~ October 2014 ~

“A real Arabic aesthetic”: Nissmah Roshdy on the making of “The Dice Player”

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.)

Der Längste Kuss / The Longest Kiss by Gerhard Rühm

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.

А у вас дім далеко від нас? (Do you have a home away from us?) by Anzhela Bogachenko

What planet, era, realm, country are your letters from?
At this point, draw a palm, a house, a planet. Explain.

I’m just back from the ZEBRA Poetry Film Festival, where I saw many great films including this wonderfully goofy one from Ukrainian poet-filmmaker Anzhela (or Angie) Bogachenko, which with its dancing cosmonauts somehow speaks to my experience over the past week in Berlin (where I also met up with my British partner-in-crime Rachel, with whom I otherwise maintain a long-distance relationship).

You’ll need to watch this at 360p minimum to make out the English subtitles. The text of the poem in the original is here; the translation in the titling is credited to Ksana Kovalenko. The music is a song called “на крыше” (“On the Roof”) by the group VEN, according to a Google translation of the YouTube description. The film was part of a screening called “Triadic Dimensions” featuring films that used music and dance as well as poetry to “convey … the cumulative force of language.”

There’s also a version of the film with Russian subtitles.

Ten-day hiatus

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.

Marc Neys in front of the camera: The Swoon interviews

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.

Swoon on Sound

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.

Swoon at Home

Where the handle Swoon comes from, and why Marc’s home and city double as a film set for many of his videopoems.

Swoon’s Secrets to Filming No-Budget 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.

Swoon on finding a new angle in videopoetry composition

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.

VideoBardo 2014 program online

VideoBardo 2014, A.K.A. V Festival Internacional de Videopoesía/V International Videopoetry Festival has its own website, separate from the parent site at videopoesia.com (and the Blogspot site for the last festival). Included are bios of the guest presenters and program schedules. Like the recent Liberated Words festival in the U.K. (with which VideoBardo is a partner), the festival will take place at several different locations and dates: November 5-9 and 28 at various locations in Buenos Aires, and December 11-13 at the Museum of Modern Art in Mendoza, Argentina. They also have a page on Facebook (though I would caution non-Spanish speakers not to rely on the machine translations offered up by Bing on Facebook. Google Translate is much better). Here’s their trailer:

 

“Speke, Parrot”: Poetry video in Middle English goes viral (sort of)

I first saw this due to a link from Chaucer Doth Tweet on Wednesday. Apparently I was far from alone. BBC News (or to be specific, #BBCtrending) calls it “The 500-year-old poem that captivated Reddit.”

A complex political satire written almost 500 years ago doesn’t seem like an obvious candidate for viral success, but its unusual pronunciation has struck a chord online.

The poem, called Speke, Parrot, was written in the sixteenth century by an Englishman named John Skelton. A group of students at a Dutch university set the poem to pictures and asked their professor to read it aloud, pronouncing the words as closely as possible as to the original Middle English. It’s almost unintelligible to the untrained ear, but that seems to have been the key to its popularity.

The students uploaded the video to YouTube on Tuesday. Their friend posted a link to the history sub-forum on Reddit – a popular online discussion board – where it took on a life of its own. It has quickly become one of the highest rated posts of all time in that category, with more than 2,000 “upvotes”. The video has now been viewed more than 110,000 views on YouTube.

“I was quite surprised myself,” says Sebastian Sobecki, professor of Medieval English at the University of Groningen, who voiced the short film. He tells BBC Trending that in the poem Skelton – tutor to English King Henry VIII – satirises a new breed of courtiers, eager to impress King Henry and his policy makers with their fashionable opinions, and language skills newly acquired overseas. That’s why he refers to them as “parrots”; you could call them the hipsters of their day.

The conversation on Reddit homes in on the way the poem is pronounced, rather than its political meaning. “It sounds like a medley of Scottish, Dutch, German and English to me,” wrote one. “To me it sounds like the Spanish Ambassador from Blackadder,” said another.

“They’re exclusively focused on how we know what Middle English sounded like,” notes Sobecki, who says a huge body of research makes it possible to recreate the sounds with relative accuracy. “It seems that there are a lot of people outside academia who take an interest in that, and that’s big news to me.”

(Yes, I just repeated the entire article, techno-parrot that I am.) The video is now up to nearly 130,000 views — keeping in mind that YouTube counts every time someone started playing the video as a view, regardless of whether they finished watching. Still, for less than a week, that’s extremely impressive, and suggests to me that contemporary poets and poetry-filmmakers shouldn’t worry about a poem being too weird or obscure to capture the public imagination.

The article refers to this as a viral video, but it’s worth asking whether any poetry video can truly be said to have gone viral yet. According to a Wikipedia article on viral videos,

There isn’t exactly a set rule for how many “views” constitute a video “going viral”. In a recent blog post, YouTube personality Kevin Nalty, aka Nalts, asks the question “How many views do you need to be viral?” In 2011 he said, “A few years ago, a video could be considered “viral” if it hit a million views.” But Nalts updated that definition. He said, “A video, I submit, is “viral” if it gets more than 5 million views in a 3-7 day period.”

This Is Not a Fairytale by Laura Kasischke

A film by Laurent Barthelemy and Shizuka Kusayanagi for Motionpoems. Laura Kasischke is one of my favorite contemporary poets, so I was pleased to see this so well done.

Read the text on the Motionpoems website. They’ve also posted an interview with Kasischke conducted by Ethna McKiernan, though unfortunately it doesn’t make any mention of the film.

Ethics of the Mothers by Rachel Barenblat and Prayer by January Gill O’Neil

A Moving Poems original. I got the idea of combining two poems about small children, and spent more than a week tinkering with the footage, trying to create enough echoes between the two parts of the film so it all hangs together. I’m not sure whether I succeeded or not, but it was an interesting experiment.

The texts came from The Poetry Storehouse: “Ethics of the Mothers” by Rachel Barenblat and “Prayer” by January Gill O’Neil, each read by the author. The music is by Serge Seletskyy, AKA GustoTune on SoundCloud, used in its entirety without alteration. I wanted to stay as far away from stereotypically “spiritual” music as possible, and suggest instead the boundless energy of childhood.

I shot some of this myself (the dodgy wildlife shots and the overlays) and filled it out with free footage from Beachfront B-Roll and Phil Fried. Yes, I really was that close to a mother bear with cubs! It seemed important to start out with a powerful image of motherhood that also might be seen to possess a kind of celestial resonance (Ursa Major and Ursa Minor). And over-all, the wildlife imagery and the closing shot of the night sky gave me a way to suggest something extra about the kind of felt connections with the larger-than-human world that seem to come naturally to most children, and the awe that that can inspire in them. Needless to say, I wouldn’t have dared to close with such a “cosmic” shot if O’Neil’s poem hadn’t focused so resolutely on small things.

Rachel Barenblat is an ordained rabbi who blogs at The Velveteen Rabbi, and January Gill O’Neil is also an active poet-blogger — see Poet Mom. Both are based in Massachusetts.

Him by Laura Mullen

“This Valentine was created by running the hard sell of an on-line dating guru through ‘Dictation,'” says the Vimeo description by Laura Mullen, a practitioner of “hybrid poetics” with seven books under her belt. In an interview posted on her blog, afteriwas dead, she answered a question about the making of the video:

LG [Lola Gerber]: The video you showed at your reading at Naropa had both performance and writing in it. Can you tell me more about the process of creating this video? Did you write and then perform the writing? Or do you perform first and then write from that?

LM: Ah, you’re talking about “Him” (a play on Hymn), the Valentine’s day video (up on my Vimeo site, with other movies…). The text is the pitch of a famous dating guru, available on-line, full of promises (including that wonderful: “I will teach you how to speak the secret language of men”!)! I wrote it down, then read it into “Dictation,” which—as far as I can see—speaks “the secret language” of the pitchman, exposing the truth behind those promises made to lonely women. Then I recorded the result as a voice over—and attached it to the film (my friend Marthe Reed helped me make) of me peeing in a giant box of chocolates. But I led up to that with film work (with Afton Wilky) of Valentine’s Day merchandise, and also a Valentine’s Day performance (live) where I read from a journal entry about losing my virginity while smearing my face with Valentine’s day candy (actually, that didn’t work so well—it’s got too much wax in it, doesn’t really melt), while backed up by three brave women who (off-mic) described their loss of virginity experience…

It seemed like an apt follow-up to Monday’s posting of 15th February.

Take Me to the City by Lucy English

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.

15th February by Peter Reading

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 information

The 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.”