'Fragments, Blotches, Healing Lights': The Conversation Between Film and Poetry in the Post-War American Avant-Garde

“碎片、斑点、治愈之光”：战后美国前卫艺术中电影与诗歌的对话

• 批准号: AH/D501288/1
• 负责人: Daniel Kane
• 金额: $ 2.84万
• 依托单位: University of East Anglia
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2006
• 资助国家: 英国
• 起止时间: 2006 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FD501288%2F1
• 关键词: Fragments; Blotches; Healing; Lights; Conversation

The introduction will provide readers with a conceptual framework for the focus of the book: an analysis of the influence of innovative film on post-war American avant-garde poetry. Focusing specifically on those poets who cite Stein and I or H.D as crucial predecessors, and relying partly on unpublished correspondence and personal interviews, I will write individual chapters on poet Robert Duncan and filmmaker Kenneth Anger; poets Robert Greeley and Michael McClure and filmmaker Stan Brakhage; poet Allen Ginsberg and filmmakers Harry Smith, Robert Frank and Alfred Leslie; and poet John Ashbery and filmmaker Rudy Burckhardt. The book will end with an epilogue studying the relationship between the work of contemporary American poet Lisa Jarnot and filmmaker Stan Brakhage. Brakhage said of Jarnot that she was one of three contemporary poets (including McClure and Ronald Johnson) 'who contribute directly to my filmmaking as powerfully as Pound, Stein, Olson, Greeley, Dom when I was young'. My epilogue will look at the other end of this reciprocal relationship by studying how Brakhage's work has influenced Jarnot's poetics. I have designed my monograph in such a fashion in order to present a conceptually consistent narrative arc that begins in Modernism and ends in the present moment.The guiding impulse behind my monograph is my belief that innovative American poetry of the twentieth century has been infonned by the practices of innovative film to a far greater extent than is currently recognized. Such recognition and analysis will provide readers with a far more integrated sense of what post-war American poetry Is In terms of its relationship to and evocation of film. Thus, a more synthesized and various view of what constitutes the lyric itself will emerge. For example, it is telling that none of the major monographs on Robert Duncan's work (Peter O'Leary's 'Gnostic Contagion: Robert Duncan and the Poetry of Illness (2002) and Mark Johnson's 'Robert Duncan' (1988)) make any mention of filmmakers Kenneth Anger or Stan Brakhage. And yet, reading Duncan's serial form (by 'serial' form I mean his practice of writing open-form poems linked by repeating themes, images, and phrases) in light of his repeated reference to film and his historical friendships with artists in the avant-garde film world practically invites us to consider how those poetics might be informed by filmic techniques including seriality and disjunction, rhythmic sequencing, and collage. My monograph, spanning from the Modernist era to our contemporary moment, will recover the untold and valuable story of the influential and aesthetically significant conversations between filmmakers and poets of the post-war American avant-garde.

导言部分将为读者提供本书关注的概念框架：分析创新电影对战后美国先锋诗歌的影响。我将特别关注那些引用斯坦因和我或h.d.作为重要前辈的诗人，并部分依靠未发表的信件和个人采访，撰写关于诗人罗伯特·邓肯和电影制作人肯尼斯·昂格的单独章节；诗人罗伯特·格里利和迈克尔·麦克卢尔以及电影制作人斯坦·布雷哈奇；诗人艾伦·金斯堡和电影制作人哈利·史密斯、罗伯特·弗兰克和阿尔弗雷德·莱斯利；诗人约翰·阿什伯里和电影制作人鲁迪·布克哈特。这本书将以研究当代美国诗人丽莎·贾诺特和电影制作人斯坦·布拉哈格作品之间关系的结语结束。布拉克哈格说，雅诺特是当代三位诗人之一（包括麦克卢尔和罗纳德·约翰逊），“在我年轻的时候，她们和庞德、斯坦、奥尔森、格里利、多姆一样，对我的电影制作有直接的影响。”我的结语将通过研究布拉克哈格的作品如何影响了雅诺特的诗学来审视这种相互关系的另一端。我以这种方式设计了我的专著，以呈现一个概念上一致的叙事弧，从现代主义开始，到现在结束。我的专著背后的指导动力是，我相信20世纪美国诗歌的创新受到了创新电影实践的影响，其影响程度远远超过了目前的认识。这样的认识和分析将使读者对战后美国诗歌与电影的关系和对电影的唤起有一个更全面的认识。因此，一个更综合的和不同的观点，是什么构成了抒情本身将出现。例如，关于罗伯特·邓肯作品的主要专著（彼得·奥利里的《诺斯底传染病：罗伯特·邓肯和疾病的诗歌》（2002年）和马克·约翰逊的《罗伯特·邓肯》（1988年））都没有提到电影制片人肯尼斯·昂格或斯坦·布雷哈格，这很说明问题。然而，阅读邓肯的系列形式（我所说的“系列”形式是指他写开放形式的诗歌的实践，这些诗歌由重复的主题、图像和短语联系在一起），根据他对电影的反复引用，以及他与前卫电影世界的艺术家们的历史友谊，实际上邀请我们考虑这些诗学是如何被电影技术所影响的，包括连续性和分离性，节奏顺序和拼贴。我的专著，从现代主义时代到我们的当代时刻，将恢复战后美国先锋派电影制作人和诗人之间有影响力和美学意义的对话的不为人知的和有价值的故事。