Marianne Moore writes to Bryher in 1933: "I doubt that there is anyone living who is more enthusiastic about movies than I am" (February 1926, Collected Letters 296). If this assertion verges on hyperbole, it also usefully recommends that we re-read Moore with the filmic in mind. Indeed, Moore is not the only modernist whose link to film has been neglected and whose work is newly illuminated by its relationship to cinema; by drawing connections between the two media, we can redefine an interdisciplinary modernism that reveals avant-garde poetry and films as more closely meshed in their challenges to conventional representation. My interest here is not to establish a specific influence of film upon Moore, but to suggest that she finds confirmation of her poetic methods in film. A comparison between Moore and Fernand L[acutee]ger's 1924 film Ballet M[acutee]canique reveals how avant-garde cinematic technique productively sheds light on the poet's defamliarization of objects and embodiment. Both the spectat or as poet and reader, and the specter of the body (not caught but kept in motion), are implicated in a filmic poetics that foregrounds the fragmentary, incohesive character of human embodiment.
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