The film-poem (also called the poetic avant-garde film, verse-film or verse-documentary)[1] is a label first applied to American avant-garde films released after World War II.[2] During this time, the relationship between film and poetry was debated. James Peterson in Dreams of Chaos, Visions of Order said, "In practice, the film poem label was primarily an emblem of the avant-garde's difference from the commercial narrative film." Peterson reported that in the 1950s, overviews of avant-garde films "generally identified two genres: the film poem and the graphic cinema".[3] By the 1990s, the avant-garde cinema encompassed the term "film-poem" in addition to different strains of filmmaking.[4] Film-poems are considered "personal films" and are seen "as autonomous, standing apart from traditions and genres". They are "an open, unpredictable experience" due to eschewing extrinsic expectations based on commercial films. Peterson said, "The viewer's cycles of anticipation and satisfaction derive primarily from the film's intrinsic structure."[5] The film-poems are personal as well as private: "Many film poems document intimate moments of the filmmaker's life."[6]


Stark Electric Jesus [7][8][9][10]

See also


  1. Peter Atkinson. "Poetic licence: Issues of signification and authorship in British television versedocumentary, 1986-96".
  2. Peterson 1994, p. 10
  3. Peterson 1994, p. 29
  4. Peterson 1994, p. 30
  5. Peterson 1994, p. 31
  6. Peterson 1994, p. 32
  7. "'প্রচণ্ড বৈদ্যুতিক ছুতার' ও একটি চিন্তা". charbak. charbak. 6 September 2015. Retrieved 6 September 2015.
  8. "কম বাজেটের প্রতিবাদ". ebela. ABP Group. 23 September 2014. Retrieved 23 September 2014.
  9. "মলয় বিদ্যুৎ". Anandabazar Patrika. ABP Group. 29 October 2014. Retrieved 29 October 2014.
  10. "কয়েক জন কলেজ পড়ুয়া". ei samay. Times Group. 6 October 2014. Retrieved 6 October 2014.


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