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Anthony Paraskeva, Samuel Beckett and Cinema

Anthony Paraskeva, Samuel Beckett and Cinema BOOK REVIEWS Anthony Paraskeva, Samuel Beckett and Cinema (London: Bloomsbury, 2017). 195 pp. ISBN: 9781472524980. Anthony Paraskeva’s Samuel Beckett and Cinema discovers in Beckett an heir to cinematic modernism’s second wave, whose own experiments in film sit comfortably alongside the works of Robert Bresson, Marguerite Duras, Jean-Luc Godard, and Alain Resnais. Paraskeva’s study is part of a constellation of recent book-length works that seek to understand the interplay between cinema and literary modernism. While Paraskeva’s new study owes a great deal to these works, and this debt is openly acknowledged, it could also be productively paired with his previous book, The Speech-Gesture Complex: Modernism, Theatre, Cinema (Edinburgh: Edinburgh University Press, 2013). Although one need not have read The Speech-Gesture Complex to appreciate fully Samuel Beckett and Cinema, Paraskeva’s new study revisits many of the driving questions behind his earlier work. The Speech-Gesture Complex analyzes in detail the fundamental importance (and strangeness) of gesture in the works of Franz Kafka, James Joyce, Wyndham Lewis, and Vladimir Nabokov (among others) and concludes with a brief coda on Beckett. The strange language of gesture linking these writers becomes, for Paraskeva, a defining characteristic in the history of cinema and its complicated relationship http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

Anthony Paraskeva, Samuel Beckett and Cinema

Modernist Cultures , Volume 13 (4): 5 – Nov 1, 2018

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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/mod.2018.0232
Publisher site
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Abstract

BOOK REVIEWS Anthony Paraskeva, Samuel Beckett and Cinema (London: Bloomsbury, 2017). 195 pp. ISBN: 9781472524980. Anthony Paraskeva’s Samuel Beckett and Cinema discovers in Beckett an heir to cinematic modernism’s second wave, whose own experiments in film sit comfortably alongside the works of Robert Bresson, Marguerite Duras, Jean-Luc Godard, and Alain Resnais. Paraskeva’s study is part of a constellation of recent book-length works that seek to understand the interplay between cinema and literary modernism. While Paraskeva’s new study owes a great deal to these works, and this debt is openly acknowledged, it could also be productively paired with his previous book, The Speech-Gesture Complex: Modernism, Theatre, Cinema (Edinburgh: Edinburgh University Press, 2013). Although one need not have read The Speech-Gesture Complex to appreciate fully Samuel Beckett and Cinema, Paraskeva’s new study revisits many of the driving questions behind his earlier work. The Speech-Gesture Complex analyzes in detail the fundamental importance (and strangeness) of gesture in the works of Franz Kafka, James Joyce, Wyndham Lewis, and Vladimir Nabokov (among others) and concludes with a brief coda on Beckett. The strange language of gesture linking these writers becomes, for Paraskeva, a defining characteristic in the history of cinema and its complicated relationship

Journal

Modernist CulturesEdinburgh University Press

Published: Nov 1, 2018

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