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date: 08 August 2020

Abstract and Keywords

This article notes that Kitagawa Fuyuhiko's writings from the 1920s and 1930s, together with the contemporaneous works of prose author Yokomitsu Riichi, are strongly marked by the confluence of the literary and the cinematic. Kitagawa and Yokomitsu's engagement with film was not limited to a fascination with the precision, objectivity, or mobility of the “camera eye.” Rather, it extended to the entire ability of the cinematic apparatus to capture the temporality of objects in motion, and of the ability of the filmmaker to organize segments of space into a new synthetic whole. The article explores this confluence through a brief examination of four instances of “cine-text”: Kitagawa' poetry collection War, Yokomitsu' novel Shanghai, the concept of literary formalism Yokomitsu proposed around the year 1930, and the theory of the “prose film” that Kitagawa unveiled in the following decade.

Keywords: film camera, camera eye, film editing, literary formalism, pose film, cine-text

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