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Bucknell Review
Reviewing Orpheus: Essays on the Cinema and Art of Jean Cocteau
Dealing primarily with the Orphic cinema of Jean Cocteau and the theme of Orpheus in his life and in his art, this volume reveals Cocteau's relevance to current aesthetic and critical discussion. It also reveals the complexity and elusiveness of an artist who idealized classicism, embraced modernist forms, and anticipated postmodernist dilemmas without losing sight of his own creative identity and of art's unique ability to inform and enhance human life.
Postmodernism's dedication to the rehabilitation of "lesser" artists and its revision of modernist history have not affected Cocteau studies even in areas of self-evident relevance like sexuality, myth, and gender. In the very few instances where these subjects have been addressed, the focus has been mainly on Cocteau's cinema, and no attempt has been made to link his cinematography to his theater, his poetry, and the many autobiographical and critical texts that reflect on his aesthetics and sensibility.
The essays in this volume take the first steps in this direction with topics that include illusion, magic, and reality in the theater and film of Cocteau; the narcissistic character of his Orphism; the phenomenology of Cocteau video in hyperreal contexts; the psychoanalysis of his textual and visual language; his deconstruction of the Orphic myth; the baroque and neobaroque nature of his cinematograph; and the influence on his aesthetics and rhetoric of Italian quattrocento painting and theory.
Among the works considered are, in film, The Blood of a Poet, Orpheus, The Testament of Orpheus, Beauty and the Beast, and The Eternal Return; in theater, The Wedding on the Eiffel Tower and Knights of the Round Table; in diaries and other texts, Diary of an Unknown, Letters to His Mother, the 1946 poem Crucifixion, and the 1943 essay "The Myth of El Greco."
Postmodernism's dedication to the rehabilitation of "lesser" artists and its revision of modernist history have not affected Cocteau studies even in areas of self-evident relevance like sexuality, myth, and gender. In the very few instances where these subjects have been addressed, the focus has been mainly on Cocteau's cinema, and no attempt has been made to link his cinematography to his theater, his poetry, and the many autobiographical and critical texts that reflect on his aesthetics and sensibility.
The essays in this volume take the first steps in this direction with topics that include illusion, magic, and reality in the theater and film of Cocteau; the narcissistic character of his Orphism; the phenomenology of Cocteau video in hyperreal contexts; the psychoanalysis of his textual and visual language; his deconstruction of the Orphic myth; the baroque and neobaroque nature of his cinematograph; and the influence on his aesthetics and rhetoric of Italian quattrocento painting and theory.
Among the works considered are, in film, The Blood of a Poet, Orpheus, The Testament of Orpheus, Beauty and the Beast, and The Eternal Return; in theater, The Wedding on the Eiffel Tower and Knights of the Round Table; in diaries and other texts, Diary of an Unknown, Letters to His Mother, the 1946 poem Crucifixion, and the 1943 essay "The Myth of El Greco."
147 pages, Hardcover
First published October 1, 1997
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January 27, 2022
Tsakiridou’s essay Classical Cocteau and Greene’s Jean Cocteau: A Cinema of Baroque Unease stood out. From Classical Cocteau:
“For Cocteau, there cannot be such a thing as an art of absence, exile, and annihilation because in being called to art, the artist is called to make present again a forgotten but never an empty, purged, or specularized cosmos. Art’s cosmos can be as large as a city or as lasting as a myth, but it is always subject to measurement and can materialize with equal vitality and force in the intimate and familiar space of a bedroom as in the distant and abandoned chambers of an ancient necropolis.” pg 80
“For Cocteau, there cannot be such a thing as an art of absence, exile, and annihilation because in being called to art, the artist is called to make present again a forgotten but never an empty, purged, or specularized cosmos. Art’s cosmos can be as large as a city or as lasting as a myth, but it is always subject to measurement and can materialize with equal vitality and force in the intimate and familiar space of a bedroom as in the distant and abandoned chambers of an ancient necropolis.” pg 80
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