(from Contemporary French and Francophone Studies, Vol. 9, No. 3 September 2005, pp. 265-273)
"…the psychosexual entanglement of experience with alterity"
"personal and esthetic choices: her mathematically exact point final is, after all, ultimate proof of the poet's attention to punctuation, one of the most original aspects of her oeuvre."
"focus on the sensorial experience of language and writing,"
"Precise visual, auditory, tactile, topographical and gestural notations generate her thinking-writing"
"All this suggests that Collobert had begun a concerted effort of recomposing her poetry around the late 1960s and early 1970s as it were on multiple tracks: text-track, image-track, and soundtrack."
"Each of Collobert's works seems to have its own regime of close-ups. Dire I contains extreme graphi close-ups: "Open mouth your palate, deep hollow of red earth with regular folds star-like near the edge" (150). Dire II amalgamates close-ups within a more theoretical space: "going forward among the ruins–recognizing nothing–with such horror–…–without form–without light–…which would mean that there was something not far–…–in short a possibility yet to overcome fuzziness" (223). This resembles a tracking shot in a horror or sci-fi movie pushing against the "flou [fuzziness]" of the unknown: this last term also means "out-of-focus" and recurs throughout Dire (170, 174, 223, 241, 252). Dire as a whole explores the tactile reciprocity between the eye and the intercorporeal visible world, what Merleau-Ponty calls "the flesh," often taking the form of a tracking-shot ("to push back the limits of the visible," Dire I 176), or a combination tracking and pan: "with this light being able to track things down–moments–sweeping through space [balayer l'espace]–going to the bottome–to the end" (Dire II 239)."
"mid-ground vs. background"
"Editing techniques include slow motion: 'Diminishing the intensity of movement… restricted displacement of angles…' (176); flash-backs "–in the unfolding of time–. . .–recalls–in a flash [en flash]–zones suddenly lit" (Dire II 2360; and elliptical montage, as used by Godard who clipped the beginnings and ends of shots in A Bout de souffle, to create a sense of breathlessness: "–and suddenly mobility–an unforeseen acceleration–from one word to another–without coherence–surely without an aim" (238)."
Stout, John C. "Writing (at) the Limits of Genre: Danielle Collobert's Poetics of Transgression." Symposium 53:4 (Winter 2000): 299-209.
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