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Thesis Submitted in Fulfilment of the Degree of Doctor of Philosophy

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Thesis Submitted in Fulfilment of the Degree of Doctor of Philosophy VERSES IN THE CELLULOID: POETRY IN FILM FROM 1910-2002ý WITH SPECIAL ATTENTION TO THE DEVELOPMENT OF THE FILM-POEM Robert Scott Speranza ThesisSubmitted In Fulfilment Of the Degreeof Doctor of Philosophy Departmentof English Literature University of Sheffield March, 2002 Robert Speranza Verses in the Celluloid: Poetry in Film From 1910-2002, With Special Attention to the Film-Poem Summary Poetry is not a new phenomenon in film and television. It is consistently treated as such becauseits presenceis not common;poetry is repeatedlyviewed as a 'specialelement' in a production.However, visual poetry is becomingless and lessof an oddity in modern-dayfilms. This thesis,which surveysmultiple intersectionsof poetry and cinema,places particular emphasison the most specific and direct use of poetry within film: 'film-poems'.Numerous poets andfilmmakers today havemade film-poems, particularly poet Tony Harrison.These works are importantbecause they are revolutionaryin their combinationand applicationof the two media: a film-poem is a simultaneouscollaboration of writing, shootingand cutting, which makesfor extraordinary,sense-inundating viewing. Their qualities,not to mention their evolution, have escapedformal study for the most part, and fully deservecritical exploration. The Harrisonianfilm-poem heavily involves both filmmaker and poet in most aspectsof production.Yet thereare discrepanciesthat emergewhen using the term 'film poem'.Other classificationslink the words to the arenaof avant-gardecinema. Avant-garde films might contain someverse, but mainly they depict a themeor story through a cinematically metaphoricalmeans, using imagesas thosemetaphors, using cinematicdevices as poetic devices. A study of the avant-garde and a language of cinema that is called 'poetry'itself (by some)is anotherfocus of this thesis. I also concentrateon the cinematicplacement of poetry in featurefilms. When films cite poetry, they immediatelytake on a new dimension,a significant deeperlayer to their own story lines. Similarly, the poem also gainsa significancethat will link it with a sceneand themein the film, and the film's specific images.I begin this thesiswith a study of this kind of citation, discussingthe prospectof poetic presencein film, and proceedto discussthe developmentof film andpoetry, which inevitably leadsto its most significant intersection:the film-poem. ii CONTENTS Page Acknowledgements v Note on AccompanyingVideotape viii INTRODUCIION 1 What is a film-poem? I The HarrisonianModel 4 The 'Avant-Garde'Film Poem 9 Other Intersectionsof Film and Poetry Coveredin this Study 11 CHAPTER ONE: FILM CITATIONS OF POETRY 12 1.1 Films with Toetry Inside' 12 1.2 'It's got to be a thing': ChristinaRossetti and Kiss Me Deadly is 1.2.1A Study of the Sonnet'Remember' 16 1.2.2'Remember'ina CinematicContext 27 1.3 FurtherExamples of Poetry in Film 42 1.3.17 seegreat things is baseball':Poetry in a SportsFilm 42 1.3.2Films that Contain Original Poetry 52 1.4 Conclusion:It DoesNot Have To Be a Thing' 60 CHAPTER TWO: THE EVOLUTION OR TRE-HISTORYI OF THE TILM-POEM' 66 2.1 Film as an Art: When did it Start? 66 2.2 D.W. Griffith: Innovationwith Poetry 71 2.3 The EarliestShort Film-Poem? 74 2.4 Soundand the Developmentof Film and Poetry 79 2.5 Film Poemswithout Verse?:The Influence of Avant-Garde 91 2.5.1 The 'CinematicConstruction'of Poetry and MontageEditing 92 2.5.2 Film-Poetsand the Art of Cinema 97 2.5.3 The Avant-Gardeand the 'Film Poem'(Without Hyphenation) 105 2.6 Adaptationsof Poemson Film 115 CHAPTER THREE: THE FILM-POEM 3.1 The Types of Film-Poems 119 3.2 Tony Harrisonand the Film-Poem 120 3.3 Problemswith Poetry:Inappropriate Images? 125 3.4 Wordson Film 130 3.4.1 'Xanadu'andRegional Accents 132 3.4.2 Twice Throughthe Heart' 138 3.5 Roy Fisher and his Brummy Doors 147 3.6 Film and Poetry after 1991 157 3.7 SimonArmitage at the Turn of the New Century 161 iii Page CHAPTER FOUR: THE FILM-POEMS OF TONY HARRISON 168 4.1 Verse's GreatAdvantages Over Prose' 168 4.2 Early Experimentswith Poetry and Film: Stick to the Rhythm' 170 4.3 Developmentwith PeterSymes: 'Of courseit works with death' 182 4.4 Cursingin Prime Time: V. on TV 188 4.5 FurtherDevelopment of the Film-Poem 193 4.6 A Film-PoemProtocol 196 4.6.1 The OpeningShot 198 4.6.2 The Lyra Man and His 'Countrymen' 202 4.6.3 InsertedDialogue (Maybe) 204 4.6.4 The Market Montageand the Importanceof Editing 208 4.6.5 The Turn, Or the Momentsof Truth 218 4.6.6 The ConcludingScene 221 4.6.7 ConclusionsRegarding 'A Maybe Day in Kazakhstan' 222 4.7 A Summaryof the Stylesof the Film-Poem 222 4.8 The CinematicFilm-Poem 224 4.9 Conclusionsabout the HarrisonianFilm-Poem 234 CONCLUSION 240 The Present State of the Evolution': Notes for the Future of Film and Poetry 240 ENDNOTES: INTRODUCTION (pp. 1-11) 248 ENDNOTES: CHAPTER ONE (pp. 12-65) 249 ENDNOTES: CHAPTER TWO (pp. 66-118) 251 ENDNOTES: CHAPTER THREE (pp. 119-167) 254 ENDNOTES: CHAPTER FOUR (pp. 168-239) 256 APPENDICES 259 APPENDIX A: An Interview with PeterTodd 260 APPENDIX B: An Interview with Andrew Holmes 281 C: Poetry Sort Films 306 APPENDIX Adaptationsof with of ... APPENDIX D: 'Film and Poetry 101' 313 BIBLIOGRAPHY 316 FILMOGRAPHY 326 iv ACKNOWLEDGEMENTS My most seriousand warmest thanks must first go to Dr. Ian MacKillop, for his endlesspatience and accurateguidance throughout this study. His practical advice,notes, and academicand personalsupport were completelyinvaluable to me. Thanksto Dr. JonathanRayner, for'shadow supervision'in the period of Dr. MacKillop's absence.His suggestionswere always clear, articulate,and helpful. I am also grateful to Dr Neil Roberts,whose straightforward advice and preciseevaluations in Dr. MacKillop's absencewere essential,especially at the adventof my research.Thanks to Dr. Robertsfor approvingmy DepartmentResearch Grant in the Spring of 1998 as well. My humblestthanks to Dr. Erica Sheen,whose honesty and professionalismare inspiring. I am grateful to Dr. SueVice, whoseconsistent sharp critical eye provided me with materialon many aspectsof film and poetry. Thanksfor stockingmy pigeonhole! Thanksto the Secretariesof the Departmentof English Literature,especially Sue Turton, Helena Pinder,and Lisa Britton for limitless favours and spontaneouswish-fulfillment. I also extendmy sincerestthanks to the following peopleat the University of Sheffield: Mr. Ed Cartledge,whose knowledge of film continuesto astoundme daily, andwhose ability to organisehis time aroundmany taskshas proven influential. Specialthanks to for invitation join Sort Films. Ed the to of ... Dr. Martin Flanagan, whose friendship and academic guidance were often unconsciously, but warmly given. Dr. John Haffenden, Dr. Sue Owen, and Dr. Matthew Campbell, for occasional recommendations and personal support. Mr. Luke Savage,for selflessly and generously covering the Video Library for me. Dr. Elsie Walker, whosefriendship, comments and cheerful demeanourwere appreciatedduring writing and research,not to mention a sourceof healthy competition. I am alsoparticularly grateful to Andrew Holmes,whose interview provided rare sourcematerial for this study, andwhose invitation to the castand crew's screeningof Prometheuswas exciting and allowedme to meet the poet of ChapterFour's study, Tony Harrison. I am indebtedto PeterTodd, whoseemails and articles,advice, and opinionswere an immense help to me throughoutresearch. His interview surpassedall my hopes. Thanksto PeterSymes, whose interview in 1997 (for my M. A. ) also figured into this study. V Thanks to JackieKay, who is the friendliest poet I have ever met, for answeringmy questions and for her kindnessin giving me her email address. Many thanksto SashaHoare, whose unwavering generosity at the Royal FestivalHall during the Poetry InternationalFestival 2000 was unexpectedand extremelykind, a pleasantsurprise. For financial aid, thanksto the CVCP and the OverseasResearch Students Awards Scheme,for the differencebetween home and overseastuition. Without this Award I would neverhave been able to afford study in England. Thanks to the University of Sheffield'sPetrie WatsonExhibition, for providing me with finances to travel and seekout rare articlesand books,and to conductpersonal interviews in London. Warmestthanks to Laura Metcalfe, for her nightly patienceand supportduring someof the most difficult stagesof research,and for her powerful love and compassion. Sort Films, have in highest Awed thanksto the membersof of ... who complimentedme the mannerpossible by agreeingto film my poetry, for their patiencewhile I completedthis study. Thanks to Amy Lowe, whoseinstant friendship, devotion and enduringselflessness were appreciatedand reciprocated. Thanksto Gitte Schwencke,whose love and supportwas a great assetand comfort in the early days of my researchand adjustmentto English life. I am grateful for the friendshipof Kay Kovacs and Stuart Cunningham,my oldest friends in this country, who mademe feel intellectual,welcome and impressiveas an American in Yorkshire. Thanksalso to my housernatesand friends: Dipa Makwana,Lucero Billeter, Naomi Judge, Olivier Jacques,and GarethMorris. You were all patient,relaxed, helpful and understandingin so many situations.Special thanks to Dr. DuncanWestbury for lessonsin proper English-ness, and for perspective. Thanks to the city and community of Sheffield, for making me feel at home. Particularthanks to my oldestfriend in the world, Mr. Michael Rivas, who hasmade the efforts in maintainingour friendshipwhile I havebeen overseas that many othershave not. His support and advicehave
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