Introduction

Epstein discusses film in light of great technical discoveries that have been questioning political institutions, scientific and religious dogmas since the Middle Ages. Celebrating the rebellious spirit which lies at the crux of the printing press, the astronomical lens, and medical dissection, Epstein provocatively states, “Evil should be considered a benefactor to humankind.” In the wake of these breakthroughs, the cinematographer sets the base of a libertarian philosophy inspired by evil, for the optical device magnifies movement in its slightest variations and reveals photogénie. Cinema exerts a subversion of literature, reason, and logic alike by exposing the viewer to a new universal language. Influenced by the latest developments in quantum physics, Epstein devises a conception of cinema that expresses the relativity of space and time through the use of editing, close-ups, slow motion, and time lapse. The last section of the text develops a contrary stance: despite its “evil” nature, cinema should also be regarded as a cathartic experience for the masses. According to Epstein, the cinematic spectacularization of violence and subversion is necessary because it neutralizes the viewer's negative impulses and therefore reinforces the stability of the social body. Le Cinéma du diable thus poses a challenging paradox: while the film medium is intrinsically and historically subversive, it should also be used as a conservative device that aims at social control.

– Ludovic Cortade

Indictment

Translated by Franck Le Gac

[Jean Epstein, “Accusation,” Le Cinéma du diable (Paris: Éditions Jacques Melot, 1947), pp. 11-20.] Up to the years 1910 to 1915, going to the cinema constituted a somewhat shameful, almost debasing act, and no person of quality ventured into it until pretexts had been found and excuses made. Since then, the spectacle of cinema has undoubtedly earned a few titles in nobility or snobbishness. Meanwhile, to this day, the arrival of a fairground cinema stirs trouble and disapproval among honorable people in some counties. There are even some small towns whose scarce and struggling theaters remain disreputable places where the local reputable citizenry would not be seen without embarrassment.

In truth, in this mid-twentieth century, few people even among believers dare speak the Devil's name, so deft has the trickster been at exploiting the blunders of both his enemies and followers in order to shroud himself in a thick veil of ridicule – not unlike the way hands have to dabble in ink to get to the cuttlebone.