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Proquest Dissertations University of Alberta Kino-Poiesis: Towards a Poetics of Poetic Film by David Paul Foster • '* ••- -' A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English and Film Studies Edmonton, Alberta Spring 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-55346-6 Our file Notre reference ISBN: 978-0-494-55346-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada For Alison. Abstract "Kino-Poiesis: Towards a Poetics of Poetic Film," considers the possibility of theorizing a poetic mode of filmmaking. While critics often apply the term 'poetic' as a placeholder for words such as difficult, beautiful, or inchoate in relation to film, this dissertation argues that there are discernible qualities in certain films that warrant the name poetic. This poetics contends that the poetic film draws on the literary sense of the poetic to engender a mode of filmmaking that is reflexive, lyrical, and challenges narrativity. This dissertation focuses on the work of four filmmakers - Chris Marker, Andrei Tarkovsky, Stan Brakhage and Guy Maddin - whose work exemplifies the qualities of the poetic film and engages directly or indirectly with poetry itself. This dissertation proceeds coordinates critical theories on poetry, intertextuality, lyricism, metaphor and poetics with film theory on narrative, subjectivity, and adaptation. Ultimately, it defines poetic film as a mode of direct expression whose metaphoric structure and lyric orientation challenge the limits of other filmic modes and maps a discursive space between fiction and non-fiction film. This dissertation is organized around four formal concerns that are essential to defining the poetic film. Its first chapter addresses the direct connection between poetry and film by exploring critical and theoretical approaches to film adaptation and applying these theories to short films that adapt poems. Chapter two explores the limits of narrative in the poetic film by proposing a theory of narrative poeticization that considers how film style and other discursive forms disrupt or obscure narrative discourse. Chapter three examines the role of reflexivity in producing poetic in film. Poetic film emphasizes its 'poeticalness' through reflexive strategies, exploring intertextual connections, and developing visual metaphors. Finally, the fourth chapter considers poetic film in relation to theories of lyricism, both in terms of the literary lyric and theories of lyric film. In describing the poetic film as lyrical this chapter draws on the modernist lyric and lyrical prose form Denkbild (thought- image) along with theories of the representation of subjectivity in film to articulate the recreation of lyricism in the poetic film. Acknowledgements I want to begin by thanking my supervisor, Jerry White, whose guidance, enthusiasm, and patience have been exceedingly valuable to me, and whose passionate approach to his work I greatly admire. I also want to thank the other members of my examining committee, Doug Barbour, Ono Okome, Liz Czach, and Elena Siemens who all have provided kind feedback and support. And many thanks to Bill Wees of McGill University for his generous comments as external examiner. Other members of the Department of English and Film Studies at the University of Alberta provided advice and encouragement during the completion of this project and also deserve thanks, especially Bill Beard, Don Perkins, Nora Stovel and the late Bruce Stovel. Early on, Gene Walz and Brenda Austin-Smith of the University of Manitoba helped suggest to me that this project was both possible and worthwhile, and I thank them for that initial interest. This project benefited greatly from research conducted at a number of institutions, and I would like to thank the staff of the following: the Prefix Institute of Contemporary Art, Toronto, especially Sarah Robayo Sheridan; the Bibliotheque du film at the Cinematheque Francaise, Paris; and the Bibliotheque nationale de France, Paris. Elements of this dissertation have been presented at the Film Studies Association of Canada's Annual Conference at the Congress of the Humanities and Social Sciences in 2006 and 2007, and at the "Alternative Non-Fictions" Graduate Conference at the University of Chicago in 2008. I appreciate the questions and feedback of participants at those conferences. My research was generously supported by a University of Alberta PhD Scholarship and the Social Science and Humanities Research Council of Canada's PhD Canadian Graduate Scholarship. To Mary Chan for her assistance in the final stages of preparing this dissertation: your competence is only exceeded by your kindness. To Nathan Dueck for his debate and friendship. To my sister Katherine, who is also on this PhD journey, though in a different discipline and city, I thank you for your support and strength. To my parents for their love, thank you for instilling in me a desire to learn. Finally, to Alison whose love and artistry have been constant inspirations, there are insufficient words to give you thanks. Table of Contents: Introduction 1-27 Chapter One 28-89 Film Adaptation and Poetry: Theory and Practice Chapter Two 90-169 Poetic Frontiers, or the Zone Beyond Narrative: Poetic Film and Narrativity from Narrativization to Narrative Poeticization Chapter Three 170-247 Seeing As, Looking Back, and the Reflexive Turn: Metaphor, Transtextuality, and Reflexivity in Poetic Film Chapter Four 248-349 'Kino-I': Lyric Possibilities in Poetic Film Conclusion 350-361 Kino-Poiesis: Poetic Film, Moving-Poetry Works Cited 362-386 List of Figures Figure One: Page 245 From Un Chien Andalou Directed by Luis Bufiuel and Salvador Dali (DVD. Transflux Film, 2004) Figure Two: Page 245 From Man with a Movie Camera Directed by Dziga Vertov (VUFKU, 1929. DVD. Kino, 2004.) Figure Three: Page 246 From Man with a Movie Camera Directed by Dziga Vertov (VUFKU, 1929. DVD. Kino, 2004.) Figure Four: Page 246 From Man with a Movie Camera Directed by Dziga Vertov (VUFKU, 1929. DVD. Kino, 2004.) Figure Five: Page 247 From Man with a Movie Camera Directed by Dziga Vertov (VUFKU, 1929. DVD. Kino, 2004.) Figure Six: Page 247 From Man with a Movie Camera Directed by Dziga Vertov (VUFKU, 1929. DVD. Kino, 2004.) Introduction: Towards a Poetics of Poetic Film "Poetry in general does not exist, but variable conceptions of poetry exist and will continue to exist, not only from one period or country to another, but also from one text to another." - Tzvetan Todorov, "Poetry without Verse" (71) What is Poetic Film? Why Poetic Film? In his conversations with Michael Ondaatje in the book The Conversations, Walter Murch compares writing poetry to film editing: The decision where to cut film is very similar to the decision, in writing poetry, of where to end each line .... By ending it where he does, the poet exposes that last word to the blankness of the page, which is a way of emphasizing the word. If he adds two words after it, he immerses that word within the line, and it has less visibility, less significance. We do very much the same in film: the end of a shot gives the image of that last frame an added significance, which we exploit. In film, at the moment of the cut you are juxtaposing one image with another, and that's the equivalent of rhyme. It's how rhyme and alliteration work in poetry, or how we juxtapose two words or two images, and what that juxtaposition implies. (268) Murch's comments suggest an affinity between poetry and film. But one wonders if there is a connection beyond this metaphoric affinity Murch describes. Is there a connection between poetry and film beyond the mechanical similarity Murch 1 sees between the line break and the cut, or between the juxtapositioning or rhyming of words and that of images? These questions have led me to consider further, is there something 'poetic' that poetry and film share? Indeed, since one might describe certain films as poetic, what is poetic film? As the title of this dissertation - Kino-Poiesis - implies, the question at the heart of this project concerns the possibility of understanding film, moving images, as poetic.
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