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Still: Screening.

Still: Screening

   at the speed of light
      delight at the prospect
   horror at the door: targets, opportunities, houses, lyrics,
      dollars, lovers,
   queues, lulls

   Illusion: the general perception of an accelerated perspective is
      not just
   speed but conception, your frame, my idea of the frame moving right
      out
   of the picture

   Eye Way: Lascaux Priapus, Tutankhamen crab, Crete amphora, Nazca
      Lines,
   Mayan codex, Tang vase, Giotto's Jesus, da Vinci's School of
      Athens, Cezanne's
   Harlequin, Picasso's Demoiselles, Rothko's Blue and Black, Warhol's
      cans,
   Holzer's stream after stream

   Marinetti: We will sing of great crowds excited by work ... we will
      sing of the
   vibrant nightly fervor of arsenals and shipyards blazing with
      violent electric
   moons ... factories hung on clouds by the crooked lines of their
      smoke,
   bridges that stride the rivers like giant gymnasts, flashing in the
      sun with a
   glitter of knives

   MovieHound: too much j-jumping, cut cut of the dumpster and the
      black hill
   of garbage bags, and the wreathing winter garments over the sudden
      taxis,
   Vito is angry

   Reverie: sunlight and stone fruit, causeways thick with flood, the
      little man
   by the railroad station cobbling shoes through the revolution, it
      was to be
   such a beautiful dream ...

   Critic: It makes a racket anyway, the long pan, the sudden cut, the
      guttering
   circle of man

   Reel Life: (selected): The Rules of the Game (Renoir), The Night of
      the Hunter
   (Charles Laughton) Nostalghia (Tarkovsky), Ran (Kurosawa), Apu
      Trilogy

   (Satyajit Ray), Fitzcarraldo (Herzog), Exotica (Atom Egoyan), Mean
      Streets
   (Scorsese), McCabe and Mrs. Miller (Altman), High Hopes (Mike
      Leigh),
   Buffalo 66 (Vincent Gallo), Fearless (Peter Weir), Au Revoir les
      Enfants
   (Louis Malle)

   Flicker: as if you had her, Palm Theater, California seventies, and
      the theater
   of my hand behind the very green door, murmurations, projections,
      desire
   and the flicker

   MovieHound II: moss and clumps of clover in foreground, leading
      diagonals
   to the causeway, distant surf, near self, the wind blows hard the
      steady hand

   Surreal Biography: the parents away on holiday, the Grandfather,
      sick with
   cancer, he takes me and Gus Edgerton to Hot Cars/Summer Nights:
      Thunderbolt
   and Lightfoot and Vanishing Point, a double feature from the art
      deco
   balcony, it's SuperSoul and rock n' roll and guns and tits and cars
      and tits

   Found Anamorphism: Sigmar Polke's "Lens Paintings" at the
      Grossmunter
   Cathedral, Zurich; lenticular resins that snap at attention, old
      glass, new
   viewer, something like heaven

   Auteur Theory: it is my creation and my camera-pen, I will it my
      soul, my
   French-eye style

   String Theory: I don't know about a camera-pen, but there's a
      French affect
   in ten dimensions

   Peter Hutton: It's always a diary format, an intimatist's glimpse,
      my counter
   silence to a luminist's tableaux separated by tattered black leader

   Author: I am the black room, the silver screen retort

   Stan Brakhage: No one is out to get you. It's just that ... people
      are monkeys

   13th Monkey: Don't listen to him, there's no point in counting your
      hopes
   or prayers, it's all just a series of near escapes on my random
      transcription
   machine

   W.J.T. Mitchell: Writing, in its physical, graphic form, is an
      inseparable
   suturing of the visual and the verbal, the "imagetext" incarnate

   Still: it wouldn't be prudent to lose the animal, court the twitch,
      slaughter
   the lamb
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Title Annotation:PORTFOLIO
Author:Cooperman, Matthew
Publication:Witness
Article Type:Poem
Date:Jan 1, 2010
Words:541
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