..., especially in the work of Jean Epstein and Béla BalÁzs. Screens, beginning with cinema, increasingly interrupt yet mime face-to-face contact. This condition is construed as a loss, similar to that of Babel and its universal language: a loss of the fantasized immediacy, transparency, and presence of face...

... . “German Cultural History and the Study of Film: Ten Theses and a Postscript.” New German Critique , no. 3 : 47 –5 8 . Keller Sarah Paul Jason N. , eds. 2012 . Jean Epstein: Critical Essays and New Translations . Amsterdam : Amsterdam University Press . Kidel Mark . 2013...

... of the characters McKay may well have had in mind.23 Moholy-Nagy did not seem to be aware that the same site had recently fascinated filmmakers working in the French context: Jean Epstein, who was born in Poland and had grown up in Switzerland before moving to France, set his fictional film of a “found...

... were by no means typically German or limited to the time prior to World War I. Technoromantic thought permeates the writings of various film theorists of the 1920s, including Jean Epstein and Béla Balázs. Residues of the technoro- mantic outlook can also be found in the work of Siegfried Kracauer...

... enjoyed in Germany.5 Of course, several scholars, including Catherine Epstein, Antonia Grunenberg, Dan Diner, and Annette Leo, have shown how this myth functioned throughout the forty years of the GDR’s existence and, ultimately, how it legitimized the Communist Party regime in the later GDR.6...

... and Jewish Wit,” Psychoanalysis 2, no. 3 (1954): 12–20; and Reik, Jewish Wit (New York: Gamut, 1962). 80. See Vivian Gornick, “Radiant Poison: Saul Bellow, Philip Roth, and the End of the Jew as Metaphor,” Harper’s Magazine, September 2008, 69–76. See also Lawrence J. Epstein, The Haunted Smile...

... and Martin Heidegger; Boris Arvatov, Dziga Vertov, Fernand Léger, Jean Epstein, Le Corbusier, T. E. Hulme, Ezra Pound, William Carlos Williams, Gertrude Stein, Virginia Woolf, André Breton, and Louis Aragon; we looked at art by Henri Gaudier-Brzeska and Marcel Duchamp and Man Ray and Juan Gris...

..., Jonas Shtrom’s speech is presented through a highly choreographed arrangement of camera work, editing organi- zation, and dramatic image representation that renders those scenes singular from the film’s very beginning. In a 2002 stage production ofDas Vaterspiel in Graz, Deborah Epstein...

...: Ardis, 1981), 33. 16. Jean Epstein, “Rhythm and Montage,” Afterimage, no. 10 (1981): 16–17. Yuri Tsivian  61 filmmaking. Contrast rather than continuity, cuts sooner than shots, form instead of function—such, among others, were parameters of style...

... (Protokolliert nach dem Original des Films von Enno Patalas) (Frankfurt am Main: Verlag Filmkritik, 1967), 56. All translations are mine unless otherwise indicated. 2. Marc Michael Epstein writes that “the choice of the hare as a symbol for Israel was a con- scious iconographic contribution...

... of the Jewish and National University Library, and Tarbiz, the journal of Jewish studies founded by the great Talmudist J. N. Epstein and affiliated with the Institute of Jewish Studies at the Hebrew University. In 1937 Scholem received an invitation from Shalom Spiegel to come to New York...

.../11 Commission Report: Omissions and Distortions (Redford, MI: Olive Branch, 2004); Edward J. Epstein, Inquest: The Warren Commission and the Establishment of Truth (London: Hutchinson 1966); and Sylvia Meagher, Accessories after the Fact: The Warren Commission, the Authorities, and the Report...