By Christophe Wall-Romana
Cinepoetry analyzes how French poets have remapped poetry during the lens of cinema for greater than a century. In displaying how poets have drawn on mass tradition, expertise, and fabric photos to include the assumption, method, and adventure of cinema into writing, Wall-Romana files the lengthy historical past of cross-media options and practices frequently idea to emerge with the electronic.
In exhibiting the cinematic realization of Mallarme and Breton and calling for a reappraisal of the influential poetry concept of the early filmmaker Jean Epstein, Cinepoetry reevaluates the bases of literary modernism. The booklet additionally explores the an important hyperlink among trauma and trans-medium experiments within the wake of 2 international wars and highlights the marginal id of cinepoets who have been usually Jewish, homosexual, foreign-born, or at the margins.
What effects is a huge rethinking of the connection among movie and literature. The episteme of cinema, the booklet demonstates, reached the very center of its supposedly intellectual rival, whereas even as smooth poetry cultivated the technocultural savvy that's came upon at the present time in slams, e-poetry, and poetic-digital hybrids.
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Additional resources for Cinepoetry: Imaginary Cinemas in French Poetry (Verbal Arts: Studies in Poetics)
Opening credits of Chaplin’s Shoulder Arms (1918): the index of Chaplin points to the Tramp-soldier, signs Chaplin’s name underneath, then shoots at the still image. © Roy Ames Ltd. dame sans merci echoed Griffith’s intermedium breakthrough by rendering a song through the still shot of a singer’s face on which the lyrics appears one line at a time from top to bottom. Amazingly, here the text moves while the image is still. The last line reaches just over her mouth as if to suture the words to it.
Starting from the 1820s and until the emergence of cinema, the term “la phantasmagorie” was used as a common name, stripped of its complicated technological apparatus, as a limit metaphor for nonconceptualizable experiences. It figures in just about every text of the fantastic genre, and many poems and theoretical works of the romantics and symbolists. 71 A precinematic technology of mass entertainment was thus condensed into a limit term and trope that inverted the abstract/immaterial nature of imagining.
81 In 1936, Georges Hugnet published a book of poems titled La Hampe de l’imaginaire, after having written the scenario of the first film to be deemed surrealist, La Perle (France, 1929, dir. H. D’Ursel). It is Sartre’s 1940 study, The Imaginary: A Phenomenological Psychology of Imagination, that first marked a philosophical difference between the imagination and the imaginary, considered its “noematic correlate,” its conceptual structure in Husserlian language. Sartre follows Husserl in denying that the imagination is a container of either percepts or images, agreeing that it is rather a process, indeed intentionality itself.