Academic literature on the topic 'Cinematic poetry'
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Journal articles on the topic "Cinematic poetry"
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Thorsen, Elise. "The ‘cinematic poetry’ of the Thaw." Studies in Russian and Soviet Cinema 12, no. 1 (January 2, 2018): 2–18. http://dx.doi.org/10.1080/17503132.2017.1415520.
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Glišović, Smiljana. "Cinematic Poetry: An Act of Translation." Transcultural Studies 8, no. 1 (2012): 143–46. http://dx.doi.org/10.1163/23751606-00801010.
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Carson, L. "Cinematic Modernism: Modernist Poetry and Film." Genre 41, no. 1-2 (January 1, 2008): 211–15. http://dx.doi.org/10.1215/00166928-41-1-2-211.
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MacLeod, Glen G. "Cinematic Modernism: Modernist Poetry and Film (review)." William Carlos Williams Review 26, no. 1 (2006): 101–2. http://dx.doi.org/10.1353/wcw.2007.0005.
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Trotter, David. "Cinematic Modernism: Modernist Poetry and Film (review)." Modernism/modernity 13, no. 2 (2006): 394–96. http://dx.doi.org/10.1353/mod.2006.0054.
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Park, han-ra. "Time and Thinking of Modern Poetry through Cinematic Expression." JOURNAL OF MODERN LITERARY THEORY 65 (June 30, 2016): 135–64. http://dx.doi.org/10.22273/smlt.65.6.
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Ermakova, I. A., and A. E. Skvortsov. "‘Every book is a part of life’." Voprosy literatury, no. 4 (August 22, 2019): 84–98. http://dx.doi.org/10.31425/0042-8795-2019-4-84-98.
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In her interview with the critic and scholar A. Skvortsov, the poet I. Ermakova discusses modern poetry, its authors and processes. Starting as a conversation about the poet’s artistic evolution and mentioning her work as a translator, author of regular publications in various think journals, and her numerous poetic prizes, the interview gradually moves on to examining the contemporary poetic reality, which Ermakova describes as ‘the era of Oleg Chukhontsev’. She argues that the value of Chukhontsev’s poetry lies in its absolute precision of word choice and accurate and truthful depiction of familiar reality. In such an attempt to display the world undistorted, modern poets turn to related art forms, up to the cinematic, however few reach this level.The interview, therefore, provides Ermakova’s assessment of the contemporary literary environment, her views on how one can join the literary process, and contemplations about the problem of the reader of modern poetry: whether they exist, and who they are.
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TUNALI, Dilek, and Ayşen Oluk ERSÜMER. "THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (January 1, 2021): 64–84. http://dx.doi.org/10.7456/11001100/004.
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The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.
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TUNALI, Dilek, and Ayşen Oluk ERSÜMER. "THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (January 1, 2021): 64–84. http://dx.doi.org/10.7456/11101100/004.
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The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.
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TUNALI, Dilek, and Ayşen Oluk ERSÜMER. "THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (January 1, 2021): 64–84. http://dx.doi.org/10.7456/11101100/004.
Full textAbstract:
The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.
Dissertations / Theses on the topic "Cinematic poetry"
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Souza, Carlos Eduardo Siqueira Ferreira de. "A lírica fragmentária de Ana Cristina Cesar: autobiografismo e montagem." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14875.
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Previous issue date: 2008-10-22The main objective of this research is to examine, in the writings of Ana Cristina Cesar, the relationships between the texture of her autobiographical discourse and the cinematic editing method, with particular attention to the texts comprised in A teus pés, published in 1982. Such objective was chosen in view of the fact that Ana Cristina Cesar s poetic work reveals composition methods of a singular late 20th century lyrical voice, marked by a fragmentary language, analogous with the cinematic technique of frames juxtaposition and the procedures that account for autobiographical and confessional texts. In order to understand how this woman poet appropriates an autobiographical discourse and transforms it, and whether the cinematic language takes part in the autobiographical construction process of Ana Cristina s poetry through the organization of fragments in the text, we start from the following hypotheses: autobiographism is a lyrical and fictional method in Ana Cristina s fragmentary poetry; cinematic editing provides solutions to the contiguity of analogical images in her poetic writing; fragmentarism is the procedure that brings together the cinematic and the autobiographical discourse. Such hypotheses were tested in the light of: Bakhtin s reflections in Aesthetics of Verbal Creation, which deal with confessional and autobiographical genres; the concept of biographeme as proposed by Roland Barthes; and the cinematic editing studies carried out by theoreticians and scholars such as Sergei Eisenstein, Ismail Xavier, Peter Burger and Modesto Carone Netto. We conclude that Ana Cristina Cesar brings together the depragmatizing, self-reflexive tendency of modern art and the disillusioned, faithless attitude of our contemporary age, by deconstructing in her writings the concepts of identity and authorship, in an attempt to depersonalize the self. In the texts written by this woman poet from Rio de Janeiro, the biographeme is apprehended as a fragmentary and non-linear composition method which, together with the frames juxtaposition procedure that constitutes cinematic editing, results in a unique relationship between reality and fiction, achieved by means of an erotic texture in which a reality that emerges and disappears from the text is displayed. Bringing forth a dramatic interplay in which the poetic persona takes to the stage and displays its multiplicity to the reader, Ana Cristina Cesar s writing reveals that the theatralization of the self on the textual stage is an alternative to the invention of a creative and liberating identity
O principal objetivo desta pesquisa é examinar, na escritura de Ana Cristina Cesar, em especial nos textos que compõem A teus pés, editado em 1982, as relações entre a tessitura do discurso autobiográfico e o método de montagem cinematográfica. Tal objetivo foi traçado, considerando-se que a obra poética de Ana Cristina Cesar revela, como métodos de composição de uma voz lírica singular do final do século XX, a linguagem fragmentária, análoga à técnica cinematográfica de justaposição de planos, e os procedimentos constituintes de textos autobiográficos e confessionais. A fim de compreendermos como a poeta se apropria do discurso autobiográfico, transformando-o, e se a linguagem cinematográfica participa, por meio da organização de fragmentos no texto, do processo de construção do autobiografismo na poesia de Ana C., partimos das seguintes hipóteses: o autobiografismo é um método lírico ficcional na poesia fragmentada de Ana Cristina Cesar; a montagem cinematográfica fornece soluções para a contigüidade das imagens analógicas na escritura poética; o fragmentarismo é um procedimento que alia os discursos cinematográfico e autobiográfico. Tais hipóteses foram testadas à luz: das reflexões elaboradas por Bakhtin, em Estética da criação verbal, sobre os gêneros confessionais e a autobiografia; do conceito de biografema proposto por Roland Barthes; e de estudos sobre a montagem cinematográfica, realizados por teóricos e estudiosos como Sergei Eisenstein, Ismail Xavier, Peter Bürger e Modesto Carone Netto. Concluímos que Ana Cristina Cesar alia a tendência despragmatizante e auto-reflexiva da arte moderna à postura descrente e desiludida da contemporaneidade, desconstruindo, em sua escritura, as noções de identidade e de autoria, numa tentativa de despersonalização do sujeito. Nos textos da poeta carioca, o biografema é apreendido como um método de composição fragmentada e alinear, que, aliado ao procedimento de justaposição de planos que constitui a montagem cinematográfica, constrói uma relação singular entre real e ficção mediante uma tessitura erótica, na qual se estabelece a encenação de uma realidade que aparece e desaparece do texto. Instauradora de um jogo dramático em que o sujeito poético encena sua multiplicidade para o leitor, a escritura de Ana Cristina Cesar revela que a teatralização do eu no palco textual é uma alternativa para a invenção de uma identidade criativa e libertadora
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Injoque, Gonzales Daniela Patricia. "Análisis conceptual de las películas 2001: Odisea del Espacio y La Naranja Mecánica del director Stanley Kubrick, desde el trabajo de Dirección Fotográfica y su impacto en la sociedad estadounidense de la década del setenta." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/653071.
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En el presente trabajo de investigación se analizará las películas 2001: Odisea del Espacio y La Naranja Mecánica del director Stanley Kubrick desde la perspectiva visual de la dirección fotográfica, y su impacto en la sociedad estadounidense de los años 70’s.
El objetivo de este estudio es identificar los mensajes ocultos que busca demostrar Stanley Kubrick por medio del uso de técnicas fotográficas en sus películas 2001: Odisea del espacio y La Naranja Mecánica. Por ello, se realizará un análisis de la composición fotográfica, el manejo del color e iluminación, con la finalidad de interpretar y comprender su simbolismo, así como impacto social en Estados Unidos de la década del setenta.In the present investigation, we will be analyzed from the visual perspective of the images composition of the films 2001: Space Odyssey and The Clockwork Orange by Stanley Kubrick with the purpose of what was their impact on American society in the decade of 1970. The objective of this study is to identify the hidden messages that Stanley Kubrick seeks to demonstrate through symbolism in his films, 2001: Space Odyssey and The Clockwork Orange. Therefore, an analysis can be made in the photographic composition of elements, the most explicit scenes of this work, in order to interpret them and understand their impact on American society in the seventies.
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Pereira, Erivoneide Marlene de Barros. "A cinematografia de Serguei Eisenstein: imagem, som e sentido em Aleksandr Niévski." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-20022015-151453/.
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Propõe-se, nesta dissertação, identificar e analisar elementos da cinematografia do cineasta russo (soviético) Serguei M. Eisenstein que seriam fundamentais para a construção do filme como um texto artístico. Selecionou-se, como objeto de análise, o longa-metragem lançado em 1938, Aleksandr Niévski. Examina-se, ao longo da análise, elementos como a construção de personagem, o desenvolvimento do tema, o enquadramento, o som e a mise-en-scène. Parte-se da hipótese de que o filme, sendo um texto artístico, ainda que a sua produção esteja enraizada nas diretrizes do Realismo Socialista, não se limita a transmitir uma realidade restrita, antes o artista amplia as possibilidades significativas do material criativo de que dispõe resultando em um texto que transpõe seu limite espacial e temporal. Dentro dessa perspectiva, objetiva-se identificar os elementos da linguagem cinematográfica, (enquadramentos, mise-èn-scene, montagem etc) que foram explorados ao longo do filme, e analisar como esses aspectos são articulados na construção do tema da obra: o patriotismo. Para embasar o estudo proposto, dividiu-se, de modo geral, o campo teórico em duas vertentes: primeiramente, para a concepção do filme como um texto artístico, valemo-nos do conceito de obra de arte como um texto artístico, desenvolvido pelo teórico russo Iuri Lotman, e da concepção de linguagem poética discutida por Roman Jakobson; já para a análise dos elementos da linguagem artística cinematográfica, privilegiaram-se os textos teóricos de Serguei Eisenstein, assim como os estudos desenvolvidos por David Bordwell e Jean Mitry. Por fim, como metodologia de análise, buscou-se observar e analisar o período histórico vivido pelo cineasta no momento da produção do filme, o Realismo Socialista, e as referências históricas da personagem central que norteiam as escolhas artísticas. Posteriormente, verifica-se, por meio da análise dos elementos da linguagem cinematográfica, como o filme, enquanto um texto artístico, é portador de uma riqueza de sentido advinda da articulação dos elementos cinematográficos, favorecendo a construção de uma unidade temática: o patriotismoThe purpose of this dissertation is to identify and analyze elements of cinematography in the work of Russian (Soviet) filmmaker Sergei M. Eisenstein, which would be essential to the construction of the film as an artistic text. Aleksander Niévski, the motion picture released in 1938, was selected as the scope of the analysis. Throughout the analysis, elements such as character construction, theme development, framing, sound and mise-en-scène were examined. I begin with the hypothesis that the film, as an artistic text, in spite of having been produced with roots in the directives of Socialist Realism, is not limited to conveying a restricted reality; rather, the artist broadens the meaningful possibilities of the creative material at hand, resulting in a text that surpasses its limits of time and space. In this perspective, the objective is to identify the elements of cinematic language (framing, mise-èn-scene, editing etc) explored throughout the film and analyze how these aspects are articulated to construction the theme: patriotism. In order to lay the basis for the proposed study, the theoretical field was, overall, divided into two views: firstly, for the conception of the film as an artistic text, we made use of the concept of the art work as an artistic text - developed by Russian theorist Iuri Lotman and of the conception of poetic language, discussed by Roman Jakobson; and to analyze the elements of cinematic artistic language, the theoretical texts by Sergei Eisenstein as well as the studies developed by David Bordwell and Jean Mitry were favored. Finally, as a method of analysis, I sought to observe and analyze the historical period in which the artist lived at the moment of the production of the film the Socialist Realism and the historical references of the main character which conduct the artistic choices. Subsequently, by analyzing the elements of cinematic language, it is verified how the film, as an artistic text, bears a richness of meaning ensuing from the articulation of the cinematic elements, favoring the construction of a theme unit: patriotism
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Farias, Sandra Regina Rosa. "Audiodescrição e a poética da linguagem cinematográfica: um estudo de caso do filme Atrás das Nuvens." http://www.pgedu.faced.ufba.br/, 2013. http://www.pgedu.faced.ufba.br/.
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A Audiodescrição, ou AD é um recurso que visa tornar acessível ao público deficiente visual conteúdos imagéticos produzidos no âmbito educacional e cultural. No Brasil, as ADs são realizadas ainda experimentalmente, a partir da experiência do convívio com deficientes visuais ou de um modelo fundamentado nas normas britânica (ITC, 2000), espanhola (UNE, 2005) e americana (ADC, 2008). Ao seguir tais modelos, as ADs apontam para um padrão internacional, o qual prioriza a objetividade, a clareza e a fidelidade à obra transcrita. Este estudo tem como objetivo analisar o alcance de duas versões de AD realizadas para o filme português Atrás das Nuvens (2007) de Jorge Queiroga, fixando o olhar na poética produzida pela Linguagem Cinematográfica – LC nesta obra. Também se dispõe a discutir a questão da objetividade, expressividade e poética passadas nas versões abordadas. Para fundamentar a tese, é feito um estudo de caso com base na pesquisa qualitativa, alicerçada na análise de um trecho desse filme e aportada por entrevista semiestruturada com um grupo de pessoas deficientes visuais. Teoricamente, a discussão foi mediada, principalmente, nos trabalhos de Diniz (2007); Franco (2010); Neves (2011); Gomes (2004); Deleuze (2005) e Minayo (2001). Identificou-se que a AD não pode ser realizada apenas como um serviço de tradução de forma mecânica, identificando imagens, no intuito de favorecer ao espectador deficiente visual a captação apenas de forma instantânea. Os resultados demonstraram ser possível realizar a AD a partir da força embutida na poética da LC e transmiti-la de forma expressiva, criativa e poética.
Salvador
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Forret, Mélanie. "Le cinéma de Guy Gilles : une œuvre à contretemps (1958-1996)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080084.
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Cette thèse se propose de revenir sur l’œuvre cinématographique de Guy Gilles, cinéaste à la trajectoire singulière, voguant entre les espaces et les temps. Une œuvre qui repose sur un aller-retour constant, de manière directe ou indirecte, entre l’Algérie, sa terre natale, et la France, plus particulièrement Paris, ville idéalisée, mythifiée, qu’il filma constamment comme pour retrouver un temps et une lumière perdue. Né en 1938, arrivé à Paris en 1960, Guy Gilles ne sera pas reconnu par la Nouvelle Vague, ni première, ni deuxième génération, et restera en marge de la marge (cinéma underground, cinéma homosexuel, cinéma d’essai) jusqu’à sa mort en 1996. Son œuvre, discrète et secrète, tombée dans l’oubli, doit être redécouverte aujourd'hui. D’une part pour sa recherche formelle, ses récits impressionnistes, sa poésie de la ville, et d’autre part pour la quête intime, proustienne, passant par toutes les formes filmiques qu’il a abordées (courts et longs métrages, films pour la télévision) mais aussi ses peintures et son œuvre photographiqueThis thesis revisits the cinematographic work of Guy Gilles, a filmmaker with a singular trajectory, navigating between time and space. His work is based on a constant back and forth, directly or indirectly, between Algeria, his native land, and France, more particularly Paris, an idealised, mythified city, which he constantly filmed as if to find again a certain time and light that had been lost. Born in 1938, Guy Gilles arrived in Paris in 1960. He received no recognition from the Nouvelle Vague, neither from the first nor the second generation, and remained on the fringe of the fringe (underground cinema, gay cinema, art films) until his death in 1996. His work - discreet and secret - has fallen into oblivion and should be rediscovered today. First, for Gilles’ formal research, his impressionist narratives, his poetry of the city; and second, for his intimate, Proustian quest, passing through all the filmic forms he used (short and feature films, films for television), but also his painting and photographic work
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Barclay, Adèle Véronique. "Cinematic projections in the poetry of H.D., Marianne Moore, and Adrienne Rich." Thesis, 2016. http://hdl.handle.net/1828/7575.
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This dissertation examines the influence of film on the poetry of H.D., Marianne Moore, and Adrienne Rich. It builds on scholarship by Susan McCabe (2005), Lawrence Goldstein (1994) and others, who have traced the way twentieth-century American poets reacted formally to film culture in their writing. My project responds to the call of the editors of the volume of Close Up 1927-1933: Cinema and Modernism for critics to interrogate how authors harnessed the aesthetic and political possibilities opened up by cinema. This study draws from theories of feminist film phenomenology by Vivian Sobchack and Laura U. Marks to analyze the aims and arguments of the texts.
The literary works studied include: H.D.’s Sea Garden, “Projector” series, Trilogy, Helen in Egypt, and film essays; Marianne Moore’s animal poems from the 1930s and early 1940s and film essays; and Adrienne Rich’s The Will to Change. This dissertation argues that the poets drew from film to renovate their poetic vision and forms and ply at questions of power, visuality, and bodies. The poems articulate an awareness of the filmic gaze and how it constructs feminine or animal others. Through careful analysis of the poems, this dissertation locates each poet’s particular rapport with film and how it influenced her literary style and prompted her to challenge dominant patriarchal scripts.
This dissertation makes several original contributions to twentieth-century Anglo-American poetry scholarship. It sets these three authors alongside one another to reveal how their engagements with film inspired their poetics and politics at various points throughout the twentieth century. The conclusions herein determine how the poets turned to film to construct their poetic projects. The dissertation offers new readings of the work of H.D., Moore and Rich as queer women poets invested in film culture.Graduate
Books on the topic "Cinematic poetry"
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Cinematic modernism: Modernist poetry and film. Cambridge, U.K: Cambridge University Press, 2004.
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McCabe, Susan. Cinematic Modernism: Modernist Poetry and Film. Cambridge University Press, 2009.
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McCabe, Susan. Cinematic Modernism: Modernist Poetry and Film. Cambridge University Press, 2005.
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Lewis, Hannah. Théâtre filmé, Opera, and Cinematic Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0005.
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Chapter 4 focuses on a famous debate between playwright Marcel Pagnol and film director René Clair. Pagnol was a successful playwright who was excited about film’s potential for recording live theater. His screenplays, perhaps most notably Marius, emphasized spoken dialogue, relegating music to a secondary role. Clair was a silent filmmaker who was interested in the poetic qualities of the image, and he feared that sound, particularly dialogue, would threaten cinema’s poetic potential. His film Le Million relied heavily on music, particularly live musical-theatrical forms like operetta and opera, to create alternative models for film’s sound–image relationship. The debate between Pagnol and Clair reveals diverging approaches to sound film, the aesthetic connections and tensions between live theater and cinema, and music’s importance in articulating those tensions.
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Cinematic Reveries: Gestures, Stillness, Water. Lang AG International Academic Publishers, Peter, 2013.
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(Editor), Michael Minden, and Holger Bachmann (Editor), eds. Fritz Lang's Metropolis: Cinematic Visions of Technology and Fear (Studies in German Literature Linguistics and Culture). Camden House, 2002.
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Lewis, Hannah. Source Music and Cinematic Realism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0006.
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Chapter 5 focuses on the role of diegetic music in early poetic realist films. Poetic realism, the filmmaking genre that emerged out of the politics of the mid-1930s, had its roots in transition-era films by filmmakers such as Jean Grémillon, Julien Duvivier, Jacques Feyder, and perhaps most notably, Jean Renoir. The soundtracks of these filmmakers tended to favor a “realistic” incorporation of music into the narrative, an aesthetic decision grounded in a broader preference for direct recording, and frequently featured popular songs and street musicians to enhance the realism of a film’s setting. But diegetic music in early poetic realist films was multivalent, revealing the emotions or thoughts of characters, providing narrative commentary, and at times going against the expectations of a scene’s mood or actions. Considering diegetic music in early poetic realist sound films shows the ways in which audiovisual realism and stylization worked hand in hand.
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Fletcher, Judith. Myths of the Underworld in Contemporary Culture. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767091.001.0001.
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Stories of a visit to the realm of the dead and a return to the upper world are among the oldest narratives in European literature, beginning with Homer’s Odyssey and extending to contemporary culture. This volume examines a series of fictional works by twentieth- and twenty-first century authors, such Toni Morrison and Elena Ferrante, which deal in various ways with the descent to Hades. Myths of the Underworld in Contemporary Culture surveys a wide range of genres, including novels, short stories, comics, a cinematic adaptation, poetry, and juvenile fiction. It examines not only those texts that feature a literal catabasis, such as Neil Gaiman’s Sandman series, but also those where the descent to the underworld is evoked in more metaphorical ways as a kind of border crossing, for instance Salman Rushdie’s use of the Orpheus myth to signify the trauma of migration. The analyses examine how these retellings relate to earlier versions of the mythical theme, including their ancient precedents by Homer and Vergil, but also to post-classical receptions of underworld narratives by authors such as Dante, Ezra Pound, and Joseph Conrad. Arguing that the underworld has come to connote a cultural archive of narrative tradition, the book offers a series of case studies that examine the adaptation of underworld myths in contemporary culture in relation to the discourses of postmodernism, feminism, and postcolonialism.
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Matzner, Sebastian, and Gail Trimble, eds. Metalepsis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846987.001.0001.
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‘Metalepsis’ is a classical term. Ancient critics, however, only used it within the confines of rhetoric and stylistics to describe certain usages akin to metaphor and metonymy. In the twentieth century, metalepsis was then reframed much more broadly as a crossing of the boundaries that separate distinct narrative worlds. This modern notion of metalepsis, introduced by Gérard Genette, has proved highly insightful for exploring interactions between the worlds of author and text, such as scenarios in fiction—typically postmodern, typically novelistic or cinematic—where an author and a character enter into conversation. Yet metalepsis has a much greater potential to address all sorts of transgressions between ‘worlds’ or ‘levels’, not only in postmodern but also pre-modern literature. If metalepsis consists fundamentally in the breaking down of barriers, to what sort of barriers and what sort of transgressions can the concept be fruitfully applied? Can it be used within approaches other than narratology? Does metalepsis require recognizable levels of reality and fictionality, and if so, what role might be played by other planes, such as the past, the mythical, or the divine? What form does metalepsis take in less obviously ‘narrative’ genres (such as lyric poetry)? And how should it be understood in visual media (such as vase-painting)? As classicists begin to examine what metalepsis might mean in ancient literature, this volume uses such questions to consider where metalepsis can most productively join other critical concepts in classical research, and how explorations of ancient metalepsis might change, refine, or extend our understanding of the concept itself.
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Haacke, Paul. The Vertical Imagination and the Crisis of Transatlantic Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851448.001.0001.
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From the invention of skyscrapers and airplanes to the development of the nuclear bomb, ideas about the modern increasingly revolved around vertiginous images of elevation and decline and new technologies of mobility and terror from above. In The Vertical Imagination and the Crisis of Transatlantic Modernism, Paul Haacke examines this turn by focusing on discourses of aspiration, catastrophe, and power in major works of European and American literature as well as film, architecture, and intellectual and cultural history. This wide-ranging and pointed study begins with canonical fiction by Franz Kafka, Virginia Woolf, James Joyce, and John Dos Passos, as well as poetry by Guillaume Apollinaire, Hart Crane, and Aimé Césaire, before moving to critical reflections on the rise of New York City by architects and writers from Le Corbusier to Simone de Beauvoir, the films of Alfred Hitchcock and theories of cinematic space and time, and postwar novels by Kurt Vonnegut, Thomas Pynchon, and Leslie Marmon Silko, among many other examples. In tracing the rise and fall of modernist discourse over the course of the long twentieth century, this book shows how visions of vertical ascension turned from established ideas about nature, the body, and religion to growing anxieties about aesthetic distinction, technological advancement, and American capitalism and empire. It argues that spectacles of height and flight became symbols and icons of ambition as well as indexes of power, and thus that the vertical transformation of modernity was both material and imagined, taking place at the same time through the rapidly expanding built environment and shifting ideological constructions of “high” and “low.”
Book chapters on the topic "Cinematic poetry"
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"Cocteau: The Mythological Poetry of Film." In Cinematic Mythmaking. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/7474.003.0006.
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Turquety, Benoît. "Cinema, Poetry, History: Immobilizations." In Danièle Huillet, Jean-Marie Straub. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722209_ch05.
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This chapter focuses on several of Straub-Huillet’s films including History Lessons, Too Early/Too Late, Cézanne, Every Revolution is a Throw of the Dice, and The Bridegroom, the Actress, and the Pimp, looking at them through the lens of poetic devices such as the ideogram, gaps, interruptions, and stops, and how these may relate to cinematic devices used by Straub-Huillet including long-duration shots, tracking shots, and abrupt cutting. The role these devices play in the poetry of Oppen and Reznikoff are also analysed, as well as the Bertolt Brecht’s, Straub-Huillet’s, and the Objectivists’ penchant for quotation, generally without citations in the case of the latter two. Louis Zukofsky’s essay on Charles Chaplin’s Modern Times proves a key text in developing an Objectivist view of cinema that is ultimately quite Straubian.
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Forrest, David, and Sue Vice. "Poetry with purpose and the journey to Kes." In Barry Hines. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784992620.003.0002.
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This chapter traces the roots of Barry Hines’s poetic realist style in those examples of his writing which appeared before A Kestrel for a Knave (1968). These include the 1965 play Billy’s Last Stand, which gives an absurdist form to its social-realist content, and Hines’s first novel The Blinder (1966), in which his abiding theme of the battle between intellectual and sporting prowess is first introduced. It was on the strength of the promise shown in The Blinder that A Kestrel for a Knave was filmed as Kes, and we argue that Hines’s best-known novel anticipates its own cinematic realisation in its use of visual technique and description.
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Ryan, Jack. "Jim Jarmusch’s Paterson." In Next Generation Adaptation, 3–20. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832603.003.0001.
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Jarmusch's film is not a strict adaptation of the 1946 William Carlos Williams epic poem by the same name. One might more appropriately bill it as a cinematic homage to observational poetry, as essay contributor Jack Ryan does. Jarmusch does, after all, shape his films around the tenets of such poetry. Jarmusch structures the film around what is taken to be a typical work week of its hero, Paterson (Adam Driver). That hero builds a deep sense of place into the poems he writes. The chapter offers that these qualities form the center of Jarmusch’s adaptation, which finds a way to allow a daily routine to protect the creative consciousness from the crush of modernity. The film ultimately favors the process of poetry over the content of any singular poem, a point the chapter claims that Jarmusch returns to each time Paterson meets another poet.
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Costanzo, William V. "Comedy, History, and Culture." In When the World Laughs, 69–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0005.
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How has comedy evolved around the globe from earliest times to today? Chapter 4 offers a chronology of comedy. Distinguishing among laughter, comedy, and humor, it finds evidence of humor in ancient texts and imagery, tracing the evolution of comic genres through classical Greek drama, Sanskrit poetry, early China, medieval Europe, and feudal Japan. The chronology continues with an account of popular festivals of laughter, comedic stage performances, and precursors of the comic novel, showing how they led to modern literary and cinematic forms as well as televised sitcoms and live standup. Motion pictures borrowed silent gags and witty wordplay from vaudeville, channeled the freewheeling energy of picaresque stories into episodic road movies, adapted the amatory impulses of Shakespeare’s romantic comedies to the screen, and turned the Carnivalesque spirit into scenes of cinematic mischief and mayhem.
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Turquety, Benoît. "Erotic Barbarity: Othon." In Danièle Huillet, Jean-Marie Straub. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722209_ch01.
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This chapter introduces the specificities and hallmarks of Straub and Huillet’s films through a close study of their 1969 film Eyes Do Not Want to Close at All Times or Perhaps One Day Rome Will Allow Herself to Choose in Her Turn, adapted from Pierre Corneille’s play Othon: literary works adapted to the letter, their use of cinematic composition and space, and direct location sound. Finally, it introduces the troubadour Arnaut Daniel and his complex, subtle poetic structures, later picked up by Louis Zukofsky, which echo the cinematic structures of Straub and Huillet’s films.
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"5. Getting out of Line: Toward a Visual and Cinematic Poetics of ASL." In Signing the Body Poetic, 95–117. University of California Press, 2019. http://dx.doi.org/10.1525/9780520935914-010.
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Jayamanne, Laleen. "Introduction: Spirit of the Gift: Cinematic Reciprocity." In Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726245_intro.
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"Introduction: Spirit of the Gift: Cinematic Reciprocity." In Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick and Ruiz, 13–22. Amsterdam University Press, 2021. http://dx.doi.org/10.1515/9789048552825-002.
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Jayamanne, Laleen. "Ornamentation and Pathology: Raúl Ruiz’s Klimt (2006)." In Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726245_ch04.
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Raul Ruiz’s film on Klimt and Gustav Klimt’s own work are examined in terms of a cluster of related ideas; namely allegory, fragmentation, and ornamentation. Modern allegory, whether cinematic or painterly, is shown to have powers of fragmenting organic forms. Similarly, modern ornamentation is elaborated as a power to dematerialize solid forms reaching towards the infinitesimal in perception. Through these devices of allegorical ornamentation, the Ruizean cinematic image and sound are imbued with polysemia and corresponding pathic sates of intensity. The role of the cinematic closeup in facilitating these processes of fragmentation is also examined. The multi-ethnic polity of fin-de-siècle Vienna on the brink of its dissolution is perceived through the aesthetic optic of a delirious Klimt on his deathbed.