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Theoretical debates and the critical erasure of Beckett’s cinema
Matthijs Engelberts

Samuel Beckett's Film was written and filmed at what is often considered to be the tail end of the modernist period, yet it draws on the idea of cinema as an art that is not verbal. This chapter shows that its fate has been largely determined by the strained relations between film and literature. It examines the way in which cinema critics approached Film in newspapers and magazines, particularly by Cahiers du Cinéma during the 1965 Venice film festival. In the world of cinema, Film is referred to primarily as the work of its scriptwriter: the man with a pen. As of the end of 2008, a search of the most widely used bibliographic databases yielded a total of around fifty articles dealing specifically with the script of Film or on the film itself in at least one of its two versions.

in Beckett and nothing