Amsterdam: Rodopi B.V.Editions, 1994 — 150 p. — ISBN-10: 9051835868; ISBN-13: 978-905183586.Samuel Beckett's exploration of film and television roughly spanned the last two decades of his life. His first experiments with the visual arts (as distinct from his critical essays on modern painters) originated in 1963 when he wrote a non-verbal project which he simply called Film. With a one-man cast, and lasting about half an hour, Film takes its motto from Bishop Berkeley: esse est percipi, which is clearly exemplary of Beckett's life-long scrutiny of human consciousness as well as of the eye's struggle with the I and vice versa. Having made various attempts to find a suitable interpreter for the puzzling role of the protagonist "O" (Charles Chaplin, Zero Mostel and Jack MacGowran proved to be unavailable), Beckett finally chose Buster Keaton, by then in his seventies, who accepted the part of "O," although the unforgettable icon of the silent-movie era had previously rejected the part of Lucky in the American Godot and his enthusiasm for a film in which mostly his back would be shown was somewhat modest.ContentsCalharina Wulf. Introduction and Acknowledgements
'Table ronde": Discussion autour des Pièces pour la Télévision
Alan Schneider. On directing film
Rosemary Pountney. Beckett and the camera
Toby Zinman. Eh Joe and the peephole aesthetic
Shimon Levy. Spirit made light: Eyes and other I's in Beckett's TV Plays
Daniel Katz. Mirror-resembling screens: Yeats, Beckett and ...but the clouds...
Bruno Clément. Nebuleux objet: à propos de ...but the clouds...
Mary Bryden. Quad: Dancing Genders
Ciaran Ross. The face in the mirror: A Comparison between Waiting for Godot and Film
Calharina Wulf. La voie de la ûber-marionnetie: L'acteur en marge
Marek Kedzterski. Beckett and the (un)changing image of the mind
Peter Gidal. No eye: Theoretical Reflections on the Eye, Metaphor, Film/Video
Nan Hoover. The down and outer within us all
