Egyptian animator and media designer Nissmah Roshdy talks about her film The Dice Player, an animation of a section of a Mahmoud Darwish poem of the same title. American poet Erica Goss, author of the Third Form column on video poetry at Connotation Press, interviewed Roshdy in a Berlin coffee shop the day after the ZEBRA Poetry Film Festival, where The Dice Player won top honors.
Our conversation continued for more than an hour after the interview, but 20 minutes is about the limit to what I can upload at my slow connection speed. (I apologize for the sound not being perfectly in sync; I’m still learning how to use new editing software.)
One thing that poetry-film can really do well is make experimental or avant-garde poems seem more approachable, even entertaining, to a mainstream audience. That’s what Austrian filmmaker Hubert Sielecki and poet Gerhard Rühm have managed to do here, employing what can only be called a choral arrangement of readers—all versions of the same person—in 4/4 meter to defamiliarize and poeticize a found text taken from a newspaper report. For someone with no German like me, the result is a pure sound poem. I was in the audience last Saturday for the main screening of this film at ZEBRA, where it was one of the 29 competition films, and the response was very warm indeed. And that’s not a surprise: this is an immensely entertaining film. Had there been a true “people’s choice” award voted on by everyone who attended the competition screenings, I suspect this would’ve won. (I see that the American animator Cheryl Gross, who also had a film in the competition, has also singled this out as one of her favorites.)
An English translation appears at the beginning of the video, but it’s also included in the YouTube description, so let me just paste it in here:
THE LONGEST KISS
The longest kiss in the world continued for 30 hours, 59 minutes and 27 seconds.
Clara and Hannes who kissed each other for the first time on November 21, 1986 are determined to break this world record on Valentine`s Day, February 4.
The world record attempt will be organised by the Association of Pharmacists.
The pharmacists want to promote superior oral hygiene.
They refer to the fact that during a normal kiss 40 000 parasites are transmitted, besides nine milligrams of water, some fat, proteins, salt and also 250 species of bacteria.
The Association of Pharmacists chose Clara and Hannes because at the age of respectively 38 and 41 years they would be experienced.
During the world record attempt they are neither allowed to lie down nor sit and may not visit the toilet.
Moving Poems will be on hiatus all of next week and part of the following week as I travel to Berlin for the ZEBRA Poetry Film Festival. (If you’re attending as well, do stop and say hi.) Some extra frolicking in Berlin is also part of the plan. Posting should resume on Thursday the 23rd, if not before.
I visited Marc Neys this past July mostly for a social visit. We’d really hit it off the year before at the Filmpoem Festival in Dunbar, Scotland. Also, I’m a big fan of strange beers and Medieval history, and Belgium has plenty of both. (See my photo essay at Via Negativa, “Embodied Belgium.”)
But I certainly didn’t want to let the week go by without filming the filmmaker and getting Marc to talk about how he makes his videopoems. After all, he’s one of the most productive poetry filmmakers in the world right now; his work as Swoon is inescapable at international poetry film festivals, not to mention at Moving Poems.
Fortunately, Marc was game. I originally thought I would make a single, twenty-minute video — I’d shoot a couple hours’ worth of footage, then edit and condense the hell out of it. The problem is that Marc really had a lot of interesting things to say, and what I’ve ended up with instead is a 42-minute documentary split into four, semi-independent sections. These can be watched in any order, I think. I’ve put them all into an album on Vimeo for easy linking and sharing.
I’ve also added closed captioning to each of the four videos, as I do with all Moving Poems productions these days, to make them as accessible as possible — but also to facilitate translating. If anyone would like to translate the videos into other languages, please get in touch. Vimeo will host and serve as many subtitle files as we want to upload.
Marc explains how he creates the soundscapes he uses in his videopoems and other projects, despite not being a musician. He then takes us up into the bell tower of the cathedral in Mechelen, Belgium, famed for its massive carillon.
Where the handle Swoon comes from, and why Marc’s home and city double as a film set for many of his videopoems.
If you only have time to watch one of these, watch this one. Marc lays out his basic DIY approach to making art, talking about the usefulness of water footage and other home-made filter effects, filming to music, cheap editing software, and more.
Marc talks about a new direction he’s recently taken: composing videopoems with the poem in text on the screen rather than in the soundtrack. Along the way, he talks about the influence of theater and classic film, and why he never follows scripts and works mostly by instinct.
A film by Helen Dewbery, whose film and video poetry website with poet Chaucer Cameron is the latest addition to the Moving Poems links page: Elephant’s Footprint. Check it out. Dewbury’s bio there suggests why she might’ve been drawn to the imagery of the poem:
I grew up near Kingston Upon Thames and spent time living and working in London where I photographed urban and suburban landscapes and became fascinated by the juxtaposition of the green spaces in London’s Royal Parks, the dark muddy grey-brown waters of the Thames and the rolling chalk downs, flower rich grasslands, acid heaths and ancient woodlands of the Surrey hills.
I then moved to Pembrokeshire where I lived for 17 years spending time travelling through the Pembrokeshire countryside. It was these surroundings that inspired me to engage with the art of photography, drawn by the beautiful wild dramatic landscape with gorse strewn hedgerows, Campion covered coast paths and the moody moor land of the Preseli Mountains. These separate but interrelated landscapes played a significant role in my creative process.
The poet, Lucy English, is one of the co-founders of the Liberated Words festival. Visit her own website at lucyenglish.com. The reading is by Hebe Reilly. Megan Palmer is the actress.
This 1995 poetry film classic won the main prize at the very first ZEBRA Poetry Film Festival in 2002, as well as an Arts Council of England Animate Award and 1995 ICA Dick Award as “the most provocative, innovative and subversive short film of the year.” Director Tim Webb uploaded this version to Vimeo himself, and the description there is exhaustive. Click through for the full credits. Here’s a snippet:
15th February mixes live action and animation to describe a symbolic rejection and its sadistic outcome, as related in the poem by Peter Reading.
Love gone wrong in 294 cuts. From a poem by Peter Reading, symbolism and sadism meet live action and stop motion in this tale of rhythmic rejection and its aftermath. The 15th February is from Reading’s book Diplopic. In explaining the title, Reading wrote, ‘Diplopic means pertaining to double vision. Every subject is treated from two sides. The funny and the ghastly are symbiotic.’ The 15th February is from one side.
Technical informationThe film mixes 16mm live action, stop-frame and drawn animation.
The late Peter Reading’s poetry was described by The Oxford Companion to Twentieth-Century Poetry as “strongly anti-romantic, disenchanted and usually satirical.”