Abstract:

The contemporary poet Pierre Alferi made a brief but notable foray into experimental filmmaking in the early 2000s. Taking seriously his assertion that when he extends his poetic work into audiovisual formats it is in order to "essayer la même chose avec d'autres moyens" (inTIME 17), this article investigates what Alferi's experimentation across media might clarify about his approach to poetry as, above all, a collection of "moyens." The regular cross-contamination between audiovisual media and literature in Alferi's work has generally been accounted for in light of this poet's unveiled obsession with the celluloid cinematic image: lines of poetry are broken in pursuit of montage effects, the vertical seriality of the poem interpellates that of the film strip, etc. The central objective of this article is to set aside the assumed primacy of film in Alferi's creative imaginary and re-center the discussion of the relationship between poetry and audiovisual media on the more varied media ecology within which his intermedial experiments actually takes place. Through readings of a sequence from the film Intime and of the 1994 poetry collection Kub or, both of which foreground the mediation and re-mediation of images via analog television transmission, I argue that models of remediation that shift images away from the concrete existence of celluloid in fact offer more complex and supple ways of thinking about the influence of image technologies on Alferi's poetics.

摘要：

当代诗人皮埃尔·阿尔费里（Pierre Alferi）在2000年代初期短暂但值得注意地涉足了实验电影的制作。认真对待他的断言，即当他将诗歌作品扩展到视听格式时，是为了“在短时报中选择essayer lamême选择avec d'autres moyens ”（inTIME 17），本文调查了Alferi在各种媒体上进行的实验可能会澄清他的诗歌创作方法首先是“ moyens”的集合。鉴于这位诗人对赛璐oid电影影像的痴迷，通常可以解释阿尔费里作品中视听媒体与文学之间经常发生的交叉污染：诗歌的线条在追求蒙太奇时被打断了。效果，诗歌的垂直连贯性与电影地带的连贯性等相互影响。本文的主要目的是在Alferi的想象中将电影的假定性放在首位，并重新集中讨论诗歌与视听媒体之间的关系在他进行中间实验的更为多样的媒介生态学中。通过阅读电影《银泰记》和1994年诗歌集《库伯》中的序列，它们都通过模拟电视传输对图像进行调解和调解，这使我认为，修复模型使图像偏离了现实的具体存在。实际上，赛璐oid为图像技术对阿尔费里诗学的影响提供了更为复杂和灵活的思考方式。