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CinepoetryImaginary Cinemas in French Poetry$
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Christophe Wall-Romana

Print publication date: 2012

Print ISBN-13: 9780823245482

Published to Fordham Scholarship Online: May 2013

DOI: 10.5422/fordham/9780823245482.001.0001

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PRINTED FROM FORDHAM SCHOLARSHIP ONLINE (www.fordham.universitypressscholarship.com). (c) Copyright Fordham University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in FSO for personal use.date: 18 September 2021

Conclusion

Conclusion

The Film to Come in Contemporary Poetry

Chapter:
(p.347) Conclusion
Source:
Cinepoetry
Author(s):

Christophe Wall-Romana

Publisher:
Fordham University Press
DOI:10.5422/fordham/9780823245482.003.0015

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.

Keywords:   Dispositif, Photo-cinematic difference, Book illustration, Jean-Marie Gleize, Christophe Hanna, Olivier Quintyn, Emmanuel Hocquard, Suzanne Doppelt, Nathalie Quintane, Jérôme Game

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