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

引言部分将为读者提供一个概念框架，说明本书的重点：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，并部分依赖未发表的信件和个人采访，我将写关于诗人罗伯特邓肯和电影制片人肯尼斯·安格;诗人罗伯特格里利和迈克尔麦克卢尔和电影制片人斯坦·布拉哈格;诗人艾伦金斯伯格和电影制片人哈里·史密斯，罗伯特·弗兰克和阿尔弗雷德·莱斯利;诗人约翰·阿什伯里和电影制片人鲁迪·伯克哈特的单独章节。这本书将以一个尾声结束，研究当代美国诗人丽莎雅诺和电影制片人斯坦布拉哈格的作品之间的关系。布拉哈格说，雅诺是三位当代诗人之一（包括麦克卢尔和罗纳德约翰逊），“他们直接为我的电影制作做出了巨大的贡献，就像我年轻时的磅、斯坦、奥尔森、格里利和多姆一样”。我的结语将通过研究布拉哈格的作品如何影响雅诺的诗学来探讨这种互惠关系的另一端。我以这样一种方式设计我的专著，是为了呈现一个概念上一致的叙事弧线，始于现代主义，止于当下。我的专著背后的指导动力是我的信念，即20世纪世纪创新的美国诗歌在很大程度上受到创新电影实践的影响，远远超过目前所认识到的程度。这样的认识和分析将为读者提供一个更完整的意义上的战后美国诗歌是什么，就其关系和召唤的电影。因此，一个更综合和各种各样的看法是什么构成了抒情诗本身将出现。例如，关于罗伯特邓肯作品的主要专著（彼得·奥利里的《诺斯替传染病：罗伯特邓肯和疾病之诗》（2002）和马克·约翰逊的《罗伯特邓肯》（1988））都没有提到电影制片人肯尼斯·安格或斯坦·布拉哈格。然而，阅读邓肯的系列形式（我所说的“系列”形式是指他写开放式诗歌的做法，这些诗歌通过重复的主题、图像和短语联系起来），根据他反复提到的电影以及他与先锋电影世界艺术家的历史友谊，实际上邀请我们考虑这些诗学如何通过电影技术（包括连续性和分离、节奏顺序和拼贴）来表达。我的专著，从现代主义时代到我们的当代时刻，将恢复电影制片人和战后美国先锋派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。

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 Focusing specifically on those poets who cite Stein and I or H.D as crucial predecessors, and relying partly on unpublished correspondence and personal interviews, I will write individual chapters on poet Robert Duncan and filmmaker Kenneth Anger; poets Robert Greeley and Michael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.