Abstract

One of South America’s most popular poets, Alfonsina Storni is primarily known for verses of love and passion. During her lifetime, Storni also wrote as a newspaper columnist under the pseudonym Tao Lao. Storni’s association with film has primarily been discussed as part of her friendship with author and cinephile Horacio Quiroga but translations and analyses of Storni’s film-poems, mainly composed in the last decade of her life, show that she was experimenting in a fusion of verse and cinema. Drawing on the proliferation of consumer products bringing film and photography into everyday life in Argentina in the 1920s and 1930s, Storni’s film-poems blend word and image through the photochemical properties of the film medium and the spatial and temporal techniques of motion pictures. While Storni’s biographers have classified some film-poems as falling within the reportage genre of the chronicle (crónica), these multimedia experiments work problems of subjectivity and objectivity intrinsic to the time-based approach of the chronicle through filmic technologies, while also interrogating constructs of gender and colonial power that were deeply embedded in the visual culture of South America in the 1920s and 1930s.

摘要

作为南美洲最受欢迎的诗人之一，阿方西娜·斯托尼主要以爱情和激情的诗歌而闻名。在她的一生中，斯托尼还以化名陶老的身份担任报纸专栏作家。Storni 与电影的关系主要被讨论为她与作家和影迷 Horacio Quiroga 友谊的一部分，但对 Storni 主要创作于她生命的最后十年的电影诗的翻译和分析表明，她正在尝试融合诗歌和电影。借助 1920 年代和 1930 年代阿根廷将电影和摄影带入日常生活的消费产品的激增，斯托尼的电影诗歌通过电影介质的光化学特性和电影的时空技术融合了文字和图像。