Susan McCabe juxtaposes the work of four American modernist poets with the techniques and themes of early twentieth-century European avant-garde films. The historical experience of World War One and its aftermath of broken and shocked bodies shaped a preoccupation with fragmentation in both film and literature. Film, montage and camera work provided poets with a vocabulary through which to explore and refashion modern physical and metaphoric categories of the body, including the hysteric, automaton, bisexual and femme fatale. This innovative study explores the impact of new cinematic modes of representation on the poetry of Gertrude Stein, William Carlos Williams, H. D., and Marianne Moore. Cinematic Modernism links the study of literary forms with film studies, visual culture, gender studies and psychoanalysis to expand the usual parameters of literary modernism.
Rezensionen / Stimmen
"[An] ambitious, innovative study ... [with] bold juxtapositions of ideas.... McCabe's linkages are precise, original, and bibliographically extensive. Her network of inquiry discovers connective neurons from modernist poems and film scenarios to psychological, literary and film theories of past and recent publication. She proves the range of "cinematic modernism" to be wide, deep, and generative."
English Literature in Transition, 1880-1920
Sprache
Verlagsort
Zielgruppe
Illustrationen
20 Halftones, unspecified
Maße
Höhe: 235 mm
Breite: 157 mm
Dicke: 22 mm
Gewicht
ISBN-13
978-0-521-84621-9 (9780521846219)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Susan McCabe is Associate Professor of English at the University of Southern California.
Autor*in
University of Southern California
List of illustrations; Acknowledgement; List of abbreviations; Introduction: cinematic modernism; 1. Modernism, male hysteria and montage; 2. 'Delight in dislocation': Stein, Chaplin and Man Ray; 3. William Carlos Williams and surrealist film: 'a favourable distortion'; 4. H. D.'s borderline bodies; 5. Marianne Moore: film, fetishism and her 'Ballet Mecanique'; Conclusion: modern dissociation and All About Eve; Notes; Bibliography; Index.
