Decoupage Poetics and Filmic Implicature
This chapter tackles two cinepoetic works written in ‘verse’: André Beucler's Un Suicide (1925) and Pierre Chenal's Drames sur celluloïd (1929). ‘Verse’ is in scare quotes because these lines show no traditional poetic aspect such as rime, rhythm, sonorous effects, tropes, etc. To explain the novelty of these cine-verse, the chapter detours through cognitive poetics while addressing to it a major challenge: namely, that cognitive science at large has uncritically made use of filmic notions which were naturalized as mind functions. They include: frame, scenario, script, projection, viewpoint, scalarity, blending, etc. The readings of these two works complicates and historicizes the broad deployment of aspects of the film apparatus by cognitive studies, by showing that the texts of Beucler and Chenal deploy their cine-verse through a similar but cogent investigation of filmic cognition. Cine-verse also disrupts the teleology of blank verse by suggesting cinema as a force shaping 20th-century verse poetics.
Fordham Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.