Antonin Artaud: The Scum of the Soul (Palgrave Studies in Modern European Literature)

This booklet serves as research of the aesthetics of materiality within the multifaceted paintings of Antonin Artaud, one among Twentieth-Century France's such a lot provocative and influential figures, spanning literature, functionality, paintings, cinema, media and significant thought.

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Forty eight. Dulac, Écrits sur le cinéma, p. 28. forty nine. Dulac, Écrits sur le cinéma, p. fifty three. 50. Dulac, Écrits sur le cinéma, p. 31. Dulac makes use of masculine pronouns right here. fifty one. Dulac, Écrits sur le cinéma, p. 28. fifty two. Dulac, Écrits sur le cinéma, p. 112. fifty three. Artaud, OCIII, p. 20. fifty four. Dulac, Écrits sur le cinéma, p. 113. The diastréphore and the brachiscope have been lenses that utilized by different filmmakers akin to Abel Gance and Jean Epstein to create comparable suggestions. fifty five. Gilles Deleuze, L’Image-temps, p. 246. The Time-image, p. 189. fifty six. Deleuze, L’Image-temps, p. 216. The Time-image, p. 166. fifty seven. Deleuze, L’Image-temps, p. 246. The Time-image, p. 189. fifty eight. Beugnet, Cinema and Sensation, p. 129. fifty nine. Patrick ffrench writes just about Bataille, that affectivity refers to ‘the realm of human behaviour which pertains to the dynamics of cost and discharge, and which contrasts sharply with the world of rules, representations, discourse, the full box of the subject’. Patrick ffrench, After Bataille: Sacrifice, publicity, group (London: Legenda, 2007), p. eleven. 60. Gilles Deleuze, Deux régimes de fous: Textes et entretiens 1975–1995 (Paris: Minuit, 2003), p. 264. Notes 177 sixty one. Laura Marks, the surface of the movie: Intercultural Cinema, Embodiment and the Senses (Durham, NC: Duke collage Press, 2000), p. 162. sixty two. Marks, the outside of the movie, p. 139. sixty three. Marks, the surface of the movie, p. 139. sixty four. Marks, the outside of the movie, p. 138. sixty five. Marks, the outside of the movie. , p. 139. sixty six. Marks, the outside of the movie, p. 141. sixty seven. Marks, the surface of the movie, p. 141. sixty eight. Deleuze, L’Image-temps, p. 221. The Time-Image, p. one hundred seventy. sixty nine. Deleuze, L’Image-temps, p. 221. The Time-Image, p. one hundred seventy. Translation converted. 70. Deleuze, L’Image-mouvement, p. a hundred and fifty. The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (London: Athlone, 1986), p. 106. seventy one. Jean Mitry, los angeles Sémiologie en query (Paris: Éditions du Cerf, 1987), p. eighty one. Semiotics and the research of movie, trans. Christopher King (London: The Athlone Press, 2000), p. seventy one. Mitry’s emphasis. seventy two. Mitry, los angeles Sémiologie en query, p. eighty one. Semiotics and the research of movie, p. seventy one. seventy three. Mitry, l. a. Sémiologie en query, p. eighty one. Semiotics and the research of movie, p. seventy one. seventy four. Mitry, los angeles Sémiologie en query, p. seventy nine. Semiotics and the research of movie, p. sixty eight. seventy five. Maurice Drouzy, Carl Th. Dreyer, né Nilsson (Paris: Éditions du Cerf, 1982), p. 241. seventy six. Drouzy, Carl Th. Dreyer, né Nilsson. , p. 149. seventy seven. Drouzy, Carl Th. Dreyer, né Nilsson. , p. 149. seventy eight. Artaud, OCIII, p. 129. seventy nine. André Bazin, Le Cinéma de l. a. cruauté (Paris: Flammarion, 1975), p. 37. The Cinema of Cruelty, trans. Sabine d’Estrée (New York: Seaver Books, 1982), p. 19. eighty. Bazin, Le Cinéma de l. a. cruauté, p. 38 (Bazin’s emphasis). The Cinema of Cruelty, p. 20. eighty one. Artaud, OCIII, p. 129. Artaud’s italics. eighty two. Quoted in Guillaume Fau, Antonin Artaud (Paris: Bibliothèque Nationale de France / Gallimard, 2006), p. 157. eighty three. Quoted in Fau, Antonin Artaud, p. 157. eighty four. From an interview in Cinémonde, 1 August 1929, quoted in Fau, Antonin Artaud, p. 148. eighty five. Maurice Drouzy, Carl Th. Dreyer né Nilsson, p. 248. David Bordwell additionally argues that ‘no film-maker’s paintings has been extra mutilated’.

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