An eclipse of the screen : Jorge Semprún's scripts for Alain Resnais

Marcus Coelen's essay 'An Eclipse of the Screen: Jorge Semprún's Scripts for Alain Resnais' starts from the assumption that the peculiar status of film scripts (not written to be read as such) can be illustrated by the f
Marcus Coelen's essay 'An Eclipse of the Screen: Jorge Semprún's Scripts for Alain Resnais' starts from the assumption that the peculiar status of film scripts (not written to be read as such) can be illustrated by the figure of their eclipse. For they are, in inverting the very logic of the figure they invite, eclipsed for the sake of and by the fractured light on the screen they help to produce. Yet just as the sun, obscured by the 'black writing' of the moon, leaves an ephemeral contour in the skies - a spectacle to many when happening - so too can the script that is made to disappear by the screen be assumed to draw its own particular and even more vanishing traits into the movie that is given not only to sight but also to thought. The analyses and critical constructions proposed by Coelen try to detect such traits in the work of Jorge Semprún the screen writer. Writing not only for movies by Alain Resnais - most notably "La guerre est finie" (1966) and "Stavisky" (1974) - but also publishing versions of them after their release and calling those versions 'scénarios' despite various divergences and subtly violent inversions of the movies' images, the screenwriter's figure describes yet another twist of the eclipse. It can be assumed not only that Semprún strongly resisted the influence of the constellation formed by writing and cinematographic shooting, as well as projecting, but furthermore that this writing was almost imperceptibly yet essentially directed against the eclipse it was drawn into. No minor forces are conjured up in this enterprise. Driven by the desire to re-appropriate cinema's a-personal and anti-psychological movement, to domesticate the images of scribbling lights drifting away from the mental and into thought - as well as into a history not mastered -, Semprún attempted to shape mastery itself and most traditional forms of authorship, along with memory and agency, in order to cloud the eclipse of script - that is, we might add, to conjure up a ghost recovering the trace of what has been eclipsed so that it may continue to haunt.
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Metadaten
Author:Marcus Coelen
URN:urn:nbn:de:hebis:30:3-552682
URL:https://www.ici-berlin.org/oa/ci-11/coelen_eclipse-of-the-screen.pdf
DOI:http://dx.doi.org/10.37050/ci-11_10
ISBN:978-3-85132-854-7
ISSN:2627-731X
Parent Title (English):De/constituting wholes : towards partiality without parts / edited by Manuele Gragnolati and Christoph F.E. Holzhey ; Cultural inquiry ; vol. 11
Publisher:Turia + Kant
Place of publication:Wien ; Berlin
Document Type:Part of a Book
Language:English
Year of Completion:2020
Year of first Publication:2017
Publishing Institution:Universitätsbibliothek Johann Christian Senckenberg
Release Date:2020/07/28
Tag:Cinematography; Eclipses; Film scripts; Scenarios; Screen writing; Wholeness
SWD-Keyword:Drehbuch; Film; Ganzheit; Resnais, Alain; Semprún, Jorge; Szenarium
Pagenumber:23
First Page:215
Last Page:237
HeBIS PPN:467744793
Dewey Decimal Classification:791 Öffentliche Darbietungen, Film, Rundfunk
800 Literatur und Rhetorik
Sammlungen:CompaRe | Allgemeine und Vergleichende Literaturwissenschaft
Literatur zum Film
ICI Berlin
Licence (German):License LogoCreative Commons - Namensnennung-Weitergabe unter gleichen Bedingungen

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