Roll Away the Reel World: James Joyce and Cinema

Notes and References

INTRODUCTION 1 Stanislaus Joyce, Triestine Book of Days, entry for June 2007. A copy of this document is kept at the McFarlin library at the University of Tulsa. 2 Baudelaire quoted in Noël Burch, In Life to Those Shadows (Berkeley, CA: University of California Press, 1990), p. 6. 3 The essential details of Joyce’s involvement in setting up the Cinema Volta are given in Richard Ellmann, James Joyce (Oxford: Oxford University Press, 1982, revised edition, hereafter referred to as JJ); Peter Costello, James Joyce: The Years of Growth, 1882–1915 (London: Kyle Cathie, 1992); John McCourt, James Joyce in Trieste, 1904– 1920 (Dublin: The Lilliput Press, 2000); and Luke McKernan, ‘James Joyce’s Cinema’ in Film and Film Culture, vol. 3 (Waterford Institute of Technology, 2004), pp. 7–20. The story from the Trieste end is told in Dejan Kosanoviç, Trieste al Cinema, 1896–1918 (Gemona: La Cineteca del Friuli, 1995) and in Erik Schneider’s essay in this volume. The major archival sources are the papers of Liam O’Leary at the National Library of Ireland. 4 Letter signed ‘L.C.’ published in The Irish Times, 8 June 1962, p. 7. 5 The Bioscope, 23 December 1909. 6 Evening Telegraph, 21 December 1909, p. 2. 7 See John McCourt, The Years of Bloom, pp. 98–121. 8 Sinn Féin, 19 February 1910. 9 The letter, dated 18 April 1910, from Vidacovich to Joyce is kept in the Cornell Joyce Collection (Scholes no. 1295). 10 Alfred Doblin, ‘Ulysses by Joyce’, reprinted in Anton Kaes, Martin Jay and Edward Dimendberg (eds), The Weimer Republic Sourcebook (Berkeley and Los Angeles, CA: University of California Press, 1994), p. 514. 11 Harry Levin, James Joyce: A Critical Introduction (London: Faber & Faber, 1943), p. 44. 12 Thomas Burkdall, Joycean Frames: Film and the Fiction of James Joyce (London: Routledge , 2001). 13 See, for example, Austin Briggs, ‘“Roll Away the Reel World, the Reel World”: “Circe” and Cinema’, in Morris Beja and Shari Benstock (eds), Coping with Joyce: 205 Notes and References Essays from the Copenhagen Symposium (Ohio State University Press, 1989), pp. 145–56. 14 Keith Williams, ‘Ulysses in Toontown: “Vision Animated to Bursting Point” in Joyce’s “Circe”’, in Julian Murphet and Lydia Rainford (eds), Literature and Visual Technologies: Writing after Cinema (Basingstoke: Palgrave Macmillan, 2003), p. 107. 15 Cinzia Sartini Blum, The Other Modernism: F.T. Marinetti’s Futurist Fiction of Power (Berkeley, CA: University of California Press, 1996). 16 Stanislaus Joyce, Triestine Book of Days, 10 January 1909. 17 Ibid., 29 December 1908. 18 Charles Dickens, Nicholas Nickleby, eds. Mark Ford, Hablot Knight Browne (London: Penguin, 2003), p. 756. 19 ‘Penny Fiction’, Blackwood’s Edinburgh Magazine, 164 (December 1898), p. 811. 20 For a discussion of Joyce and Chaplin see Jesse H. McKnight, ‘Chaplin and Joyce: A Mutual Understanding of Gesture’, JJQ, vol. 45, nos 3–4 (Spring/Summer 2008), pp. 493–506. 21 Quoted in Burch, In Life to Those Shadows, p. 13. 22 Frank Budgen, James Joyce and the Making of ‘Ulysses’ and Other Writings, with an introduction by C. Hart (New York: Oxford University Press, 1972), p. 187. 23 ‘Circe Notesheet 18’, in Philip F. Herring (ed.), Joyce’s Notes and Early Drafts for Ulysses: Selections from the Buffalo Collection (Charlottesville, VA: University Press of Virginia, 1977), p. 352. 24 Antonin Artaud, Collected Works: Volume 3, ed. Paule Thévenin, trans. Alastair Hamilton (London: Calder & Boyars, 1972), p. 65. 25 Jean-Luc Godard, Histoire(s) du Cinéma: La Monnaie de l’Absolu (Paris: Galimard, 1998), Chapter 3a. 26 Among those left out, it is worthwhile to remember Joseph Strick’s rather dry and somewhat restrained and overly reverent A Portrait of the Artist as a Young Man (1977), which had an excellent cast including John Gielgud as ‘the preacher’ and Bosco Hogan as Stephen, and Mary Ellen Bute’s Passages from James Joyce’s Finnegans Wake, which was made in the United States between 1965 and 1967 and won a debut prize at Cannes. Lasting just over an hour and a half, Bute’s film is a truly collaborative effort which reflects her long-standing participation in the New York James Joyce Society and its reading groups. It remains today perhaps the most ‘Joycean’ of the Joyce films. Made in black and white, it draws heavily on a stage adaptation by Irish actress and writer Mary Manning, and is a sometimes hilarious, sometimes surreal screen adaptation of Joyce’s novel, revelling in an array of cinematic...