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 Focusing specifically on those poets who cite Stein and I or H.D as crucial predecessors, and relying partly on unpublished correspondence and personal interviews, I will write individual chapters on poet Robert Duncan and filmmaker Kenneth Anger; poets Robert Greeley and Michael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

引言部分将为读者提供一个概念框架，以阐述本书的重点：分析创新电影对战后美国先锋派诗歌的影响。我将专门针对那些将斯坦因和我或 H.D 视为重要前辈的诗人，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·邓肯和电影制片人肯尼思·安格的单独章节；诗人罗伯特·格里利和迈克尔·麦克卢尔以及电影制片人斯坦·布拉哈奇；诗人艾伦·金斯伯格和电影制片人哈利·史密斯、罗伯特·弗兰克和阿尔弗雷德·莱斯利；以及诗人约翰·阿什伯里和电影制片人鲁迪·伯克哈特。这本书的尾声将研究当代美国诗人丽莎·贾诺特和电影制片人斯坦·布拉哈奇的作品之间的关系。布拉哈奇谈到贾诺特时说，她是三位当代诗人（包括麦克卢尔和罗纳德·约翰逊）之一，“他们对我的电影制作做出了直接的贡献，就像我年轻时的庞德、斯坦因、奥尔森、格里利和多姆一样”。我的尾声将通过研究布拉哈奇的作品如何影响雅诺的诗学来探讨这种相互关系的另一端。我以这种方式设计我的专着，是为了呈现一个概念上一致的叙事弧，从现代主义开始，到当下结束。我专着背后的指导动力是我相信二十世纪创新的美国诗歌是由电影的创新实践在很大程度上远远超出了目前所认识的范围。这种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更全面的认识。因此，关于抒情诗本身的构成的更加综合和多样化的观点将会出现。例如，关于罗伯特·邓肯作品的主要专着（彼得·奥利里的《诺斯替教传染：罗伯特·邓肯和疾病诗歌》（2002）和马克·约翰逊的《罗伯特·邓肯》（1988））就很能说明问题。电影制片人肯尼思·安格或斯坦·布拉哈奇。然而，根据邓肯对电影的反复提及以及他与前卫艺术家的历史友谊，阅读邓肯的连载形式（我所说的“连载”形式是指他通过重复主题、图像和短语来写作开放式诗歌的做法） - 前卫电影世界实际上邀请我们思考如何通过电影技术（包括连续性和分离性、节奏性排序和拼贴）来传达这些诗意。我的专着涵盖了从现代主义时代到当代的时代，将重现战后美国先锋派电影制片人和诗人之间具有影响力和美学意义的对话中不为人知且有价值的故事。