The historical setting of Beckett’s Film in 1929 is conventionally related to the significance of that year in the history of film. But Beckett's use of the device of the ‘angle of immunity’ suggests an additional historical context. Both the setting of Film in 1929 and its production in the early 1960s prompt me to inquire into the medical meanings of ‘immunity’ in a film whose damaged protagonist, dilapidated setting and production in the sweltering heat of New York in July prominently raise issues of health and disease. I supplement my inquiry into the medical meanings of Beckett’s ‘angle of immunity’ with an exploration of the concept’s social significance. Drawing on Jacques Derrida’s and Roberto Esposito’s reflections on community, immunity, and autoimmunity, I note that O’s flight in Beckett’s Film is not merely a flight from perception but also a flight from community. This flight from community manifests the destructive, autoimmunitary logic of the self/not-self dichotomy that the immunological revolution succeeded in placing at the heart of immunology as Beckett was shooting his film.
Featuring twelve original essays by leading Beckett scholars and media theorists, this book provides the first sustained examination of the relationship between Beckett and media technologies. The chapters analyse the rich variety of technical objects, semiotic arrangements, communication processes and forms of data processing that Beckett’s work so uniquely engages with, as well as those that – in historically changing configurations – determine the continuing performance, the audience reception, and the scholarly study of this work. Greatly enlarging the scope of earlier discussions, the book draws on a variety of innovative theoretical approaches, such as media archaeology, in order to discuss Beckett’s intermedial oeuvre. As such it engages with Beckett as a media artist and examine the way his engagement with media technologies continues to speak to our cultural situation.