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16 Cinema Mon Amour: How British Poetry Fell In Love With Film
Get accessSophie Mayer is author of the poetry collections Kiss Off (Oystercatcher), The Private Parts of Girls (Salt), and Her Various Scalpels (Shearsman). She has written on Indigenous poetry for SAIL, Masthead and Horizon Review, and on poetry and film for the Oxford Handbook of Contemporary British and Irish Poetry. She is co-editor of the poethics anthologies, Catechism: Poems for Pussy Riot (English PEN), Binders Full of Women, and, forthcoming, Fit to Work: Poets against Atos.
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Published:16 December 2013
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Abstract
‘Cinema Mon Amour’ examines the shift from T. S. Eliot’s rejection of cinema to contemporary poets’ engagement with it as object of desire, related to increasing cine-literacy, the influence of the Beats, and the BFI Production Board generation of film-makers, including Derek Jarman. Eliot characterizes film as ‘nerves in patterns on a screen’, feminized by association with the film star and film as popular culture, a characterization still seen in contemporary work, albeit rendered positively. Poets such as Simon Barraclough concentrate on film in relation to memory and an Edenic nostalgia, while feminist poets such as Redell Olsen and Denise Riley challenge both objectification and nostalgization by investigating the filmic, or formal, qualities of cinema, rather than the cinematic (industrial, economic), as distinguished by Garret Stewart. Together, they have shifted British film poems away from the televisual and towards the uniquely integrated, artisanal practice of film-maker and poet Margaret Tait.
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