By Christophe Wall-Romana
Cinepoetry analyzes how French poets have remapped poetry throughout the lens of cinema for greater than a century. In exhibiting how poets have drawn on mass tradition, know-how, and fabric photographs to include the assumption, strategy, and adventure of cinema into writing, Wall-Romana files the lengthy background of cross-media thoughts and practices usually idea to emerge with the electronic.
In exhibiting the cinematic attention of Mallarme and Breton and calling for a reappraisal of the influential poetry conception of the early filmmaker Jean Epstein, Cinepoetry reevaluates the bases of literary modernism. The booklet additionally explores the the most 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 wide rethinking of the connection among movie and literature. The episteme of cinema, the ebook demonstates, reached the very center of its supposedly intellectual rival, whereas whilst sleek poetry cultivated the technocultural savvy that's came upon this present day in slams, e-poetry, and poetic-digital hybrids.
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Extra resources for Cinepoetry: Imaginary Cinemas in French Poetry (Verbal Arts: Studies in Poetics)
Rather than “a poetry of cinema,” as Cocteau would later call his films, this new practice aimed at making cinema in poetry. Not because of money, fandom, fad, or avant-garde experimentalism (though all were motivating factors), but because cinepoetry was a privileged channel to explore the shift in the literary imagination that cinema had triggered in modernity. Introduction 19 the cinematic imaginary: “un magasin d’images et de signes” [Le cinéma] c’est de l’imaginaire pour les gens sans imagination (cinema is an imaginary for people without imagination).
My point here is that the Film d’Art evening as Gesamtkunstwerk exemplifies a motif that runs throughout this study, namely, that claims of innovation, often from the avantgarde, entail the forgetting or erasure of already established practices. In 1908 as well, poet Jules Romains published Life Unanimous (La Vie unanime) to great acclaim. ”23 His work proceeded to remedy this, by positing that with urban modernity came a new collective consciousness he called l’unanime (the unanimous), not as a consensus or a crowd synergy but an intersubjective force or soul (animus).
Musée Gaumont. Compare to a page from Reverdy, Le Voleur de Talan (1917). 132 In the late war and early afterwar, poets and filmmakers seemed fully aware that reading a text on the screen, as well as texts embedded in filmic images, opened new avenues for reimagining the text. Take for instance the title shot of Chaplin’s 1918 Shoulder Arms (Figure 11). It shows a CU of his hand signing his name in chalk on the title card, underneath his picture (a silhouette of himself in character as a soldier).