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The Cinema of Poetry$
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P. Adams Sitney

Print publication date: 2014

Print ISBN-13: 9780199337026

Published to Oxford Scholarship Online: January 2015

DOI: 10.1093/acprof:oso/9780199337026.001.0001

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Nathaniel Dorsky, Jerome Hiler, and the Polyvalent Film

Nathaniel Dorsky, Jerome Hiler, and the Polyvalent Film

Chapter:
(p.196) (p.197) 8 Nathaniel Dorsky, Jerome Hiler, and the Polyvalent Film
Source:
The Cinema of Poetry
Author(s):

P. Adams Sitney

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199337026.003.0010

This chapter traces the evolution of Nathaniel Dorsky’s and Jerome Hiler’s cinemas. Finding inspiration for his concept of cinema in John Ashbery, Jack Spicer and George Oppen, Dorsky established his model of “the polyvalent film” in his works Triste and Variations. Those, along with the subsequent Arbor Vitae and Love’s Refrain, constitute a set of “Four Cinematic Songs,” while he calls The Visitation and Threnody “Two Devotional Songs.” For Hiler, it’s Shakespeare’s Love’s Labour’s Lost that comes through in the visual-rhythmic “songs of Apollo” in Words of Mercury.

Keywords:   Nathaniel Dorsky, Jerome Hiler, polyvalent film, John Ashbery, George Oppen, Jack Spicer, Triste, Variations, Shakespeare, Words of Mercury

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