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• W341976106 abstract "Contending that modernist poetry and avant-garde film have significant connections, this essay examines Marianne Moore's poem Those Various Scalpels in light of Fernand L[acute{e}]ger's Ballet M[acute{e}]canique, Through this analysis, explore how both media simultaneously figure forth and fragment gestural body. Modernism often signals what Peter Nicholls refers to as triumph of form over 'bodily' content, while exclusion of feminine, as paired with bodily through ironic distance, denotes one recognizable mode of modernism (4). The conjunction of modernist cinema and poetics, however, allows for an understanding of alternative refigurings of bodily. My desire to establish a bodily modernism is in part a response to what Elizabeth Grosz calls somatophobia of Western philosophy, mapping of (particularly women s bodies) as dangerous to reason (Volatile Bodies 5). Grosz insists that since functions as repressed or condition of all knowledge, there is a need to develop a philosophy which refuses to privilege mind at expense of body (20). contend that exploration of intimately involved realms of poetic and filmic in aesthetics of modernism reveals this disavowed bodily as vital to experiments in both media. Both media call for a necessary embodiment, or in Merleau-Ponty's language the perceiving mind as an incarnated body, a staking out its spatiality and enacting its stylized deconstitution and reconstitution through aesthetic processes of fragmentation, superimposition and juxtaposition (3). Marianne Moore writes to Bryher in 1933: I doubt that there is anyone living who is more enthusiastic about movies than am (February 1926, Collected Letters 296). If this assertion verges on hyperbole, it also usefully recommends that we re-read Moore with filmic in mind. Indeed, Moore is not only modernist whose link to film has been neglected and whose work is newly illuminated by its relationship to cinema; by drawing connections between two media, we can redefine an interdisciplinary modernism that reveals avant-garde poetry and films as more closely meshed in their challenges to conventional representation. My interest here is not to establish a specific influence of film upon Moore, but to suggest that she finds confirmation of her poetic methods in film. A comparison between Moore and Fernand L[acute{e}]ger's 1924 film Ballet M[acute{e}]canique reveals how avant-garde cinematic technique productively sheds light on poet's defamliarization of objects and embodiment. Both spectat or as poet and reader, and specter of (not caught but kept in motion), are implicated in a filmic poetics that foregrounds fragmentary, incohesive character of human embodiment. In following essay, first adumbrate basis for connecting modern poets with film, and suggest how cinema reconceptualizes gestural in time and space by both visceralizing and dissecting it. Then examine Moore's use of Eisensteinian montage as a somatized poetic and distinguish it from William Carlos Williams's poetic desire for visual mastery. Through a reading of L[acute{e}]ger's film Ballet M[acute{e}]canique, famous for its cubist animated constitution and deconstitution of Chaplin's figure (see Fig. 1), link L[acute{e}]ger's with Moore's obsession with mechanical and bodily. An analysis of Moore's Those Various Scalpels underscores analogies between her poetics and L[acute{e}]ger film. conclude with Moore's attraction to animal documentaries as signifying a displaced embodiment and a reinscription of L[acute{e}]ger's anti-narrative aesthetics. From 1927 to 1933, Close Up, first journal in English exclusively devoted film arts, featured contributions from many poets including Marianne Moore, H.D. and Stein. The recent publication of selections from Close Up reinforces my sense of significance of interconnections between poetry and film in modernism. …" @default.
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• W341976106 date "2000-06-01" @default.
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• W341976106 title "The Ballet Mecanique of Marianne Moore's Cinematic Modernism" @default.
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