Burt-- Two thoughts: (1) Don't forget about EP's involvement in the Leger-Dudley Moore "Ballet mecanique," with music by Antheil. The film is of course a landmark in avant-garde cinema in all the textbooks, and somewhere, I seem to recall, EP claimed to be in the cutting room when it was being made (or some such place). I see it as an extension of "vortography." (2) There's a reference in XXX Cantos to "Birth of a Nation," which has to be an allusion to Griffith's film, though Terrell's Companion doesn't identify it as such. I'll find the reference if you need it. Stephen Adams Burt Hatlen 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 -- Stephen Adams Chair, Undergraduate Studies, Department of English University of Western Ontario London, Canada Undergraduate English business should be directed to [log in to unmask]