Abstract
Abstract This essay revisits Samuel Beckett’s prose text The Lost Ones by situating it within the broader contexts of anthropology and documentary cinema. The period of its composition (1965–1970) coincides with Beckett’s concentrated work for, and direct involvement in, film and television, an experience that was also reflected in his drama and prose fiction. Reading the text’s narrative voice as adopting the technique of extradiegetic voice-over—the ‘voice of God,’ a common feature of classical documentaries—the essay explores Beckett’s critique of such a representational strategy.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
