## Annette Michelson (2014). *Epstein Revealed: A Review of "Jean Epstein"*. : The MIT Press. > [!INFO] > Type:: [[]] > Title:: Epstein Revealed: A Review of "Jean Epstein" > Author(s): [[Annette Michelson]] > Year:: 2014 > Tags:: > DOI:: > Citekey:: michelson_epstein_2014 > ZoteroURI:: [Open in Zotero: Epstein Revealed: A Review of "Jean Epstein"](zotero://select/items/@michelson_epstein_2014) > ReviewedDate:: [[2023-10-19]] ## Citation ```latex [@michelson_epstein_2014] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@michelson_epstein_2014]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation > “In one particular way, however, Epstein is unique. He is unquestionably the most gifted, original, and skilled writer in the history of film theory. An avid reader of philosophical texts and scientific news, trained in medicine and deeply, person ally engaged in modernist poetics, he brought to his work as theorist a brilliance of rhetoric and style, a flair for the telling image, and a rich and rhythmic prose that are nowhere else to be found in the theoretical literature of the field. Epstein was a” (41) “From his early poetry and essays to his major, late text L'intelligence d'une machine (1946), control of time is a central, animating theme. Other asp” (Annette Michelson, 2014, p. 41) > 엡스타인의 목적은 카메라 렌즈를 "기억도 없고 생각도 없는 비인간적인 눈"으로서 "개인적 시각의 폭압적인 자기중심주의에서 벗어날 수 있는"(93쪽) 것으로 찬양하는 것이었습니다. 이는 당시까지 아방가르드의 전략 중 지배적이었던 "주관적 카메라"를 수반합니다. > Epstein's purpose is the celebration of the camera lens as "an inhuman eye, without memory, without thought," capable of "escaping the tyrannical egocentrism of our personal visions" (p. 93). This entails the "subjective camera," until then predominant among the strategies of the avant-garde. > 커틀랜드는 쿠르 피델의 주요 관심사를 면밀히 분석하여 엡스타인이 내러티브 영화의 전통적 구성 요소에 대해 주장한 바를 잘 설명합니다. 그녀가 지적했듯이 ==엡스타인에게 모든 문학의 기능은 감정의 홍수(생리적 분비물처럼)가 그것을 구현할 수 있는 욕망의 대상의 용량을 초과할 때 카타르시스 장치 역할을 하는 것이기 때문입니다.== > “Kirtland follows this with a good close analysis of Coeur Fidèle's major sequence of interest, an illustration of Epstein's insistence on the traditional com ponents of narrative film. For as she notes, the function of all literature is, for Epstein, to serve as a cathartic device when the flood of sentiment—as physiologi cal as a glandular secretion—exceeds the capacity of one's available object of desire to embody it.” (Annette Michelson, 2014, p. p. 48) ### Related ```dataview LIST FROM [[@michelson_epstein_2014]] and -"Plans" and -"resources" ```