We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
CLOSE UP
121
And not in vain, when I met Joyce in Paris, did we eagerly discuss my plans in regard to the inward film monologue, which has far wider possibilities than the literary monologue.
Despite the fact that he is almost completely blind, Joyce was very anxious to see those parts of " Armoured Train " and " October " which, in the cinematographic sphere of cultivation of means of expression, proceed along kindred lines.
The inward monologue, as a literary method of abolishing the distinction between subject and object, with a view to a crystallized presentation of the hero's experiences, is first observable in the literary experimenters round about the year 1887, for instance, in Edouard Dujardin's " Les Lauriers sont coupes."
As a theme, as a philosophy, a perception, an object — not a method — of description, we meet with it, of course, before this date. Transition from the objective to the subjective and back again is pre-eminentlv characteristic of the writings of the romantics.
E. T. A. Hoffman, Novalis and Gerard de Nerval (in regard to the lastnamed, see " La Double Vie de Gerard de Nerval " by Rene Bizet).
But in them it is a method of literary narration, not of plot-weaving; and its forms are the forms of literary composition.
As a specific method of exposition, as a specific method of construction, Ave first encounter it in Dujardin ; but it does not attain absolute literary perfection until 31 years later — in Joyce and Larbaud.
But only in the film, of course, can it find full expression.
For on\y the sound film is capable of reconstructing all the phases and the specific essence of the process of thought.
What splendid drafts of montage sheets these were !
Like thought, they proceeded now by means of visual images — with sound — synchronized or non-synchronized. Then, as sound — formless — or with sound images : sounds symbolizing objects.
Then suddenly, by the coinage of words formulated intellectually — intellectually and dispassionately, and so uttered. With a black film — hurrying, formless visibility.
Now, by passionate incoherent speech. Only substantives. Or only verbs. Then by interjections. With zigzags of aimless figures, hurrying along with them synchronously.
Now, visual images hurried along in complete silence.
Now sounds were included in a polyphony. Now images. Then both together.
Now interpolating themselves into the external course of events, now interpolating elements of the external course of events into themselves.
Presenting, as it were, the play of thought within the damatis personae — the conflict of doubts, of bursts of passion, of the voice of reason, by