“Starting in 1917 Irène Erlanger understood, as now we all do, the impact of film. She knew that over and above the dramas, twists of plot or banal adventures, there floats a further ideal, higher up, formed entirely of observation and synthesis, She realized that through technical means the screen allows modern thought the possibility of concretely expressing the many inner and fleeting impressions, intangible forms around us, in us, invisible and yet present.”
Germaine Dulac on the occasion of the premiere of "La Belle Dame sans Merci", written by Erlanger.
Peril as process ... we are given an extreme closeup, the instantaneity of "we" the readers/viewers as we rewrite and review that which we read and view toward the writing of our own identities ... and none of it ever lost!
Erlanger now (according to Germaine Dulac) deeply engrossed in film theory in its infancy writes with visceral impact of moving images in our programmed lives out of which she seems to suggest we "struggle and lash out to live".
Paraboles
Pearl
writes destiny
(as each of us do without knowing it),
in each of our gestures
---- (so ... really... you find this ridiculous ? these takes, repasts, demises, partings, pursuits and sequels and pitfalls, these traps, these ambushes – cellars – disappearances – forges – vats – toxins, etc. etc.
and this newness never lost
and this audaciousness and this forgotten yesterday)
(each episode I think sees all
of History
Are they far these events that strike us that crush us astonish us ?
What have we done ? We struggle and lash out to live)
and we will dance before and we will dance after
and always head bowed we’ll appear on the same screens and exit them – God willing –
to begin again
The life we learn to live
not the one to direct us
Excerpt from Irène Hillel-Erlanger's "Par Amour", Littérature, issue #10, Paris, December 1919
Excerpt from Irène Hillel-Erlanger's "Par Amour", Littérature, issue #10, Paris, December 1919
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