'Perhaps art is healthiest when anonymous, at any rate
I can not remember the names of the artists, but in
the Grossstadt Symphony we have at last a film that
will take serious aesthetic criticism: one that is in
the movement, and that should flatten out the
opposition (to Joyce, to me, to Rodker's Adolphe) with
steam-rolling ease and commodity, not of course that
the authros intended it.'

Pound The Exile No. 4 p.113, under the subheading
'Berlin'.

The film Pound is referring to is Walter Ruttmann
(dir) 'Berlin. Die Symphonie der Grossstadt'
(1927). I've only seen clips of it, but Ruttmann's use
of montage is supposed to have been very innovative.



 --- Burt Hatlen <[log in to unmask]> wrote: >
Pounders,
>
> I've been thinking about the parallels between
> Pound's poetics and the film aesthetic of the 1920s,
> and I'm looking for information on what movies Pound
> may have seen during this period and what he might
> have thought/said about them. I'm also
> looking for critical commentary on the relationship
> between Pound's poetic methods and film technique.
> Kenner in The Pound Era and Max Nanny in his book on
> Pound and the electronic age mention that in
> developing his concept of "montage" Eisenstein
> points to the Chinese ideogram as a model, and the
> analogy with Pound's poetic method is obvious; but
> neither Kenner nor Nanny explores the relationship
> between Pound's poetic methods and actual films of
> the time.  Any tips would be much appreciated.
>
> Burt Hstlen





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