The Film to Come in Contemporary Poetry
The Conclusion examines a recent but marked resurgence of cinepoetry, imputing it to three factors: a rejection of modernism; the use of photographs in poetry books; and the poetics of the dispositif (apparatus). If cinepoetry is making a comeback since the 1980s it is decidedly on a muted mode, via the photo-cinematic difference, and in an apophatic manner Emmanuel Hocquard calls ‘a thwarted film’. Jean-Marie Gleize's theory of ‘postpoetry’ and his works such as Le Film à venir, and Christophe Hanna and Olivier Quintyn's theory of the dispositif are examined for their remediations of cinema. The Conclusion briefly reviews the work of half-a-dozen other poets to demonstrate that cinepoetry has become the dark matter of contemporary poets in that it is simultaneously at work in their writing, yet eschewed as a utopian or modernist possibility, and unrecognized as a deep and central current flowing beneath all of twentieth-century poetry.
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