Acknowledgments

Chapters in this book

1. Frontmatter i
2. Contents vii
3. List of Illustrations ix
4. Acknowledgments xiii
5. List of Abbreviations xv
6. Introduction: Cinema as Imaginary Medium in French Poetry 1
7. Part One. The Early Poetic Sensorium of the Apparatus
8. 1. Mallarmé Unfolds the Cinématographe 55
9. 2. The Pen-Camera: Raymond Roussel’s Freeze-Frame Panorama 79
10. 3. Le Film surnaturel: Cocteau’s Immersive Writing 97
11. Part Two. Telepresence of the Marvelous: Cinepoetic Theories in the 1920s
12. 4. Jean Epstein’s Invention of Cinepoetry 113
13. 5. Breton’s Surrealism, or How to Sublimate Cinepoetry 136
14. 6. Doing Filmic Things with Words: On Chaplin 158
15. Part Three. Cinepoetry and Postwar Trauma Cultures
16. 7. The Poem-Scenario in the Interwar (1917–1928) 177
17. 8. Reembodied Writing: Lettrism and Kinesthetic Scripts (1946–1959) 205
18. Part Four. Cinema’s Print Culture in Poetry
19. 9. Postlyricism and the Movie Program: From Jarry to Alferi 259
20. 10. Cine-Verse: Decoupage Poetics and Filmic Implicature 290
21. Part Five. Skin, Screen, Page: Cinepoetry’s Historical Imaginary
22. 11. Max Jeanne’s Western: Eschatological Sarcasm in the Postcolony 313
23. 12. Maurice Roche’s Compact: Word-Tracks and the Body Apparatus 326
24. 13. Nelly Kaplan’s Le Collier de ptyx: Mallarmé as Political McGuffin 337
25. Conclusion: The Film to Come in Contemporary Poetry 347
26. Notes 375
27. Bibliography 433
28. Index 467