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<h2 class='date-header'><span>Friday, March 05, 2004</span></h2>

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<p class=MsoNormal><st1:PersonName><span style='font-size:10.0pt;font-family:
 Arial;color:black'>Chris Stroffolino </span></st1:PersonName><span
style='font-size:10.0pt;font-family:Arial;color:black'>saw <i style='mso-bidi-font-style:
normal'><a href="http://www.imdb.com/title/tt0309987/combined"><span
style='color:black'>The Dreamers</span></a>, </i>then responded to my two blogs
thereon. <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;
font-family:Verdana;color:black'>Ron &#8211;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;
font-family:Verdana;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;
font-family:Verdana;color:black'>I just saw this movie last night. I don't keep
up with a lot of contemporary movies that much as of late, but this was
recommended by many I respect so thought I'd check it <span class=GramE>out</span>.
So, it was good to read your timely blog comments, which were very helpful to
me in terms of my own. <span class=GramE>There's</span> some things I'm thinking
about that you didn't emphasize as much, or that I might have a different take
on. <span class=GramE>For instance, the whole &quot;political backdrop&quot;
kind of movie.</span> It's definitely a sub-genre. So, the French 1968
situation lends &quot;color&quot; and &quot;intrigue&quot; and
&quot;romance&quot; perhaps to this movie, but what is B's point with it?
(aside from the fact, that some of the songs in the soundtrack were not
released until after April of 68). I think part of my discomfort with the movie
was that it seemed to imply that Matthew, the Leonardo <span class=SpellE>DiCaprio</span>
American, was the &quot;normal&quot; narrative filter American through whose
eyes we see the &quot;transgressive&quot; French (you speak of this at length
so I won't), with that kind of naive fascination (he's no American
&quot;hippie&quot; but a mama's boy with an exotic fascination in France
largely because of its movies, and perhaps to its politics) that eventually
becomes a kind of disgust. Of course, much of this is &quot;strictly
personal&quot; &#8211; and certainly Isabelle and Theo <span class=GramE>are</span>
not really down with the protests, as they &quot;drop-out&quot; to investigate
the triangular personal relationship. Theo's called a &quot;loser&quot; for not
being out on the streets <span class=GramE>enough,</span> and even Matthew
comes to criticize Theo, not so much for not being out on the streets, but for
the discrepancy between his words and actions. It doesn't seem that Matthew,
whose politics are certainly presented as at least as <span class=SpellE>unthought</span>-out
as Theo's, is really interested in getting Theo to &quot;put his money where
his mouth is&quot; and join the revolution as much as he, like his dad the poet
(who Theo, in anger, compares Matt to), is trying to get him to &quot;grow
up&quot; and get away from the &quot;transgressive&quot; incestuous
relationship (of course, his own largely normative hetero attraction to
Isabelle, which started the whole plot anyway, probably plays a factor in this.
It does seem to me that there's more homoerotic attraction on Theo's part than
on Matthew's but as you say it's never explored much). Of course, the specter
of the parents certainly haunts Isabelle, who seems to want, and NEED, to continue
the relationship with Theo more than vice versa (Theo does seem troubled by his
buddies' calling him a &quot;loser&quot; as well as by Matt calling him a
&quot;freak&quot;). She says she'll commit suicide if the parents find out, and
of course when the parents find out, they seem rather NON-PLUSSED, and ever so
permissively FRENCH, and leave a sum of money (I think it was a check). Yet she
decides to <span class=SpellE>to</span> kill herself anyway. Of course, it's at
this point where HISTROY intervenes, and knocks on the door, and allows THEO to
die his great romantic death (and saves her from the &quot;suicide&quot;) for
the CAUSE. He's certainly presented as not necessarily noble in this action,
but what is Matt's alternative? &#8211; TO KISS HIM and say something like
&quot;we're about love but not about war.&quot; But is that convincing? Not to
me &#8211; it seems like a platitude and contrasts with his calling Matt and Isabelle
&quot;freaks&quot; earlier. So here is Theo (who is either erring on one side &#8211;
too domestically involved in their black hole version of a &quot;sexual
revolution&quot; &#8211; or the other side, breaking through the police line and
setting off the police brutality) and here is Matt (a kind of tepid embodiment
of an Aristotelian mean, but the one we're SUPPOSSED TO identify with). All in
all, I find it hard to identify with any of these characters. But what <span
class=GramE>is the moral/political points</span> that B is trying to make? That
the folly of the student protests is one with the folly of the relationship of
the 3 protagonists? Because of the way the movie ends, it's hard to escape that
conclusion. He insufficiently analyzes both the psychological complexities and
the political issues of this potentially great scenario. It seems to reduce
much of the passion of the 1960s to a few half-baked cliché ridden ill-thought
discussions and scenarios (by precocious glamour-seeking kids locked in a
fantasy world of movie quotes) the better to dismiss it (in a way this movie
trivializes the &quot;sexual revolution&quot; &quot;the personal is the
political&quot; and &quot;Paris 1968&quot; almost as much as, say &quot;that
70s show&quot; or remakes of &quot;<span class=SpellE>starsky</span> and
hutch&quot; etc do the 70s), as Matt, no doubt, returns to his normal AMERICAN
world of being a spectator rather than a spectacle (he probably becomes an
accountant). I'm sure I'll have more thought out thoughts later, but I needed
to get this off my chest.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;
font-family:Verdana;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;
font-family:Verdana;color:black'>Chris<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;
margin-left:.5in;margin-bottom:.0001pt'><span style='font-size:10.0pt;
font-family:Verdana;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial;color:black'>I
concur with a lot of Stroffolino&#8217;s points here &#8211; he&#8217;s totally on target in
seeing Michael Pitt&#8217;s Matthew as a Leonardo <span class=SpellE>DiCaprio</span>
impression &amp; about the trivialization of the sixties, etc. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial;color:black'>When
I used to live in </span><st1:City><st1:place><span style='font-size:10.0pt;
  font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial;color:black'> in the 1970s, there
used to be a cheapo movie theater in </span><st1:place><span style='font-size:
 10.0pt;font-family:Arial;color:black'>Chinatown</span></st1:place><span
style='font-size:10.0pt;font-family:Arial;color:black'> called The Times that
used to show two or three movies per day for just 99 cents. Its genius, tho,
depended on how well it paired the movies. I&#8217;d love to see <i style='mso-bidi-font-style:
normal'>The Dreamers </i>paired not with any of the French or American films
referenced in it, nor with <i style='mso-bidi-font-style:normal'>Last Tango in
Paris </i>or <i style='mso-bidi-font-style:normal'>Ai No <span class=SpellE>Corrida</span>,
</i>the two films of sexual obsession it has so often been compared to, but
with a movie that was being filmed in Chicago in 1968 &#8211; Haskell Wexler&#8217;s <i
style='mso-bidi-font-style:normal'><a
href="http://www.imdb.com/title/tt0064652/combined"><span style='color:black'>Medium
Cool</span></a>. <o:p></o:p></i></span></p>

<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span
style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></i></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial;color:black'>Known
as one of Hollywood&#8217;s great cinemaphotographers (<i style='mso-bidi-font-style:
normal'>Whose Afraid of Virginia <span class=SpellE>Woolf</span>, </i>for which
he won an Oscar, <i style='mso-bidi-font-style:normal'>Bound for Glory, </i>for
which he won a second, <i style='mso-bidi-font-style:normal'>One Flew Over the
Cuckoo&#8217;s Nest, The Thomas Crown Affair, No Nukes, Studs <span class=SpellE>Lonigan</span>,</i>
several of John Sayles&#8217; pictures) and one of film&#8217;s most committed political
progressives, Wexler had this idea of filming a movie about a television news
cameraman initiating a relationship with one of his &#8220;subjects&#8221; while in Chicago
to film the Democratic Convention. The idea was to set the fictional story into
the otherwise documentary framework of events. But the convention itself turned
into one long police riot &amp; the Democratic Party, already frayed by the abdication
of Lyndon Johnson, the anti-war campaign of Eugene McCarthy &amp; the
assassination of Robert Kennedy, simply unraveled. <span class=GramE>So rather
than having a simple framing mechanism, Wexler records a movie in which events
overwhelm the tale.</span> I haven&#8217;t seen <i style='mso-bidi-font-style:normal'>Medium
Cool </i>since it came out in 1969, but it is available on DVD. I don&#8217;t
remember the film well enough to say clearly how it contrasts with the project
of <i style='mso-bidi-font-style:normal'>The Dreamers, </i>but the premise
seems so aligned (if inverted, say), it would be fascinating to find out. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, August 20, 2003</span></h2>

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<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>Last
Thursday we wanted to express solidarity with our neighbors to the north stuck
in the blackout, so we decided also to spend the evening in the dark &amp; thus
went to the movies. <i style='mso-bidi-font-style:normal'><a
href="http://www.go-underground.com/">Dirty Pretty Things</a> </i>is an interesting,
if imperfect, film, because it&#8217;s built around three primary narrative frames.
On one hand, this portrait of a Nigerian cabbie who also works the graveyard
shift at the desk in a second-tier hotel is a neorealist account of the lives
of illegal &amp; quasi-legal immigrants in </span><st1:City><st1:place><span
  style='font-size:10.0pt;font-family:Arial'>London</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'>. On a second level, the film is a
noir thriller that gets off to a running start with <span class=GramE>an homage</span>
to Francis Ford Coppola&#8217;s <i style='mso-bidi-font-style:normal'><a
href="http://us.imdb.com/Ratings?0071360">The Conversation</a></i> as the hotel
clerk discovers what&#8217;s plugging up the toilet in room 510. On a third level,
one that doesn&#8217;t become fully apparent until the final 20 minutes of the
picture, <i style='mso-bidi-font-style:normal'><a
href="http://us.imdb.com/Title?0301199">Dirty Pretty Things</a> </i>is also a
fairy tale. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>One could argue,
I suppose, that there is a fourth one as well, a romance, particularly as the
film&#8217;s marketing has paid so much attention to the presence of <a
href="http://us.imdb.com/Name?Tautou,%20Audrey">Audrey <span class=SpellE>Tautou</span></a>,
the current It Girl of French cinema following her breakthrough title role in
the comedy <i style='mso-bidi-font-style:normal'><a
href="http://www.miramaxhighlights.com/amelie/"><span class=SpellE>Amélie</span></a>.
</i>But it&#8217;s really <a href="http://www.bharatguru.com/Newbuzz/theatre1/n5.htm">Chiwetel
Ejiofor</a> who is at the heart of this actor-centered film, a London-raised
performer with Nigerian parents best known in the </span><st1:country-region><st1:place><span
  style='font-size:10.0pt;font-family:Arial'>U.S.</span></st1:place></st1:country-region><span
style='font-size:10.0pt;font-family:Arial'> for the modest role of Ensign Covey
in Spielberg&#8217;s <i style='mso-bidi-font-style:normal'><a
href="http://us.imdb.com/Title?0118607">Amistad</a>. </i>All of these different
structures have to integrate themselves &amp; make sense in <a
href="http://www.nt-online.org/?lid=2549"><span class=SpellE>Ejiofor&#8217;s</span></a>
face, with eyes &amp; mouth every bit as expressive as <span class=SpellE>Tautou&#8217;s</span>
(which is saying something &#8211; she&#8217;s getting the roles that a generation ago
would have been given to <a href="http://us.imdb.com/Name?Masina,%20Giulietta"><span
class=SpellE>Giulietta</span> <span class=SpellE>Masina</span></a>). <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>This is
rather a lot to expect from a film whose writer is best known for having
created <span class=GramE><i style='mso-bidi-font-style:normal'>Who</i></span><i
style='mso-bidi-font-style:normal'> Wants to be a Millionaire? </i>And it&#8217;s
risky, in that someone who is attracted to <span class=SpellE>neorealism</span>
or noir is not necessarily the obvious audience for a fairy tale. Some of the
reviews have faulted the film for stepping back from the horrific conclusion
toward which the thriller appears to be headed. Yet anyone who remembers
director Stephen <span class=SpellE>Frears</span>&#8217; early films, <i
style='mso-bidi-font-style:normal'><a href="http://us.imdb.com/Title?0091578">My
Beautiful <span class=SpellE>Laundrette</span></a> </i>or <i style='mso-bidi-font-style:
normal'><a href="http://us.imdb.com/Title?0093913">Sammy and Rosie Get Laid</a>,</i>
will realize that it is the fairy tale that <span class=SpellE>Frears</span>
set out tell in the first place. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>Narrative cinema
is interesting not because </span><st1:City><st1:place><span style='font-size:
  10.0pt;font-family:Arial'>Hollywood</span></st1:place></st1:City><span
style='font-size:10.0pt;font-family:Arial'>&#8217;s imperialism has denuded the film
industries of numerous countries, beginning with our own, but because, when
done well, cinema is so efficient with the deployment of narrative devices. The
relationship between ensembles of these devices to genre forms is often
fascinating to watch &#8211; genre is all about expectation &#8211; and film&#8217;s ability to
link these has removed many, tho not all, of the social contexts once reserved
for the novel. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>I think of
Zukofsky&#8217;s dictum that <i style='mso-bidi-font-style:normal'>love is to reason
as eyes are to the mind </i>and wonder how that fits into this equation. &#8220;Eyes&#8221;
is in fact the privileged term in Zukofsky&#8217;s long critical work <i
style='mso-bidi-font-style:normal'>Bottom: On Shakespeare, </i>so much so that
the index of the Ark Press edition* lists it thus:<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-left:1.0in'><span class=GramE><span
style='font-size:10.0pt;font-family:Arial'>eye(s)</span></span><span
style='font-size:10.0pt;font-family:Arial'>, <i style='mso-bidi-font-style:
normal'>passim, </i>9-443<o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'>And
Zukofsky, it should be remembered, also published a suite of shorter poems
under the title <span class=SpellE><i style='mso-bidi-font-style:normal'>I&#8217;s</i></span><i
style='mso-bidi-font-style:normal'> (pronounced </i>eyes<i style='mso-bidi-font-style:
normal'>)</i>. If I follow Zukofsky here, sight plays a unique role among the
senses, an odd assertion for the poet who did more than anyone in the 20<sup>th</sup>
century to reassert the role of sound in verse to be making. It&#8217;s as if the
three dimensions of the poem were not those of the physical realm but rather <i
style='mso-bidi-font-style:normal'>time, </i>figured (literally!) through
sound, <i style='mso-bidi-font-style:normal'>thought</i> articulated through
words &amp;, most mysterious of all, <i style='mso-bidi-font-style:normal'>sight
</i>through which imagination transforms language into action, character,
color, the world. <o:p></o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal><span style='font-size:8.0pt;font-family:Arial'>* <i
style='mso-bidi-font-style:normal'>Bottom </i>is being <a
href="http://www.upne.com/0-8195-6548-2.html">reissued</a> as volumes III &amp;
IV of the Wesleyan Centennial Edition of the Complete Critical Writings of
Louis Zukofsky, although vol. IV is Celia Zukofsky&#8217;s musical arrangement of
Shakespeare&#8217;s <span class=SpellE><i style='mso-bidi-font-style:normal'>Pericles</i></span><i
style='mso-bidi-font-style:normal'>. </i>The first two volumes are <i
style='mso-bidi-font-style:normal'>A Useful Art </i>&amp; <i style='mso-bidi-font-style:
normal'>Le Style Apollinaire.</i><o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, January 13, 2003</span></h2>

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<span style="font-family: Arial; font-size: 12.0pt;">My <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2003_01_01_ronsilliman_archive.html%2387108287">blog</a>
on film &amp; poetry last Wednesday provoked a lot of thoughtful email. Murat
Nemet-Nejat picks up the Godard thread:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">Dear
Ron,<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">Your connecting
writing with Godard in the cinema is very acute. Godard analyzes (more than
visually describes) the nature of writing, writing process itself in some of
his movies. The movie which particularly comes to my mind is <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0056905">Les
Carabiniers</a></i>. It starts, I think, with quotes from <i style="mso-bidi-font-style: normal;">The Communist Manifesto</i> and is interspersed throughout with letters
from the soldiers to their wives, all embodying a dialectics of war. The end of
the movie reverses the process into a series of postcards from all over the
world, the "fruits" of war as image.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">More
than any other director, I think, Godard deals with the relationship between
words (language) and image, creating a synthesis &#8211; the movie essay. Though part
of this fusion is Brechtian, it goes beyond that; creates a poetry of the word
(as detached text)/the eye. What one experiences in Godard is a visual writing
process.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">As a
poet I am very interested in this Godardian process, from the reversed angle:
how to make poetry cinematic (something you believe poetry is not). My poem,
"Steps," which will appear in the next issue of <i style="mso-bidi-font-style: normal;">Mirage,</i> focuses very much on this impossibility. Green Integers
published three weeks ago my long essay, <i style="mso-bidi-font-style: normal;">The
Peripheral Space of Photography</i>*, which also struggles with the same
issues. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">In
the movie <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0120679">Frida</a></i> Frida Kahlo comes out,
in my opinion, as a bad painter**, exactly for the reason you suggested. In one
place it focuses on one of her paintings where two bodies are joined by a heart
or arteries or something like that, pointing to her painting "what is in
the heart." The movie lives for me when it creates its own images, maybe
as parallel images, for example, Frida burning in her bed or the amazing streetcar
accident sequence.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">My
best,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: Verdana;">Murat
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">* The book is Green Integer
no. 76, but is not yet listed on the web site. An official announcement should
be made this week.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">** I don&#8217;t think that Murat
is suggesting that Kahlo is a bad painter, only that the film presents her as
one &#8211;consistent with my own earlier theme of misrepresentation. But, before I
am flooded with email on this point, I want to be clear that <i style="mso-bidi-font-style: normal;">I </i>think Kahlo is one of the dozen or so
great masters of the 20<sup>th</sup> century. As was her husband, the painter
who has probably had the greatest impact on my own poetry.<o:p></o:p></span></div>
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<h2 class='date-header'><span>Wednesday, January 08, 2003</span></h2>

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<span style="font-family: Arial;">The representation of art as
a process in cinema is a perpetually vexing situation. I was reminded of this
as I was watching <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0120679">Frida</a></i> the other night, an
excellent biopic that makes great use of Frida Kahlo&#8217;s paintings as primary
visual elements in the structure of the film, somewhat reminiscent of the way
Kurosawa used Van Gogh&#8217;s paintings in <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0100998">Dreams</a></i>. Yet at the same time,
no one in the movie ever seriously <i style="mso-bidi-font-style: normal;">discusses</i>
painting &#8211; the one point at which the film approaches the question is the one
cringe-making moment in the script, Diego Rivera (Alfred Molina) telling Frida
Kahlo (Salma Hayek) that &#8220;I only paint what I see &#8211; you paint what&#8217;s in here,&#8221;
tapping her on the chest.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This in turn recalled the
scene in <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0181536">Finding Forrester</a></i> in which
Sean Connery reads the &#8220;wonderful&#8221; prose of his protégé at the climactic moment
&amp; the volume of the musical score rises up to literally drown out the words
&#8211; this is how we know just how wonderful the prose really is.* From <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0092618">Barfly</a>
</i>&#8211; think of that title as an adverb &#8211; to <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0102511">Naked Lunch</a></i>, Hollywood has
generally done a dreadful job figuring the process of writing. The
sanctification of Pablo Neruda in <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0110877">Il <span class="SpellE">Postino</span></a>
</i>is not an improvement, really. Indeed, the closest thing I&#8217;ve ever seen to
a process that even remotely reminds me of how a poet works is the way in which
notebooks are used in some <a href="http://us.imdb.com/Name?Godard,+Jean-Luc">Jean-Luc
Godard</a> films from the 1960s.** <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The crux of the problem, of
course, is that writing is not an inherently &#8220;cinematic&#8221; activity. Usually it&#8217;s
solitary and often it&#8217;s conducted in utter silence. The writer&#8217;s furrowed brow
as he/she crosses out a word to insert another is about as &#8220;dramatic&#8221; as it
gets, unless, say, one is involved in something unusual, such as Ginsberg
dictating Wichita Vortex Sutra into a tape recorder while tooling around with <span class="SpellE">Orlovsky</span> &amp; Co. in a VW minivan in the American
heartland. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In theory, the visual arts
should be easier to represent because &#8211; hey! &#8211; <span class="GramE">they&#8217;re</span>
visual. And, in fact, some of the best films about artists have been about
painting, such as <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0115632">Basquiat</a></i> &#8211; a film by a
painter as well as about one &#8211; or <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0183659">Pollock</a></i>. But, from <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0324937">Dr.
<span class="SpellE">Zhivago</span></a> </i>to <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0112461">The Basketball Diaries</a>,</i>
films about poets tend to be about everything but the writing. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are of course decent
documentaries about individual poets, such as the Richard Lerner-Lewis <span class="SpellE">MacAdams</span> production of <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0090312"><span class="GramE">What</span>
Happened to Kerouac?</a> </i><span class="GramE">as</span> well as films by
poets, from <a href="http://us.imdb.com/Name?Child,+Abigail">Abigail Child</a>
at one end of the spectrum to <a href="http://us.imdb.com/Name?Auster,+Paul">Paul
Auster</a> &amp; <a href="http://us.imdb.com/Name?Alexie,+Sherman">Sherman <span class="SpellE">Alexie</span></a> at the other. At that latter end of the
spectrum, at least, any poetic background, post-avant or otherwise, appears to
be almost entirely coincidental. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">If poetry has become largely
&#8220;unrepresentable&#8221; &#8211; or perhaps only &#8220;misrepresentable&#8221; &#8211; from the perspective
of at least commercial cinema, it is by no means the only occupation so
afflicted. Yet the implications for a practice that has been culturally defined
as &#8220;significant&#8221; &amp; even &#8220;romantic&#8221; but which can only be indirectly figured
cinematically are significant in terms of poetry&#8217;s ongoing attempts to create a
stable social space for its own activity. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* This in a
film with Charles Bernstein as Dr. Simon. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** Godard
also pioneered the music-drowns-out-the-dialog technique in <i style="mso-bidi-font-style: normal;"><a href="http://us.imdb.com/Details?0062480">Week
End</a></i>,<i style="mso-bidi-font-style: normal;"> </i>although with a far more
Brechtian purpose in mind. <o:p></o:p></span></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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