man in the Republic of Virtue (Ithaca: Cornell University Press, 2002)
  • Pays, Jean-Louis, ‘“Un film expérimental”, entretien avec Jorge Semprún’ (1966), in Positif, revue de cinéma, Alain Resnais, ed. by Stéphane Goudet (Paris: Gallimard, 2002), pp. 187–206
  • Riambau, Esteve, ‘The Clandestine Militant Who Would be Minister: Semprún and Cinema’, in A Critical Companion to Jorge Semprún: Buchenwald, Before and After, ed. by Ofelia Ferrán and Gina Herrmann (New York: Palgrave Macmillan, 2014), pp. 71–88
  • Semprún, Jorge, La Guerre est finie: scénario du film d’Alain Resnais (Paris: Gallimard, 1966)
  • Semprún, Jorge, Le ‘Stavisky’ d’Alain Resnais (Paris: Gallimard, 1974)
  • Semprún, Jorge, L’écriture ou la vie (1994), in Le fer rouge de la mémoire (Paris: Gallimard, 2012)
  • Semprún, Jorge, Literature or Life, trans. by Linda Coverdale (London: Penguin, 1998)
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Cite as: Marcus Coelen, ‘An Eclipse of the Screen: Jorge Semprún’s Scripts for Alain Resnais’, in De/Constituting Wholes: Towards Partiality Without Parts, ed. by Christoph F. E. Holzhey and Manuele Gragnolati, Cultural Inquiry, 11 (Vienna: Turia + Kant, 2017), pp. 215–37 <https://doi.org/10.37050/ci-11_10>