Jean Epstein and Photogénie: Suturing the Discursively Interstitial
Abstract: Worth noting, is that Wall-Romana relies heavily on biographical explanatory arguments for constructing his historiographical model and that this seems genuinely at odds with his over-zealous advocacy of post-structuralist methods such as hermeneutics, post-structuralist ontology such as corporeality, as well as, post-structuralist theories such as, queer theory and affect theory. From a traditional biographical argument, Wall-Romana presents Abel Gance as planting a seed in Epstein for the latter’s later flourishes of philosophical poetry in the cinematic milieux, however Wall-Romana also claims that Epstein’s queerness was rigourously individualized articulating Epstein’s oeuvre in profoundly unique ways. Gance is an author inscribing Epstein, yet Epstein is paradoxically erasing those inscriptions to produce his work from a state of tabula rasa. We can provide Wall-Romana will a modest amount of leeway given that the crux of his thesis regards Epstein’s gravitational flux at a crossroads in the discourse of cinematic epistemology. A real problem arises when Wall-Romana is unable to properly theorize whether the crossroads constitutes a bundle of things or the frayed ends of a single thing, in a phenomenological sense for the understanding of cinematic epistemology. I will elaborate on these ideas later in this paper.