Beckett espectador de cine: intertextualidades en <i>Film</i> (1965)

Abstract

The idea of intertextuality is essential to Samuel Beckett’s only incursion into cinema. Film works with the history of cinema and subscribes to the tradition of avant-garde movies and silent films from the 1920s and 1930s. Through that choice, Film questions the forms of representatios of its contemporary narrative cinema. As an experimenter in a new medium, Beckett atetmpts to shape a new image for cinema, an image in tune with his literary and play-writing works, with the “poetics of emptyness” he displayed in his literature.