Maria's idea of epstein's theories of film

Written 10/8/08

Epstein’s idea about cinema is that movement must be involved in order for cimema to be photogenic and have the correct aspects of photogenie. This concept of photogenie is abstract but is alluded to by Epstein many times. In loose terms, photogenie is the art of cinema, the essence of that special something that cimena leaves in your gut after seeing a film. He also emphasized “ cadenced movement” (243). What he means by this is that time and the tembre of cinema is needed to convey this art form.

Epstein argues that film magnifies life and feeling, gives “mobile aspects of the world”(315) a spectacle, a voice, and a closer look-see. He thinks of cinema as an emphasis on what cinema depicts. Epstein feels that giving mobile objects a more direct, specific frame creates a more magnified effect of the objects. The objects are given a stage to communicate to the audience a specific message, whereas before in theatre, the message was muted by lack of direct attention. This magnification helps to show the vivacity of life intensified by the focus of cinema, giving it movement. The intensity of a close-up creates a direct dialogue between the film and the audience. A new language is born, the language of cinema.

Epstein describes cinema as a language, a kind of “primitive”(316) language. Which in turn gives us little perplexity when considering the notion that it gives us such intensity through depicting life within this language. The language of cinema to the viewer emphasizes the movement and life framed by cinema.

“Cinema is true; a story is false…narratives...always assume a chronology, sequential events…”(242). Here Epstein references his theory that cinema captures truth, the way life really is, and the stage is specific perspective, but cinema can show all angles. Each angle can be its own truth as well, its own direction, its own line of progression, and the sequence does not have to be beginning, middle and end. Cinema can breach space and time as Munsterberg describes, but we’re not here to talk about him. By having the liberty to enact life as it is, without sequence, cinema is able to create a new kind of movement; through time and space.

Epsteins particular style of writing, where he uses short concise, to the point sentences to emphasize a point, creates a rhythm and movement of his own that emulates his theory of film. One specific instance is his last sentence of the article “the senses” (246).

Rhythm and movement of cinema and editing create a specific art form, an art form that is called photogenie.








Works Cited

Epstein, Jean. "French Film Theory and Criticism." Princeton University Press 1 235-318.