I have to agree with Alison.
A jump cut is not merely a metaphorical device or aspect of elision, it is a physical removing of a frame of film in an otherwise naturalistic and logically flowing sequence—-hence its effect when viewed. It is impossible to do this with poetry, as there is no equivalent to a frame of film in language/writing. Elision, parataxis etc. are not the same. To have a jump cut in poetry, one would have to physically cut the paper the poem is written on. But that would be nearer to “cut-ups”, which, again, is nearer to film montage than to jump cuts.
Original message:
Well, I just don't think it's a very useful term in poetry. You can make it mean something else, pace Humpty Dumpty, but then, so what? I can see cutting, ie, your standard film edit, which is what Robin's talking about in The Waste Land. I can see collage. A jump cut is a quite precise film editing term that relies for its effect on qualities of film that poetry (especially Ashbery, Berrigan etc)doesn't have - ie, naturalistic continuity - and none of these examples do anything that justify importing the term.
Not that I'm stopping y'all. Feel free.
xA
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