~ 2013 ~

B Movie by Luke Wright

A wildly entertaining performance video, augmented by visual text drawn by Sam Ratcliffe. This is from British poet and broadcaster Luke Wright, found via Viral Verse. Here’s the description at YouTube:

BARRY vs THE BLOB – a B Movie set in Brentwood, Essex.

Poet Luke Wright felt bad that Brentwood had the singular reputation of being the home of TOWIE. So he’s set another cinematic event in Brentwood — Essex’s first B movie. On a budget, like all the best B movies, the only special effect he had at his disposal was ALLITERATION. This is literally a B movie.

Two new essays on videopoetry

I have been doing much thinking about Visual Text in a videopoem. Unfortunately, at the rate that my fingers touch the keyboard, I haven’t had much to show for it. But Litlive just posted my essay, Visual Text/2 Case Studies, in which I comment on two of my favourites from the finalists for their VidLit Contest, both in the Visual Text category: “24” by Susan Cormier and “Profile” by R.W. Perkins.

This past year I was also invited to participate in the Zebra Poetry Film Festival Colloquium in Berlin, but had to cancel the visit due a family emergency. A few days before the event, it was suggested I write something to contribute to the discussion. My good friend and former Vehicule poet, Endre Farkas, read it aloud at the Colloquium. It’s now been posted at http://www.academia.edu/3474487/Address_to_the_Colloquium_Berlin_Zebra_Poetry_Film_Festival_2012. In it, I argue that, among other things,

A good videopoem is not predetermined from a script juxtaposed with illustrative elements – it is produced during the editing stage, when the elements are brought together, positioning and duration of text are determined, images and their duration are selected, and sound is chosen, the work is constructed segment by segment, as if they were raw materials in a cauldron. The role of “chance” in this process should not be underestimated or absent.


Editor’s note: For more on Tom and his work, go to TomKonyves.com.

VISIBLE VERSE FESTIVAL 2013 Call for Entries and Official Guidelines

  • VVF seeks videopoems with a 12 minutes maximum duration.
  • Works will be judged by their innovation, cohesion and literary merit. The ideal videopoem is a wedding of word and image, the voice seen as well as heard.
  • Please do not send documentaries as they are outside the featured genre.
  • Either official language of Canada is acceptable, though if the video is in French, an English-dubbed or-subtitled version is required. Videopoems may originate in any part of the world.
  • Please submit by sending the URL for your videopoem along with a brief bio, full name, and contact information to Artistic Director Heather Haley at hshaley@emspace.com. There is no official application form nor entry fee.

VISIBLE VERSE FESTIVAL Oct. 2013, Vancouver, BC
DEADLINE: Aug. 1, 2013

See the website for more, including a postmortem on Visible Verse 2012. To view more videopoems by various artists, visit Visible Verse on Facebook.

Homenaxe ao mineral do repolo (Homage to the Mineral of Cabbage) by Erín Moure

This is Little Theatres, a jaw-droppingly good stop-motion short directed and animated by Stephanie Dudley. It’s based on a poem in Galician, the language of northwest Spain, by the Canadian poet Erín Moure, from her book, Little Theatres (Teatriños).

The film has its own website. According to the About page,

The poem is the second in a series of six by Erín in her award-winning book, Little Theatres. Each poem is an homage to a simple, humble food, such as potatoes, onions, and cabbage. The poems examine our relationship to food, and draw new insights to how these basic foods relate to life, as well as how we relate to each other. In looking more closely at the simple, everyday elements of life, we learn to appreciate their beauty.

The film Little Theatres is an interpretation of what Little Theatres are. It is an exploration of layers: layers of space, and layers of words, both spoken and written. The exploration begins and ends with a simple cabbage.

The film is also available with subtitles in French. (Moure’s multilingual abilities were a source of confusion for me at first, since the Wikipedia article about her mentions that her mother is from the part of western Ukraine known as Galicia — unrelated to the Galicia in the Iberian peninsula except inasmuch as both regions were originally settled by Celts. To compound the confusion, I’ve filed this film under both Canada and Galicia in the index, since the poem, if not the poet, is clearly Galician.)

An Anna Blume (To Anna Flower) by Kurt Schwitters

“An Anna Blume,” says the Wikipedia, is “a poem written by the German artist Kurt Schwitters in 1919. It has been described as a parody of a love poem, an emblem of the chaos and madness of the era, and as a harbinger of a new poetic language.” This film adaptation, a German-Bulgarian production, won the the Ritter-Sport Prize at the 5th ZEBRA Poetry Film Festival in 2010. Here’s the description at Vimeo:

Anna Blume is a visual poetry about the lust of a man chasing a woman. The story takes on surreal journey dictated by the mind of the poet. Lust and ingestion, disguised in love, drive the two characters to an end where love turns to be a very lonesome and strange place. The film is based on and inspired by the emblematic love poem from 1919 “An Anna Blume” by Kurt Schwitters.

CREDITS:
director Vessela Dantcheva
art director Ivan Bogdanov
screenplay Vessela Dantcheva & Ebele Okoye
main animator Ebele Okoye
music composer Petar Dundakov
sound designer Emil Iliev
compositing & edit Ivan Bogdanov
storyboard & layouts Vessela Dantcheva
produced by Ebele Okoye & FINFILM
supported by Robert Bosch Stiftung & National Film Center

Day is Done by Johan de Boose

Swoon‘s latest videopoem features a text, reading and English translation by Belgian author Johan de Boose. As Swoon wrote in a blog post introducing the film:

For poetry day & week (here in Belgium & The Netherlands) Johan de Boose wrote a poem.
The ‘Provincie Oost-Vlaanderen‘ and ‘Het Poëziecentrum‘ gave me a commission to make a videopoem for it.

During these days filled with poetry, Johan is visiting schools, showing the video, reading the poem and talking with the students…

Some things speak for themselves.
Loud and like crystal.

[…]

It was clear from the beginning that I wanted someone young to feature in this video. And I found the perfect one. Filming and editing was made easy with her natural expression and Johan’s strong words.

Dutch and Flemish Poetry Day is the fourth Thursday of January (January 24th this year).

Click through to the post to read the poem in both languages.

Kliniken (The Clinic) by Annelie Axén

A newly subtitled animation by Kristian Pedersen for Gasspedal Animert. Words and voice are by Annelie Axén. There’s also an unsubtitled version.

According to the Gasspedal website (with the help of Google Translate), Annelie Axén was born in 1975 and is an author and critic. Raised in Falun, Sweden, she graduated from the Author Program at Telemark University College in Bø, Norway, and went on to the University of Copenhagen where she studied journalism. Her book Langz was published by Gasspedal in 2005.

TriQuarterly welcomes submissions of “video essays and cinepoems”

The venerable literary magazine TriQuarterly has just issued a Call for Cinepoems and Video Essays.

We welcome submissions of new video essays and cinepoems. We ask that you provide a link to the video (we’re partial to Vimeo, but other video-sharing sites work, too). The ideal run-time tends to fall within a four- to ten-minute range, but that’s a tendency, not a rule.

They’ve published two cinepoems already, and it’s interesting to see that they’re hosting their own video — something most online publishers don’t do, since this tends to be an expensive and complex undertaking. As of yet, TriQuarterly videos aren’t embeddable anywhere else (which may be the point).

It’s great to see a magazine of TriQuarterly’s stature open up to submissions of videopoetry. I’ve added them to our compendium of journals where videopoets can submit work as well as to the main links page.

Traversate by Elena Chiesa

Italian videoartist Elena Chiesa says about her videopoetry:

These animations are the result of many metamorphosis of frames worked one by one “melting the pixels” as oil paint. The sum of many transformations creates this fluid…

Listening to poetry, as to a mantra or a song, always brings our mind to create a flow of images, stimulating the creation of visions provoked in our mind and memory by the words or sounds. What I try to produce is this flow. My personal flow. In animation.

Though she sometimes animates others’ poems, she doesn’t credit anyone else for “Traversate,” so I’m assuming she’s the author of both the poem and the translation.

Erica Goss on how poets experience videopoems

This month in her Third Form column at Connotation Press, Erica Goss takes a look at how videopoems made by others are seen by the poets whose texts they use.

“Sometimes I feel like I have to watch the videos between my fingers,” says Howie Good. “I don’t feel like it’s my poem anymore.” Howie is a professor of journalism at SUNY New Paltz, and the author of four poetry collections, most recently Dreaming in Red from Right Hand Pointing. “It’s flattering, and brings recognition for the poet, but the poem is a creation in itself. I want it to generate its own pictures in the reader’s mind.”

Howie told me that “the poet and the filmmaker have different goals. The video is a separate object. It’s good that a poem inspires the filmmaker, but then it’s not my poem. Now it’s out in the world, away from me.” Howie doesn’t feel that videos diminish poetry. “They don’t enhance poems either. They are simply different things.” The worst thing that might happen would be if the video “pre-empted the imagination. We need our consciousness liberated. Poetry does that.”

Read the rest.

“Films based on youth writing” sought for the Poetry Projection Project

In line with Moving Poems’ focus on children’s poetry films this past week, here’s a call for entries for films based on poems by children and youth:

The Poetry Projection Project: A WritersCorps Film Event
Entry Deadline: March 1, 2013, 11 p.m. PST
Screening: April 2013 (date & location TBA)

The Poetry Projection Project is an annual video contest held by WritersCorps, an award-winning creative writing program for youth. WritersCorps calls on filmmakers and video artists of all ages to create work based on youth writing. Videos will be screened at an event during National Poetry Month in April 2013 and online at WritersCorps.org.

WritersCorps will award three $250 cash prizes:
One prize to the best film made by an adult age 23 and over
One prize to the best film made by a young person age 17-22
One prize to the best film made by a young person age 16 and under

Entries will be juried by special guest juror, filmmaker H.P. Mendoza.

In keeping with WritersCorps’ mission of helping youth through creative expression, the Poetry Projection Project engages filmmakers to explore the power of young people’s words and voices.

Click through for the guidelines.

(h/t: ZEBRA Poetry Film on Twitter)

Two-part interview with “ambassador of cinepoetry” George Aguilar in the Atticus Review

This is not to be missed: Matt Mullins interviews George Aguilar at Atticus Review: Part 1 and Part 2. From Part 1, here’s Aguilar’s take on what makes a compelling videopoem:

The core elements I find most compelling are works that are multi-layered both visually and poetically. They usually feel experimental yet are supported by an expert sense of editing, sound, timing and tone. These types of works draw me in deeply and often leave me wondering what I just saw but also wanting to see it again. Sometimes I don’t get the full meaning of the work until after I’ve watched it a few dozen times. Even then, I still might feel there is something else new to catch the next time I see it. Of course the viewing of it over and over again feels “joyous” even though it hasn’t changed. Isn’t that the essence of the poetic? I also enjoy works that exude a sense of passion and inspiration, whether it is dark or light-hearted.

The breadth and depth of Aguilar’s understanding of cinepoetry/videopoetry and its historical origins are impressive. I’ll be sure to share some of the films he recommends at Moving Poems in the coming weeks.