Abstract

Marcel Broodthaers’s A Film by Charles Baudelaire was produced in lieu of a research paper for a seminar on Baudelaire run by Lucien Goldmann in Brussels during the winter of 1969–70. The film and the seminar serve as points of departure for this article’s pursuit of three interrelated aims: first, to establish specific discursive coordinates for one of the most mystifying aspects of Broodthaers’s work, namely its pervasive and seemingly anachronistic references to nineteenth-century poetic modernism in general and to Baudelaire in particular; second, to take on the figure of the world for Broodthaers, both in his use of the world map in the Baudelaire film and several other works to be discussed and in the question of his stance regarding the world-shaping catastrophe of colonialism; and finally, to investigate the prominence of the concept of reification in Broodthaers’s theoretical lexicon in relation to its first formulation by Georg Lukács, its revival and dissemination by Goldmann, and Aimé Césaire’s account of colonialism’s “reification of the world.”