Danielle collobert's aux environs d’un film: poetic writing on the brink of cinema

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Acknowledgments

Christophe Wall-Romana is assistant professor in the Department of French and Italian at the University of Minnesota-Twin Cities. His current work centers on poets' uses of cinema in writing as a renewing intermedia for poetics (cinepoetry). His work has appeared in Sites, PMLA, Samuel Beckett Today/Aujourd'hui, and Le bulletin du Centre international d'études poétiques.

Notes

 Laure (Colette Peignot), who also died tragically in her thirties (and had liaisons with Bataille, Leiris, and Klossowski), may be a crucial precedent to Collobert. Jérôme Peignot, the nephew of Laure, published her poems posthumously in Change, the journal and publishing house run by Roubaud and Faye that published Collobert's work. Discussions in Change suggest that the parallel Laure-Collobert was on the group's mind (Change 24, 48–64).

 Sobchack has long reflected on the cinematic dimension of Merleau-Ponty's philosophy.

 It is all four to some extent: in Meurtre a woman is marked by a Nazi camp number tatoo (58), and Survie, her last piece, refers to a short story of Kafka, “The Vulture.”

 Michel Chion speaks of “iconogenic voice” and “refuted iconogenic voice” for voice-overs whose utterances either appear to generate cinematic images or are refuted by them (424).

 This recalls George Bataille's title, Histoire de l’oeil.