Abstract
How have poets writing in French reacted and adapted to cinema? This book answers with original analyses of over a century of remediation experiments among poets ranging from Mallarmé to Alferi, Hillel-Erlanger to Isou, and Cocteau to Damas and Gleize. ‘Cinepoetry’ names a disseminated but insistent practice of writing poetry under the inspiring warp of films, movie culture, the scenario form and cinema as actual or imaginary apparatus. Poets were struck by the essential feature of cinema--automorphosis—making it the first artificial form capable of reshaping itself like fluids and organic bodies. Far from marginal, cinepoetry forces us to reassess central tenets of modernism and the avant-garde, such as the inception of Surrealism and Lettrism, or the relation of Symbolism to visual technologies. Arguing that the mutation of the Romantic imagination into the ‘imaginary’ was hastened by cinepoetic thought, the book provides a new genealogy for poetry in the age of new media based on what is often lacking in remediation studies: close analyses of a large and diverse corpus of works, and the identification of a specific set of cross-medium operations. This book reconfigures key binaries within the interdisciplinary landscape of today's humanities: the canon and the margins, literature and cinema, text and image, close reading and post-technological hermeneutics, old vs. new media, prose poems vs. visual poems, text-based poetry vs. digital poetry. It also engages with the place of cinema in the thought of Jean Epstein, André Breton, Jean-Paul Sartre, and Michel Foucault among others.
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