By Christophe Wall-Romana
Cinepoetry analyzes how French poets have remapped poetry throughout the lens of cinema for greater than a century. In displaying how poets have drawn on mass tradition, expertise, and fabric photographs to include the assumption, process, and adventure of cinema into writing, Wall-Romana records the lengthy background of cross-media suggestions and practices frequently concept to emerge with the electronic.
In exhibiting the cinematic awareness 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 publication additionally explores the the most important hyperlink among trauma and trans-medium experiments within the wake of 2 global wars and highlights the marginal id of cinepoets who have been frequently Jewish, homosexual, foreign-born, or at the margins.
What effects is a extensive rethinking of the connection among movie and literature. The episteme of cinema, the booklet demonstates, reached the very middle of its supposedly intellectual rival, whereas whilst glossy poetry cultivated the technocultural savvy that's discovered this day in slams, e-poetry, and poetic-digital hybrids.
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Additional info for Cinepoetry: Imaginary Cinemas in French Poetry (Verbal Arts: Studies in Poetics)
75 Phenomenology’s focus on mobile percepts was also contemporary with physiological movement studies conducted by Étienne-Jules Marey. His work during the 1880s on graphing movement via chronophotography directly led to the synthesis of photographed motion: cinema. ”80 Historians of early cinema will recognize the haptic protrusion characteristic of early reception of the moving image, amplified in films such as The Big Swallow (1901) in which a man in LS advances toward the camera in a zoom effect, until his open Introduction 25 mouth “swallows” the camera, or Méliès’s The Man with a Rubber Head (1902), where a head seems to grow like a balloon then bursts, through means of a tracking shot in composite.
42, 1896. relevant with regard to this linkage is that poets took early notice of how changed letters, writing, and print felt and looked when experienced through cinema’s automorphosis. I propose that film was an integral and central agent in how the new mobility of letters after the turn of the century came to the attention of poets and artists. This conjunction might be called the cine-graphic field, and Mallarmé’s experiment with visual poetry took place explicitly in it. Early cinema documented in newsreels the superabundance of signage and commercial lettering in the built world and offered a new frame within which such lettering appeared fragmented, reflected, distorted, less inert, and thus renewed.
115 Against cinema’s rear-guard nostalgia, Rancière deploys what he calls “the sentence-image,” which he defines thus: “By [sentence-image] I understand something different from the combination of a verbal and a visual form. ”116 It is not the place here to gauge Rancière’s omnibus proposal. My point here is only that Rancière clearly wrestles with Christin’s question about the sudden birth of modern visual poetry in 1897 by seeing it as a result of wide epistemic changes about writing and visibility from the 32 Introduction mid-nineteenth century onward—changes that directly touch upon cinema as both medium and art.