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Journal articles on the topic 'Cinematic poetry'
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1
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.
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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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Stutesman, Drake. "Review: Cinematic Modernism: Modernist Poetry and Film By Susan McCabe." Film Quarterly 60, no. 3 (2007): 93–94. http://dx.doi.org/10.1525/fq.2007.60.3.93.
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Bauman, H.-Dirksen L. "Redesigning Literature: The Cinematic Poetics of American Sign Language Poetry." Sign Language Studies 4, no. 1 (2003): 34–47. http://dx.doi.org/10.1353/sls.2003.0021.
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Gavrilă, Ana-Maria. "Alejandro Jodorowsky’s Therapeutic Dreamscape. Blending History, Memory, and Symbolism in The Dance of Reality." Acta Universitatis Sapientiae, Philologica 8, no. 1 (December 1, 2016): 155–67. http://dx.doi.org/10.1515/ausp-2016-0011.
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Abstract After an absence of more than two decades, the octogenarian cult-movie auteur Alejandro Jodorowsky (El Topo and La montaña sagrada) is back with a surreal cinematic memoir, The Dance of Reality (La danza de la realidad, 2013), a funny and bizarre feature that challenges categorization. Set in the 1930s, in the small coastal Chilean village of Tocopilla, The Dance of Reality is an eccentric autobiographical meditation on his painful childhood, in which the filmmaker himself takes on the role of both the narrator and the onscreen guide to his younger self: “For you, I do not yet exist. For me, you don’t exist anymore,” Jodorowsky whispers to the boy at some point. In this family memoir, the filmmaker’s shamanic presence follows his non-cinematic pursuits, namely psychomagic, a therapeutic method in which the principal weapon is his imagination. Using this idea as a point of departure, I will analyse the mode in which Jodorowsky uses the grammar of narrative cinema and a hyperbolic visual style to create a poetry of voices and characters who act as metaphors, suggesting or emphasizing some ambiguously conveyed mystical idea. The key element of my study focuses on Jodorowsky’s cinematic poetry and on the filmmaker’s mode of filtering history, memory, subjectivity and magical realism, adding a critical dimension to our understanding of the politics and poetics of self-representation. The Dance of Reality is Jodorowsky’s most personal work to date, intentionally blurring the lines between past and present into oblivion, and consequently finding salvation through art.
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Devine, M. "'Mine Eyes Have Seen the Glory': The Cinematic Adaptation of American Poetry." Adaptation 5, no. 1 (February 13, 2011): 1–17. http://dx.doi.org/10.1093/adaptation/apq021.
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Danow, David K. "Dialogic Poetics: Doktor Zhivago." Slavic Review 50, no. 4 (1991): 954–64. http://dx.doi.org/10.2307/2500475.
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The structure of Doktor Zhivago is in many respects unique. Its concluding chapter is a collection of poems ostensibly composed by the novel’s central figure. The preceding sixteen prose chapters are themselves further divided into numerous individual scenes, focused on a predominant image, that may be likened to separate cinematic shots. In this respect, the novel lends itself to discussion of the relations between narrative and cinematic technique. It also seeks a certain reconciliation between specific incidents documented in prose and then later reformulated as poetry, affording a sense of “dialogue” between the two classic modes of expression. The purpose of this essay, however, will be to consider dialogue primarily in its concrete sense, rather than range across an entire figurative spectrum, to which the term or its derivatives seem, in recent usage, naturally to gravitate. Metaphoric interpretation, nevertheless, will also find its place here in response to the poetic qualities of the work itself. In broad outline, the intent of this study will be to concentrate upon a specific complex aspect of the novel, its dialogic structures, and attempt to demonstrate that, within this singular work, they are worthy of attention as principal features accounting for its singularity.
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Rasula, J. "Cinematic Modernism: Modernist Poetry and Film; Voicing American Poetry: Sound and Performance from the 1920s to the Present." American Literature 81, no. 4 (January 1, 2009): 854–56. http://dx.doi.org/10.1215/00029831-2009-056.
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Mahyudi, Johan, Djoko Saryono, Wahyudi Siswanto, and Yuni Pratiwi. "Construction of Visual Features of Indonesian Digital Poetry." International Journal of Linguistics, Literature and Culture 3, no. 5 (September 3, 2017): 1. http://dx.doi.org/10.21744/ijllc.v3i5.526.
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In short time, Indonesian digital poetry attracts its audience through a series of visualization features of the digital art. This research uses a short segment analysis on Indonesian videography digital poetry to demonstrate the existence of visual conglomeration practices through the creation of objects, features, a feature of space, measuring distance in feature space, and dimension reduction. These five approaches are proposed by Manovich (2014) in grouping millions of visual artworks based on simple criteria. Of the three common objects are found, Indonesian animators, prefer individuals and texts as the main impression. The movement features are found in cinematic poetry and its rely depend on kinetic texts. Meanwhile, non-movement features can be found in the form of human imitation or part of them, portraits, silhouettes, and comics. Indonesian digital poetry of space features in form of textual space is prioritizing on the kinetics text, the space of time is prioritizing the presentation of objects association of words are spoken, the neutral space is prioritizing the use of computer technology application. The grouping of visual art composition is based on two criteria: the technique of creating and artistic impressions. The dimensional reducing is prominently practiced by Afrizal Malna.
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Jo Jeong-Hyun. "A Study of Intermedia between Poetry and Painting ―Centering on the Painting and Cinematic Techniques Used in Poetry by Kim Chunsu." Review of Korean Cultural Studies 48, no. 48 (December 2014): 375–410. http://dx.doi.org/10.17329/kcbook.2014.48.48.012.
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Buslowska, Elzbieta. "Silent (un)becoming song." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 55–71. http://dx.doi.org/10.33178/alpha.21.03.
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Song of Granite (Pat Collins, 2017) and Papusza (Joanna Kos-Krauze and Krzysztof Krauze, 2013) could be described as unconventional film ‘biographies’ (of the Irish folk singer Joe Heaney and Polish-Roma poet Bronislawa Wajs). In these films, poetry and philosophy come together in what I call the silent (un)becoming undoing the stabilities of (hi)story, identity, and memory. Crossing different aesthetic and geographical territories between fiction and documentary, they speak through the power of a song/poetry, telling a story of fragmentary encounters where histories are invented in the gaps of memories (personal and cultural) and identities disappear in other (be)longings. Drawing on Gilles Deleuze and Felix Guattari’s concept of the refrain as both the question of the native (home) and the “other” (the unknown homeland), and Maurice Blanchot’s notion of a disaster, the article will attempt to think with the films’ poetic “remembering” that is not narrated through the linearity of a story-telling but sounds silently in the vastness and motionlessness of the landscape, the creative treatment of the archive footage, materiality that remembers past from the outside of remembering and in the emotion of the song repeated in the black and white poetic expression of the refrain. The films’ cinematic force of (un)becoming will be considered as a question of the disastrous longing (for silence) which cannot be known or named but which sends life and thinking towards other memories-potentialities.
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Kolotvina, Olga V. "THE KEY FEATURES OF THE AESTHETIC OF J. VAL DEL OMAR’S AUTHOR CINEMA (ON THE CASE STUDY OF THE FILM TRILOGY “ELEMENTARY TRIPTYCH OF SPAIN”)." Articult, no. 1 (2021): 49–58. http://dx.doi.org/10.28995/2227-6165-2021-1-49-58.
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The author analyzed the symbolic narrative of the films and the cinematic technologies, which were developed by J. Val del Omar for his film trilogy. This study revealed that the use of the suggestive metaphorics of Spanish poetry (St. John of the Cross, F. García Lorca, Rosalía de Castro) and the artistic heritage of Spanish mysticism dominates in his film aesthetics. As a result, the film director created an allegorical multidimensional narrative about the stages of the spiritual path of a person and as well as about the specifics of the national spirit of the Spain’s different regions. Such a multi-layered artistic image was modeled by the film director with support of creatively transformed transmedia techniques, as well as through the introduction of mystical-surreal strategies, which were implemented in the associative montage of metaphorical images and in the reactualization of the country's folklore heritage. To complete implementation of this artistic program, called by the film director “mecha-mystiс”, he developed immersive innovative cinematic technologies of multi-screen film projection, “tactile vision” and “diaphonic sound”.
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Wingate, Steven. "Watching Textual Screens Then and Now: Text Movies, Electronic Literature, and the Continuum of Countertextual Practice." CounterText 2, no. 2 (August 2016): 172–90. http://dx.doi.org/10.3366/count.2016.0051.
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Contemporary works of electronic literature that focus on the use of moving text are aesthetically related to the text movies that arose in the experimental film community, particularly in the 1960s, and both share much in common with concrete and visual poetry. Though criticism has traditionally placed a barrier between works of electronic literature and cinematic text movies on the basis of their perceived medium (cinema characterised by emulsion and electronic literature characterised by computer code), textual screen works originating from both media utilise similar techniques in the presentation and manipulation of text. Interactivity is potentially a differentiator between electronic literature and cinema, but this distinction is negated by the fact that not all works of electronic literature are interactive (that is, they do not require an interactor in order to function). The increasing digitisation and, to a lesser extent, interactivity of cinema also argues against placing a gap between electronic literature and cinematic works that utilise the textual screen. Text movies, visual poetry, and other digital works featuring moving text can be seen as belonging to the same family; they are united by the aesthetic experience of perceiving them, which derives from a dynamic tension between the act of reading and the act of watching. Taken together, they form a continuum of countertextual practice that involves the destabilisation of reading and the displacement of literary significance away from traditional means of sense-making and towards the use of text-as-objects that do not always achieve the status of language.
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Meihuizen, Nicholas. "Contemporization and Characterization in Christopher Logue's Homer." Translation and Literature 28, no. 2-3 (November 2019): 217–47. http://dx.doi.org/10.3366/tal.2019.0386.
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In comparing extracts from Christopher Logue's War Music with other modern English versions of the Iliad, this article considers his use of contemporary details including elements from popular culture and present-day technology, and contemporary techniques such as cinematic slow motion. The comparisons reveal a poetry in which Homer is reinscribed into modern consciousness: larger-than-life goddesses and heroes become possible, and practices such as animal sacrifice are made meaningful. Even in his creative manipulations, Logue's characters are consistent, and the narrative coherent. Close attention is paid to the effects of metre, allusion, textual play, expansions, condensations, and omissions.
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Oumlil, Kenza. "Alternative media, self-representation and Arab-American women." Journal of Alternative & Community Media 1, no. 1 (April 1, 2016): 41–55. http://dx.doi.org/10.1386/joacm_00017_1.
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Arab-American women often find themselves represented in the mainstream media as oppressed victims in need of saving, but what sometimes gets less attention are the ways in which Arab-American women themselves are adding to the media landscape, through poetry, film and other forms. This article offers a textual analysis of artistic interventions circulated by Arab-American women in the media sphere, and supplements the analysis of the content and context of these interventions with individual interviews with the artists involved. It focuses on the poetry of Suheir Hammad and the cinematic interventions of Annemarie Jacir, which I situate as alternative media. I conceptualise alternative media as media content that challenges dominant assumptions and offers stylistic innovations for the purpose of inspiring social change. In addition, I argue that alternative media consist of transforming the existing stock of material into ones own language in order to promote social justice. The article concludes with remarks regarding the opportunities and the limitations of alternative media in effecting social transformation.
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Miceli, Sonia. "As Superfícies Raras da Escrita de Ruy Duarte de Carvalho." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (March 28, 2014): 39–55. http://dx.doi.org/10.14195/2182-8830_1-2_3.
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Neste artigo, examino as formas como literatura e cinema interagem na obra de Ruy Duarte de Carvalho, centrando a análise na escrita cinematográfica dos poemas de sinais misteriosos… já se vê… e do romance Os papéis do Inglês. Nestes textos, a imagem cinematográfica surge ora como cópia estranha do real, ora como visão criadora de outras realidades, ora como algo ligado à memória. O cinema, com os seus componentes visuais e sonoros, opera um questionamento dos limites da linguagem literária, ao passo que proporciona novas possibilidades para a poesia e para a narrativa que se configuram no confronto com e a partir dele.AbstractIn this article, I examine the ways in which literature and cinema interact in the work of Ruy Duarte de Carvalho, focusing on the cinematic writing of the poems of sinais misteriosos… já se vê… and the novel Os papéis do Inglês. In these texts, the cinematic image sometimes appears as a strange copy of reality, other times as a vision that creates other realities, and other times as something connected to memory. Cinema, with its visual and sound components, challenges the limits of literary language. At the same time it provides new possibilities for poetry and narrative, which emerge from their encounter with the language of cinema. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_3
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Bielinska, Valeriia. "The language style of A. Kychinskyi poetry: traditional and individual features." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 9–16. http://dx.doi.org/10.34079/2226-3055-2019-12-21-9-16.
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The present paper is aimed to analyse some individual traditional and modern features of the linguistic thinking of the Ukrainian poet A. Kychinskyi. Among the specific tasks of the study are the identification of motives and circumstances of the formation of the poetic LPW, the definition of intimate lyrics, the analysis of techniques of authorial verification, innovative searches and achievements in the creation of phraseologies and metaphorical constructions. The features of the A. Kychinskyi's individual linguistic style are analyzed in accordance with the peculiarities of the spiritual perception by the poet of the surrounding reality, some innovative features of the author's verification are revealed, as well as the search and achievements in the creation of phraseological and metaphorical constructions. It is concluded that the poet of «two centuries» combines in the best way both the traditional features of the ethnic linguistic picture of the world, and innovative achievements in the conditions of rapid development of the world. A. Kychinskyi is a poet of «two centuries» not purely formally but as their representative, because of his active creative activity both in the conditions of the Soviet system and in the conditions of independent Ukraine with corresponding perceptual orientations and motives. In A. Kychinskyi's works both the traditional features of the ethnic linguistic picture of the world and innovative achievements in the conditions of fast-paced development of the world are best revealed and combined. Among the first are the metaphorical analyzes of the landscape description (including its visual and audio ones), the signs of intimate and sacral sensations and the poetic nature of its poetry. The landscape description, the visual and audio aspects are combined to create a generally expressive picture. Between the traditional and non-traditional thematic issues we can define the transcendental and the sacral, which is presented in the landscape descriptions of A. Kychinskyi. Among innovative there is the situational use of original techniques of versification and stylistic figures. The poetical experiments involve word play, originality of verse, verbal innovations in particular, including authorial phraseologisms. Signs of unconventionality and modernity exist in individual versification, poetry and stylistic techniques, which generally do not change the individual linguistic style, adding to it only new, modern colors. Appropriate stylistic figures, features of versification and a complex of cinematic features of A. Kychinskyi's poetic language create expression of his landscape descriptions. All this enhances the artist's expressiveness and gives them sincerity and frankness.
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Hansen, Kathryn. "Languages on Stage: Linguistic Pluralism and Community Formation in the Nineteenth-Century Parsi Theatre." Modern Asian Studies 37, no. 2 (May 2003): 381–405. http://dx.doi.org/10.1017/s0026749x03002051.
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The Parsi theatre was the dominant form of dramatic entertainment in urban India from the 1860s to the 1930s. Named for its Bombay-based pioneers, the Parsi theatre blended certain European practices of stagecraft and commercial organization with Indic, Persian, and English stories, music, and poetry. Through the impact of its touring companies, it had a catalytic effect on the development of modern drama and regional theatre throughout South and Southeast Asia. Moreover, Parsi theatre is widely credited with contributing to popular Indian cinema its genres, aesthetic, and economic base. With Hindi films now the major cultural signifier for the middle classes and the ‘masses’ in South Asia and its diaspora, documentation and evaluation of the Parsi theatre is much needed, especially to connect it convincingly to the cinematic medium that followed.
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Coleman, Tara. "From Translating for the World to Translation as the World." Journal of World Literature 6, no. 3 (September 13, 2021): 314–30. http://dx.doi.org/10.1163/24056480-00603003.
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Abstract Grounded in the heterogenous linguistic and cultural landscape of Hong Kong, this article proposes a translational approach to the practice of world cinema, focusing on director Wong Kar-wai, via World Literature and the poetry of Leung Ping-kwan. Wong is a lyrical cinematic stylist, while Leung had a strong scholarly interest in cinema and produced many collaborations with visual artists. Both are highly attuned to the distinctiveness of daily life in Hong Kong despite its infusion of international influences. Moving beyond a model which sees translation as a secondary process carrying a work beyond its local context, I use Sakai Naoki’s concept of the “heterolingual address” to trace how translation becomes foundational to these artists’ engagement with the multilayered space and uneven temporality of Hong Kong.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Perrot, Jean. "Keep the thread up! From humour to poetry. Silence as a spur to read and speak." Ondina - Ondine, no. 6 (September 7, 2021): 23–35. http://dx.doi.org/10.26754/ojs_ondina/ond.202164513.
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The purpose of this article is to proceed with a semiotic examination of several wordless picturebooks focussed on the use of a thread, Considering that it is the visual image which first and foremost prompts the meaning in iconotexts, we shall deal with it more particularly through the examination of two French picturebooks: the first one by Robert Scouvart, Histoire d’un fil (The Story of a Thread, Magnard 1990) shows how a single thread can magically delineate different characters introduced in an alluring play on words. The book will offer a distanced staging of the reading process through a humorous use of stereotypes close to those resorted to in comic strips. In the second part of my presentation we shall deal with Boutique Tic Tic, (Shop Pop Pop) by Frédéric Clément, (Albin Michel Jeunesse, 2018) a poetical description introduced under the aesthetic spell of Lewis Carrol’s The Adventures of Alice in Wonderland, as suggested by the image of the white rabbit winking from a globe on the cover page. The book in the end will tell how a magical thread can unexpectedly and poetically have a « golden voice » during « a long minute of silence of Big Ben »… An original achievement fully illustrating Sandra Becket’s declaration that « the ‘interactive’ and ‘cinematic’ qualities of similar productions [...] make them books for the ‘digital age.’ (2012, p. 99)
Keywords: the magic thread, album without words, Histoire d'un fil, Boutique Tic Tic, humour, poetry.
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Park, Hanra. "Spaces and reality through cinematic techniques shown in the modern poetry -Focusing on Oh Gyu-won, Kim Gi-taek, Lee Seong-bok." Korean Literary Theory and Criticism 68 (September 30, 2015): 195. http://dx.doi.org/10.20461/kltc.2015.09.68.195.
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Leonova, Ekaterina Yu. "TECHNIQUES OF CREATING THE ABSURD IN YU. MORITS’ AND A. GIVARGIZOV’S POEMS FOR CHILDREN." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 74–83. http://dx.doi.org/10.28995/2686-7249-2021-3-74-83.
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The purpose of the work is to reveal the principles of the functioning of the absurdity, where it is characterized as a category of text, which is based on the reduction to absurdity (reductio ad absurdum). The article studies the methods of creating the absurd in poems for children by Y. Moritz (“Bouquet of cats”, “Bureau of burnt things”, “Lemon Malinovich Compress”, “Laughing confusion”, «Wonderful deeds») and A. Givargizov (“Notes of a hunter’s dog”, “No unauthorized entry”, “Uncustomarily”). It also distinguishes between the levels of text organization, at which absurdity is created by two poets. For Y. Moritz, a play is going at the basic level of the object organization of the text (subsystem of episodes), for A. Givargizov, it goes at the external level of the object organization (subsystem of internal vision frames) and at that of compositional speech forms. The article also analyzes the figurative system of poems, which makes it possible to determine the materiality and visuality of Y. Moritz’ and A. Givargizov’ poems as the key features of their poetry. One of the main features of the poetics of the absurd in Y. Moritz’s poems is the activation of materialized phenomena and objects, as a result of what the poems acquire a rich plot and cinematic quality
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Tourage, Mahdi. "The Eighth Biennial Conference of the International Society for Iranian Studies." American Journal of Islam and Society 27, no. 3 (July 1, 2010): 147–49. http://dx.doi.org/10.35632/ajis.v27i3.1323.
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The Eighth Biennial Conference of the International Society for IranianStudies (ISIS), the largest international gathering of scholars in the field, washeld in Santa Monica, CA, on 27-30 May 2010. There were sixty-four panels,each with three to four presenters addressing topics ranging from literature,Shi`ism and Sufism, to modernity, politics, women and gender. Amongthe ones that I found most interesting were “Women’s Worlds in Qajar Iran,”“Engagements with Reason: Shi`ism and Iran’s Intellectual Culture,” “PersianLiterary and Cinematic Representations of a Society in Transition,”“Shi’i Modernity, Constitutionalism, Elections, and Factional Politics,”“Reconstructing the Forgotten Female: Women in the Realm of the Shahnama,”“Zones of Exploration: Society, Literature, and Film,” “Re-ReadingIranian Shi`ism: International and Transnational Connections and Influence,”“The Politics of the Possible in Iran,” “Women’s Issues in ModernIran (in Persian),” “Discourses on Self And Other,” and “Sufism: Poetry andPractice.”Also featured were classical Persian music presentations and additionalroundtable discussions. One telling example of often overlooked aspects ofIranian society was “‘Waking Up the Colours: Candour and Allegory inWomen’s Rap Texts,” a paper on Iranian women’s rap music. Presenter GaiBray, an ethnomusicologist, argued that unlike the common conception ofrap as direct language, Iranian female rappers often use allegory to deal withdifficult subject matters, such as rape and prostitution. In another memorablepaper Babak Rahimi (University of California, San Diego) argued thatBushehr’s commemoration of Ashura serves to solidify communal identity.The ritual ends by burning the stage upon which the performances tookplace, signifying a communal act of creative destruction through which newidentities are reconstructed via building new ritual sites ...
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Berendeeva, M. S., and M. I. Rybalova. "“My Sight, My Strength, Dims...ˮ by Arseny Tarkovsky in the Feature Film “Nostalghiaˮ: The Ways of Poetical Quotation Embedding in the Cinematic Text." Philology 17, no. 9 (2018): 90–104. http://dx.doi.org/10.25205/1818-7919-2018-17-9-90-104.
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The article reveals the ways of poetical quotation embedding in the cinematic text using the example of the poem My sight, my strength, dims... by Arseny Tarkovsky in the feature film Nostalghia by Andrei Tarkovsky. The scene from Nostalghia which includes the poem My sight, my strength, dims... is analyzed from the points of view of the main factors of transformation of a poetic text when it is cited. These factors include: the place of the quotation in the structure of the cinematic text, mechanical transformations of the text, background information, the way of the quotation embedding, visual and sound accompaniment. The analysis shows that the episode when the poem is read is one the key scenes in the film. It reveals different characteristics of the concept of FATHER in the individual worldview of the film director. The main transformation of the text boils down to its translation into Italian. The quotation is embedded into the text via audio channel. As a result of the study we arrive to the following conclusions: 1) Poetic quotations in the film Nostalghia create numerous variants of the image of father interpretation. 2) The translated Italian text Si oscura la vista. La mia forza… preserves the main idea of the poem My sight, my strength, dims... and emphasizes the motives of the lost house and dying. 3) The embedding of the poem mentioned above into the cinematic text of Nostalghia is not plot-driven, unlike the integration of the text As a child I once fell ill. 4) The poetic texts As a child I once fell ill and My sight, my strength, dims... by Arseny Tarkovsky are united in the cinematic text of Nostalghia to create a binary system making the transition from the empirical level of the text to the sacred one.
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Brūveris, Klāra. "Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa." Baltic Screen Media Review 4, no. 1 (December 1, 2016): 38–59. http://dx.doi.org/10.1515/bsmr-2017-0003.
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Abstract This paper examines the development of neorealist tendencies in the oeuvre of contemporary Latvian filmmaker Laila Pakalnina. Her work is positioned within the global dissemination of cinematic neorealism, and its local manifestations, which, it is argued, develop in specific national contexts in reaction to dramatic societal and political changes. Pakalniņa’s films are examined as a documentation of the change from a communist satellite state to an independent democratic, capitalist country. Heavily influenced by the Riga School of Poetic Documentary, a movement in Latvian cinema that adhered to the conventions of poetic documentary filmmaking, the article analyses how her films replicate and further develop the stylistic and aesthetic devices of the Italian neorealists and the succeeding cinematic new waves. In doing so the argument is put forth that Pakalnina has developed neorealism Latvian style.
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Hastings, Valerie. "Recalculating the White Page-GPS Love in Comme dans un film des frères Coen." Human and Social Studies 5, no. 1 (March 1, 2016): 53–72. http://dx.doi.org/10.1515/hssr-2016-0004.
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Abstract Hastings reads the novel Comme dans un film des frères Coen (2010) by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” (speaks too much) therefore recalling the name of the actress with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself.
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Vladiv-Glover, Slobodanka M. "From Poetic to Cinematic Image: Theorising About Multimedia Translation." Transcultural Studies 8, no. 1 (2012): 129–42. http://dx.doi.org/10.1163/23751606-00801009.
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Devi, Asha. "NATURE IN HINDI LITERATURE." International Journal of Research -GRANTHAALAYAH 3, no. 9SE (September 30, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i9se.2015.3264.
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The love of nature of Hindi writers is well known. Poetry has been composed on nature in all times during the ancient, medieval and modern times. The famous cinematic poet Jayashankar Prasadji writes-Let me forget my sailor slowly - where in the uninhabited deep-tinged love story in the ears of Sagar-Lahiri-Ambar - Avni of Taj BabelThe poet has here pointed out the peace of man. Humanity is not noisy, nor does he want such an earth. Nature has loved human as (wave of ocean) and (abar). This is what it is like, why is it, who is destroying the unbreakable relationship between human and nature. What are the conditions that are making the earth persist? A terrible environmental crisis is looming over us all. What should we do now .We all know that in Indian culture, nature is like a necklace in the bracelet, but when the great crisis is showing the destruction of this culture, then our values of life, which teach us to love nature, should be cherished in Vedic era It is happening in the verses of the Vedas that we see the feeling of gratitude towards fire, sun, moon, air, water, earth, sky and clouds. Sanskrit literature is full of beautiful scenes of nature. There nature is companion, friend and its all.
हिंदी साहित्यकारों का प्रकृति-प्रेम सर्वविदित है। आदिकाल , मध्यकाल और आधुनिककाल सभी कालों में प्रकृति पर काव्य-रचनाऐं होती रहीं । प्रसिद्ध छायावादी कवि जयशंकरप्रसादजी लिखते हैं-ले चल मुझे भुलावा देकर मेरे नाविक धीरे-धीरे-जहाँ निर्जन में सागर-लहरी-अंबर के कानों में गहरी-निच्छल प्रेमकथा कहती हो--तज कोलाहल की अवनि कवि ने यहाँ मानव की शांतिप्रियता को इंगित किया है ।मानव कोलाहलप्रिय नहीं है, और न ही वह ऐसी धरती चाहता है।( सागर की लहर) और (अबंर) के रूप में प्रकृति ने भी मानव से प्रेम ही किया है ।आज विचारणीय विषय यह है कि फिर ऐसा क्या है, क्यों है, कौन है जो मानव और प्रकृति के अटूट संबंधों को तहस-नहस कर रहा है । वे कौन सी परिस्थितियाँ लगातार बनती रही हैं जो धरती विदीर्ण कर रही हैं । एक भयावह पर्यावरणीय संकट हम सब पर मँडरा रहा है । अब हमें क्या करना चाहिए ।हम सभी जानते हैं कि भारतीय संस्कृति में प्रकृति कंगन में नग की भाँति जडी है पर जब बड़ा संकट इस संस्कृति के विनाश का दिखाई दे रहा है तो ऐंसे में वैदिककाल से सँजोए हमारे जीवन-मूल्य, जो हमें प्रकृति से प्रेम करना सिखाते हैं, समाप्त हो रहे हैं वेदों की ऋचाओं में हमें अग्नि,सूर्य, चंद्र, वायु, जल, पृथ्वी, आकाश और मेघों के प्रति कृतग्यता का भाव दिखाई देता है । संस्कृत-साहित्य तो प्रकृति के मनोहारी दृश्यों से भरा पड़ा है ।वहाँ प्रकृति मानव की सहचरी,सखी और उसका सर्वस्व है ।
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Outzen, Mads. "Haunting analysis: The audio-visual essay." Short Film Studies 9, no. 2 (April 1, 2019): 215–18. http://dx.doi.org/10.1386/sfs.9.2.215_1.
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This article reflects upon the audio-visual essay as academic work and work of art, exploring Martin and Álvarez López’ short to demonstrate that this form of cinematic experimentation is indeed both things – providing analytical examination of the cinema of Víctor Erice as well as creating a new poetic experience in itself.
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Perelshtein, Roman Maksovich. "The Visible and Invisible Worlds in Louis Bunuel’s “Viridiana”." Journal of Flm Arts and Film Studies 5, no. 4 (December 15, 2013): 114–20. http://dx.doi.org/10.17816/vgik54114-120.
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Bunuel’s “Viridiana” is generally referred to as an anti-religious film. However, the director’s poetic language which has been one of the bases of the transcendental cinematic style suggests otherwise. Bunuel is against religionism still he does not deny the existence of a numinous, metaphysical reality and the ultimate values. By means of grotesque realism he tries to rehabilitate the invisible world.
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Llantada Díaz, Maria Francisca. "An Analysis of Poetic and Cinematic Features in Dorothy M. Richardson'sPilgrimage." English Studies 90, no. 1 (February 2009): 57–77. http://dx.doi.org/10.1080/00138380802396128.
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Mincheva, Dilyana. "Cinematic Islamic feminism and the female war gaze." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 54–70. http://dx.doi.org/10.33178/alpha.20.05.
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One of 2019’s most acclaimed documentaries, Waad Al-Kateab’s For Sama is an extraordinary feminist representation of the Syrian civil war (2011present). Al-Kateab impressively documents five years of the most traumatic contemporary conflict in the Middle East by focusing on personal confessions to Sama, her new-born daughter. Raw, dramatic, and sometimes unbearable to watch, it is a poetic tribute to a micro-level, “singularly unmanly”, and painfully intimate portrayal of war and hope (Montgomery). A mixture of love and horror unfold through a kaleidoscopic personal narrative that broaches macro-political and religious subjects without centralising them in the cinematic experience. This article discusses how Al-Kateab’s documentary is a novel and risky experiment that intermingles the female war gaze with a subtle, image-based Islamic feminism. Capitalising on Svetlana Alexievich’s “female war gaze”, which represents the invisible stories of women in war, I show how Al-Kateab’s cinematography expands the scope of the female war experience through carefully selected visual refences to Islamic ethical praxis, as interiorised by the camerawoman. For Sama is simultaneously an intimate motherly confession and act of both “listening” and “remembrance” (as the praxis of the Sufi Samāʿ suggests). In short, it mediates an ethical truth about the human condition in ruins.
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Kolker, Yakov M., and Elena S. Ustinova. "On the less obvious manifestations of the poetic function: a translator’s view." Slovo.ru: Baltic accent 12, no. 3 (2021): 34–53. http://dx.doi.org/10.5922/2225-5346-2021-3-3.
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The paper examines the interaction of the poetic function with the emotive and expressive functions in belles-lettres texts. The authors attempt to prove that the poetic function should not be equated with the aesthetic one. The former overlaps all the above-mentioned functions, but alone bears the responsibility for the form-content fusion. The paper focuses on the less evident mechanisms of the poetic function, beyond the obvious effect of tropes and figures of speech. Not unlike meiosis, its allegedly weaker ‘voice’ is capable of producing a much stronger effect, which can be discerned in rhythm and punctuation, in the absence of rhyme to induce an implicit rhymed word, in “elaborately monotonous” language, in textual opposition of synonyms, in expressly neutral and unemotional final phrases to evoke a train of emotive or intellectual reactions. The authors also suggest a functional approach to the notion of “poetic device”, which gives the translator more freedom in selecting expressive means without distorting the conceptual sphere of the original. An inter-semiotic view of literary devices borrowed from cinematic art proves the inimitability of the effect of the same device within the total conceptual structure of each text. Some of the propositions suggested are illustrated by excerpts of poetic translation done by the authors of the paper.
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Brickey, Russell. "Art in the ‘big print’: An examination and exercises for cinematic prose writing style." Journal of Screenwriting 12, no. 2 (June 1, 2021): 227–42. http://dx.doi.org/10.1386/josc_00061_1.
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Guides to writing screenplays worry most about plot sequence, character development and the dialogue. Yet, the ‘big print’ is a necessary part of any screenplay and as an educator I work with my screenwriting students to learn how to craft the big print so it is both powerful and minimal. This article is an examination of the art and style of screenplay prose; in particular, I use the screenplays of Arac Attack (released as Eight Legged Freaks), Aliens and Platoon as distinctive examples of diegetic writing in order to illustrate variations of style and how these affect the progress of the script and further, how the encumbering big print forecasts the overall tonal choices of the film. Each style discussed (minimalist, poetic/expansive and florid/expressionistic) is accompanied by suggestions for classroom or independent-study exercises meant to help develop movie writing style. Too long has the screenplay been seen simply as a blueprint for the final film; it is now time to begin appreciating the art of the written word in screenplay studies.
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Enns, Clint. "Frampton’s Demon: A Mathematical Interpretation of Hollis Frampton’s Zorns Lemma." Leonardo 49, no. 2 (April 2016): 156–61. http://dx.doi.org/10.1162/leon_a_00807.
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Hollis Frampton’s much-discussed film Zorns Lemma is a complex and fascinating film that has a labyrinthine structure, alluding to a mathematical reading of the film as a visual metaphor for Max Zorn’s famous axiom Zorn’s Lemma. In the extensive literature about Zorns Lemma, there have been many different interpretations offered; however, none of these readings has provided a satisfactory mathematical interpretation of the film. After first providing an overview of Zermelo’s Axiom of Choice and some of its equivalent statements, this article provides a mathematical interpretation of Zorns Lemma that shows the film as a cinematic/poetic demonstration of the Axiom of Choice, a statement that is mathematically equivalent to Zorn’s Lemma. In addition, this paper explores some of the consequences of such an interpretation, including one that connects the film to the ideas Frampton was exploring in Magellan.
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Cohen-Shalev, Amir, and Esther-Lee Marcus. "“Equally mixed”: artistic representations of old love." International Journal of Ageing and Later Life 10, no. 2 (February 4, 2016): 61–83. http://dx.doi.org/10.3384/ijal.1652-8670.15281.
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Michael Haneke’s (2012) film Amour is used as a point of departure for discussing a spectrum of artistic representations of ‘‘old love,’’ a phenomenon that is still little understood. While most critics have focused on euthanasia when referring to the film’s dramatic climax, its late-life perspective of love has been marginalized. Analyzing Amour, as well as other recent cinematic and poetic texts, we challenge the widespread midlife and ageist perception of ‘‘April love,’’ contrasting it with different views from within old love. Our reading of Amour illustrates the effects of intense, all-encompassing, and sealed intimacy in advanced old age and sheds light on potential consequences it may have on the decisions and lives of the people involved. We conclude by discussing how certain forms of love, seen from within, unfold in tandem with age or life phases that affect the pace, emotional, and interpersonal nature of the partnership.
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Steimatsky, Noa. "Cinema’s poetics of history." Modern Italy 22, no. 2 (May 2017): 105–22. http://dx.doi.org/10.1017/mit.2017.19.
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In the movie theatre, history risks drowning in sensory response, in pleasure, or in shock. Yet the cinema can also contribute to a special knowledge of history. Cutting across genres and modes of filmmaking, exploring the effects of duration, gesture, movement, mise-en-scène, framing and editing, recognising affective connotations and the intricacy of figural-poetic devices, this article weighs the impact of the senses and the imagination vis-à-vis the cinema’s historical task. In transforming the narrative past tenses of both fiction and history into the present tense of film viewing, the cinema may be said to loosen the critical grip of writing (history’s ‘proper medium’), to destabilise legibility and interpretation, to interfere with the retrospective, synthetic work of history. But this variability, the inherent ‘impurity’, even promiscuity of the medium also invests cinematic experience with a vitality and urgency: it implicates us in what we see, it animates our response, which is at once aesthetic and ethical.
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Jo, Han-Ki, and Soong-Beum Ahn. "Formation and Connection of the Poetic Emotion Found in the Cinematic Rhythm and Allegory of Min Byeong-hun's Film-." Humanities Contens 39 (December 31, 2015): 55. http://dx.doi.org/10.18658/humancon.2015.12.39.55.
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Nam, Seungsuk. "Cinematic Cartography and (Im)possible Work of Mourning for Yugoslavia: Poetic Embodiment of Balcanism Based on Mise En Abyme." Film Studies 83 (March 31, 2020): 199–274. http://dx.doi.org/10.17947/fs.2020.3.83.199.
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Kronja, Ivana. ""Social horror": A critical analysis of ideological and poetic function of the motive of victim in the contemporary Serbian film." Temida 19, no. 2 (2016): 309–29. http://dx.doi.org/10.2298/tem1602309k.
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This paper analyses achievements of Serbian cinematography after 2000, which narrative strategies and visual aesthetics are focused on the issues of violence and victims in the context of social despair, post-communist transition and ongoing global value crisis. Films made by Mladen Djordjevic Life and Death of a Porn Gang (2009), Srdjan Spasojevic A Serbian Movie (2010), and Marko Novakovic Menagerie (2012) integrate these complex characteristics of disintegration of Serbian community and dysfunctional state system into their cinematic poetics. These films present examples of radical film aesthetics, which, through strategies of making things unusual, and the influence of underground, pornography and horror on the realistic drama, speak about permanently traumatised Serbian society. They directly connect collective political state and the domain of personal, family, intimate and sexual, controversially relying on the images and narratives of gender misogyny and the violence it produces and its victims. The paper critically approaches these issues from the gender- feminist perspective.
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Hogan, Erin K. "Don Quixote, Sweded by Michel Gondry in Be Kind Rewind (2008)." Open Cultural Studies 1, no. 1 (December 20, 2017): 454–67. http://dx.doi.org/10.1515/culture-2017-0042.
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Abstract In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondry’s film “swedes,” its playful neologism for ersatz remaking of Hollywood and classic films, Miguel de Cervantes’s Don Quixote. The feature follows the Sanchification of Jerry (Jack Black), Gondry’s Don Quixote, and Quixotification of Mike (Mos Def), Gondry’s Sancho, as they nostalgically wrong cinematic rights through sweding and try to save their working-class neighbourhood from condemnation and gentrification through community film making. Gondry swedes the Quixote through his engagement with major themes and operations in Cervantes’s classic, including nostalgia, story-telling, conflicts between reality and fantasy, authorship, the grotesque and carnivalesque, (anti-)heroes, race and gender-bending, genre, and addressees turned addressers. This article discusses Be Kind Rewind’s relationship to Hollywoodian and Cervantine classics through the theoretical frameworks of Julio Garcia Espinosa’s imperfect cinema and Foucauldian semiotics, respectively. Be Kind Rewind uses and abuses Hollywood stereotypes to re-purpose them for a critique of discriminatory practices. Where casting is concerned and where Michel’s characters diverge from Miguel’s, Be Kind Rewind advances that skin colour is not an arbitrary sign and that race has historical and contemporary meaning in intercultural interactions.