Abstract
Writing for the filmic media has its hazards, some of which are shared with writing for the stage. Producers and directors inevitably come between the artist and the object of his imagination, and sometimes shortcircuit their connection. While the producers are charged with the problems of financial backing, they usually insure close cooperation with their directors by exercising their personal choices in selecting the personnel to fulfill this function; and the directors themselves may be given a free hand in the choice of performers.
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References
Evergreen, 13 (Sept., 1969), 29–32,79–86.
Eh Joe and Other Writings (London: Faber and Faber, 1967), p. 31.
Ibid.
Ibid.
Ibid.
See his Being and Nothingness, pp. 25 2 ff.
Ibid., p. 70.
Ibid., for Sartre’s source on this concept, cf. Heidegger, Being and Time, pp. 304–05. Cf. also, Sartre, op. cit, p. 149.
In the French version of the play, Dis Joe in Comedie et act es divers (Paris: Editions de Minuit, 1966), p. 84; the English, in Eh Joe (London: Faber and Faber, 1967), p. 16, is “The best’s to come.” In translating from the English to French Beckett has made the meaning more explicit.
Another improvement in French translation; the original English was “spirit made light.” See Eh Joe, p. 19.
Following the French translation, Comedie et actes divers, p. 91.
See Sartre, Being and Nothingness, p. 21 ff.
Heidegger, Being and Time, pp. 153 ff.
See Hegel, Phenomenology of Mind, Baillie trans. (London: George Allen and Unwin, Ltd., 1961) pp. 234 ff.
See Heidegger, op. cit., pp. 51 ff.
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© 1981 D. Reidel Publishing Company, Dordrecht, Holland
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Kaelin, E.F. (1981). Soul made Light, and Sound. In: The Unhappy Consciousness. Analecta Husserliana, vol 13. Springer, Dordrecht. https://doi.org/10.1007/978-94-009-8522-3_12
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