A PEN OF LIGHT: THE FILMS OF JEAN COCTEAU

This paper will briefly survey Orphée’s dramatic predecessors and the most relevant features of Cocteau’s film, e g modernizing the setting of the story, the personification of Death and the bureaucratic netherworld tribunal, and the identification of a mirror as the portal to the

Orpheus

Orphée, he replies: “The film plays my parts for me ” Themes in Orphée The three basic themes of Orphée are: 1 The successive deaths through which a poet must pass before he becomes, in that admirable line from Mallarmé, tel qu’en lui-même enfin l’éternité le change—changed into himself at last by eternity 2

LE STUDIO D’ORPHÉE

the film Éloge de l'amour (In Praise of Love) directed by Jean-Luc Godard in 2001 The poetic and metamorphic force of “Le Studio d'Orphée” concentrates on this dialectic between life and imagination, existence and artistic creation Its title expressly mentions the

Musique concrète, French New Wave cinema, and Jean Cocteaus

Testament as another remake of that film, saying that it was ‘the very same essay on poetic creation looked at afresh and revised’ 8 Le Sang d’un poète and Le Testament d’Orphée are frequently grouped with Cocteau’s 1950 film Orphée to form the ‘Orphic Trilogy’ Orphée is

Dying to Be Immortal: Jean Cocteau’s Orphic Trilogy

film “Orphic,” I will discuss later in detail In addition to the Orphic trilogy, some of Cocteau’s other works also originate in Greek mythology, for instance, his play Antigone (1922), which was later made into an opera in collaboration with Arthur Honegger (1927), and his plays Orphée (1926) and La Machine infernale (1934), and

LE STUDIO D’ORPHÉE

protagonista Edgar del film Éloge de l’amour diretto da Jean-Luc Godard nel 2001 In questa dialettica tra vita e immaginazione, esistenza e creazione artistica si concentra la forza poetica e metamorfica de “Le Studio d’Orphée”, il cui titolo cita espressamente il mito di