I give up, Alison - the baby has been thrown out with the bathwater and no time more here to spend cleaning the sink! That you don't care may suggest volumes or reels! Not thinking I would, I got into caring. Full Stop. It's Saturday night here and time to go out. Dance poetry theater (mixed) of which I confess, jump cuts or not, I have little critical expertise. Just better be good.
Stephen
http://stephenvincent.net/blog/
--- On Sat, 5/1/10, Alison Croggon <[log in to unmask]> wrote:
From: Alison Croggon <[log in to unmask]>
Subject: Re: Adventurous rejected: Magma Blog
To: [log in to unmask]
Date: Saturday, May 1, 2010, 5:42 PM
Stephen - Do you know, I care so little about this. Except that poets
are supposed to care about the accurate use of language, no?
Regarding which, if you re-read my posts, you will find that I have
nowhere said that cinema had "no influence" on poetry (although I did
suggest, bringing in Muriel Rukeyser, that perhaps the effect of
poetic techniques on cinema might be underestimated). I said, yes,
cutting, I can see that. Collage, I can see that. (Although in both
cases it's disputable whether the technique or the term originates in
film). Various perceptual mediations - yes, absolutely. Jump cuts? No,
I can't see that, and that poem does not provide an example.
xA
On Sun, May 2, 2010 at 10:31 AM, Stephen Vincent <[log in to unmask]> wrote:
> Alison, with all due respect, I don't think you can authoritatively say - or on whatever authority you draw - that the use of 'jump cuts' , as well as other terms, 'close ups' , 'zooming in' or 'out' of film- particularly circa 1960 - 65 - had no influence shaping movements or structures of poems. This use of a variety of cinematic shifts provided fresh techniques to breach the exhausted "narrative" poem. Here is a small small section of "Nightmares To Be Born" by Laura Ulewicz (written circa 1962)
>
>
>
--
Editor, Masthead: http://www.masthead.net.au
Blog: http://theatrenotes.blogspot.com
Home page: http://www.alisoncroggon.com
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