Cinepoetry: Imaginary Cinemas in French Poetry

Acknowledgments

ac k now l e d g m e n t s The topic of this book was first developed in Suzanne Guerlac’s poetry and vision seminar in 2001 at the University of California at Berkeley, which led to my work with Ann Smock, also in the Department of French at Berkeley. My thanks go to both of them for their confidence in this project, as well as to the faculty, lecturers, staff, and graduate students in the Department of French at Berkeley for their personal kindness, active support of my work, and critical stimulation: Bertrand Augst, Karl Britto, Michael Cowan, Carol Dolcini, Ulysse Dutoit, Gail Ganino, Tim Hampton, David Hult, Michael Lucey, Lowry Martin, Darlene Pursley, Vesna Rodic, Debarati Sanyal, and Hélène Sicard-Cowan. I would like to thank others as well who had a hand in enlarging my intellectual horizons at Berkeley: Anne-Lise François, Lyn Hejinian, Robert Kaufman, Irina Leimbacher, Julio Ramos, Shaden Tageldin, and Omise’eke Natasha Tinsley. Special thanks go to Mark Feldman, coadventurer on the job market. The too many years this project has taken have nonetheless allowed for the silver lining accrual of insights from sharp readers and listeners . My thanks to Tom Augst, Reda Bensmaia, Omar Berrada, Tom Conley, Claude Debon, George Didi-Huberman, Tom Gunning, Lynn Higgins, Sarah Keller, Muisi Krosi, Sydney Lévy, Laura U. Marks, Carrie Noland, Marjorie Perloff, Bill Smock, Maria Tortajada, Jennifer Wild, and Steven Winspur. My colleagues in the Department of French and Italian at the University of Minnesota have offered an incredibly generous and fostering environment to myself and other junior faculty, and I would like to honor them for being an abnormally friendly and functional academic collective. For the extra work they have carried out on my behalf, I thank especially Dan Brewer, Juliette Cherbuliez, and Eileen Sivert. Many colleagues at Minnesota Acknowledgments xiv have helped de près ou de loin with this book, in particular, members of a book proposal reading group—Siobhan Craig, Shaden Tageldin, and Omise’eke Natasha Tinsley—who did marvels to point out gently some of its and my worse blind-spots (many, many thanks!), as well as Maria Damon, Rembert Hueser, and Verena Mund. I would like to thank the Centre National du Cinéma at Bois d’Arcy for granting access to their archive, the services and staff of La Cinémath èque française, especially Laure Marchaut and Monique Faulhaber , and the cheerful team at La Bibliothèque du film (BiFi): Waldo Knobler, Régis Robert, and Cécile Touret. My thanks also to the following institutions for their assistance: La Bibliothèque Nationale de France, la Bibliothèque littéraire Jacques Doucet, la Bibliothèque historique de la Ville de Paris, L’Institut Mémoire de l’édition contemporaine , the British Film Institute, le Musée Gaumont, Gaumont Pathé Archives, the Beinecke Rare Books and Manuscript Library, and le comité Jean Cocteau; the following publishers: Éditions Gallimard , Éditions P.O.L., Éditions du Seuil, Éditions Paris Expérimental , Éditions de l’Attente, Éditions Héros-Limite; and to the following individuals: Arlette Albert-Birot, Pierre Bergé, Jean-François Clair, Frédérique Devaux, Jacques Fraenkel, Catherine Goldstein, Jacques Goormaghtigh, Christiane Guymer, Michael Kasper, MarieAnge L’Herbier, Suzanne Nagy, René Rougerie, and Marie-Thérèse Stanislas. An early version of Chapter 1, “Mallarmé’s Cinepoetics: The Poem Uncoiled by the Cinématographe, 1893–1898,” appeared in PMLA 120, no. 1 (January 2005) 128–47. A draft of Chapter 2 appeared in French under the title, “Dispositif et cinépoésie, autour du Raymond Roussel de Michel Foucault,” in Dispositifs de vision et d’audition: épistémologie et bilan, ed. François Albéra and Maria Tortajada (Lausanne: L’Âge d’homme, 2011), and portions of Chapter 11 were published in “Triangular Translation: Racism, Film, Poetry,” Valley Voices 7, no. 1 (spring 2007): 49–52. For her reading and editing of countless versions of chapters of this book, her suggestions and flair both in terms of substance and exposition , and her boundless gifts of time, reassurance, and love during writing bouts, Margaret Wall-Romana deserves a triumph. This book simply would not exist without her. ...