Some poetry films in the spirit of Filmpoem, the Edinburgh-based, international poetry, film, festival and workshop project founded by Alastair Cook in 2010. As Alastair notes on their website, “The combination of film and poetry is an attractive one. For the poet, perhaps a hope that the filmmaker will bring something to the poem: a new audience, a visual attraction, the laying of way markers; for the filmmaker, a fixed parameter to respond to, the power of a text sparking the imagination with visual connections and metaphor.” —Ed.
The Royal Oak (poem by Benedict Newbery)
Sandra Salter, 2012
Commune Présence (poem by René Char)
Maxime Coton, 2013
OUTSIDE (“A fora”) (poem by Albert Balasch)
Marc Capdevila, 2012
Regarding Gardens (poem by Simon Barraclough)
Carolina Melis, 2012
repeaT (poem by Polarbear)
Joe Roberts, 2012
The Flight into Egypt (poem by John Glenday)
Marc Neys aka Swoon, 2014
http://vimeo.com/93125441
Naar Wat We Waren (poem by Eric Joris)
Lies Van Der Auwera, 2014
Beyond Words (poem by Else Beyer Knuth-Winterfeldt)
Helene-Moltke-Leth, 2014
Hare (poem by Carolyn Jess-Cooke)
Melissa Diem, 2014
Legion (poem by Allison Walker)
James W. Norton, 2013
http://vimeo.com/62030717
I’ve gotten a couple of months behind on the 12 Moons videopoetry collaboration between Erica Goss (words), Marc Neys/Swoon (concept and directing), Kathy McTavish (music) and Nic S. (voice), so here are parts X, “Hunter’s Moon” (above) and XI, “Trapper’s Moon” (below). About the former, Marc writes:
The wind in this poem led me to a film I used earlier; ‘Terror in the midnight sun’ (Virgil W. Vogel)
I created a ‘windy’ scape using blocks of sound Kathy provided me with, added Nic’s reading and started playing around with the footage. (Different grading, colours,…)
In the end I only used one sequence. Played with repetition… I added a light layer of flickering windows to emphasize the wind even more.
For “Trapper’s Moon,” Marc notes that
Kathy provided me with a beautiful soundtrack, full of nostalgia and melancholy. A perfect fit for Nic’s intense reading.
I wanted very simple and pure images to go with this music. Preferably nature. A forest. Solitude.
Ephemeral Rift filmed one of his winter walks, I edited out a few bits and played around with colouring and timing in a split screen.
As with the others in this year-long series, both films were featured in Atticus Review.
Ironically, one of the reasons I got behind on sharing them was because I took almost two weeks off to go to the ZEBRA Poetry Film Festival in October… where one of the big draws was seeing all twelve films in order on the big screen, with both Marc and Erica in attendance to introduce them and answer questions afterwards. It was an utterly captivating experience; the films flowed really well one into another, which might not be obvious if you watch them individually on the web. I hope that won’t be the last time that the whole project gets shown in a theater.
Academic publisher De Gruyter has just published a 310-page monograph titled Poesiefilm: Lyrik im audiovisuellen Medium [Poetry Film: Poetry in the Audiovisual Medium] by German literary scholar Stefanie Orphal. It’s probably a good thing I don’t know German, because if I did, I’d be feeling pretty frustrated by the astronomical price tag: US$126.00 for either the hardcover or the eBook — or $196.00 for both together! But perhaps one could talk one’s local university library into buying a copy. The publisher’s description is certainly enticing:
Unlike film presentations of narrative or dramatic literature, the audiovisual depiction of poetry has received little attention from researchers. This volume traces the history of the poetry film genre and subjects it to systematic examination. It thereby fills a gap in research on the relations between films and literature but also develops key categories for understanding ways of dealing with poetry in the audiovisual medium.
There’s a brief review (in German) at Fixpoetry. One can also get a sense of Orphal’s research interests from her page at the Friedrich Schlegel Graduate School of Literary Studies:
Stefanie Orphal was born 1982 in Halle (Saale). From 2002 to 2008 she studied literature, media studies, and business studies at the University of Potsdam and Université Paris XII. She completed her Magister Artium (Master of Arts) in 2008 with a thesis on Stimme und Bild im Poetryfilm (Voice and Image in Poetryfilm) in which she analysed the connection and interference of voice and image in short films based on poems. Her research interests include the relation of literature and other media, literary adaptation, and 20th century poetry. From 2009 to 2012 she has been a doctoral candidate at the Friedrich Schlegel Graduate School of Literary studies, where she finished her dissertation “Poetry Film”: On the History, Poetics and Practice of an Intermedial Genre.
In her dissertation project on “poetry film’, she examines the emergence of poetry in film and the poetic dimension of film as an art form. The “tradition of the cinema as poetry”, as Susan Sontag calls it, appears particularly in the avant-garde films of the 1920s and in experimental cinema. At the same time, poetry itself has strived for connections with other media or for recognition as a performance art throughout the 20th century. Futurism, Dada, Beat Poetry, Spoken Word, and Konkrete Poesie feature prominent examples. Unlike literary adaptations, most poetryfilms do not present a ‘translation’ of literary text into filmic text, but keep the poetry present in vocal performance or writing. Her analysis of various poetryfilms therefore concentrates on rhythmic features of film and verse, the sound of voices and spoken language, iconic qualities of writing, and the interplay of poetic and filmic imagery.
https://vimeo.com/111364503
This is not the first time that Nic S.—known for her great reading voice—has made a videopoem with text-on-screen rather than voiceover, but it may be her most satisfying example of that sort of videopoem to date. The text, by New Orleans-based poet Charlotte Hamrick, comes from The Poetry Storehouse, and the music is by Rob Bethel, Todd Brunel and Matt Samolis, with Todd Brunel on clarinet.
I’m always looking for poetry films that mobilise what Hollis Frampton called ‘the counter-machine to the machine of language’, i.e., the visual. Frampton has been my guide to understanding how poetic language might be translated to cinema. I’ve written a forthcoming book on the subject called Perpetual Speech: Hollis Frampton’s Gloria! as Lyric Poem. So Gloria! has got to be in my list. It’s at the end.
Subterranean Homesick Blues (song by Bob Dylan)
D.A. Pennebaker, from the documentary Dont Look Back, 1967
The Grass is Greener (poem by Ivor Cutler)
Orla Mc Hardy, 2001
Anna Blume (poem by Kurt Schwitters)
Vessela Dantcheva (main animator Ebele Okoye), 2010
Höpöhöpö Böks
Eiríkur Örn Norðdahl, 2010
The Grammar Tables: The Great and The Dead (poem by Pat Boran)
Helen Horgan, 2013
https://www.youtube.com/watch?v=BJd_jOw4x1o
American Haikus (poetry by Jack Kerouac)
Orla Mc Hardy, 2006
http://vimeo.com/10469119
Zorns Lemma
Hollis Frampton, 1970
Walden
Jonas Mekas, 1969
(see longer selection on UbuWeb)
Зеркало/The Mirror (poems by Arseny Tarkovsky)
Andrei Tarkovsky, 1975
https://vimeo.com/44315068
Gloria!
Hollis Frampton, 1979
Amid racial tensions in communities such as Ferguson, Missouri, and following the unwarranted deaths of young black men like Michael Brown and Trayvon Martin, two slam poets confront what it means to be black men in America and in their communities. Theo Wilson, once a victim of police brutality, delves into his internal struggle of dealing with the past encounter, remembering how powerless he felt in the face of his oppressor, and his ensuing resolve to change the rules of the game. Beneath the smoldering anger and aftermath of police violence is a growing disquietude toward the future of race relations. Jovan Mays, the poet laureate of Aurora, Colorado, uses his spoken word to express the turmoil of emotions and experiences inherently attached to growing up a black boy in America.
(Vimeo description)
These two related poetry films are by Mary I. Stevens, an associate producer of digital video at CNBC. They deserve to be seen widely in the wake of yet another grotesque miscarriage of justice in the racist police state that the United States has become. Those of us who have the luxury of merely wallowing in outrage and not fearing for our lives (yet), simply because we happen to have been born with white skin, need to hear the testimony of the victims of police violence and humiliation, and ask ourselves whether our anxious calls for peaceful protest aren’t motivated more out of a desire to sweep unpleasant realities under the rug rather than to actually confront the glaring inequities in our society.
Jovan Mays and Theo E. J. Wilson, A.K.A. Lucifury, are members of the Slam Nuba team, who won the National Poetry Slam in 2011. The first film, an artful blend of interview and poetry, contains a few excerpts from the performance of “Burning House” featured in the second film, but devotes much more space to a poem recited by Mays, “To the Black Boys.” The song “Look Down Lord,” included in both films, is performed by Dee Galloway.
To mark the passing of legendary Washington, D.C. mayor Marion Shepilov Barry, Jr.—a unique figure in the American political landscape, to say the least—here’s a terrific performance poem by Kenneth Carroll, mixed with the drumming of a street musician named Vinzee. It’s from the “eclectic documentary series” The Angle Show from Park Triangle Productions and director Gemal Woods. (They do quite a bit of poetry, which is really refreshing for a documentary series.) The video was posted back in December 2011, and the accompanying text notes:
We wanted to have fun especially with this great piece by Kenneth Carroll. I think we did. He is a genius.
Vinzee…just met him traveling. He was gracious to share with us.
Kenneth Carroll doesn’t appear to have a website, but here’s his page at the Poetry Foundation.
(Hat-tip: Sandra Beasley on Facebook)
We have updates on two poetry film festivals this week. The International Film Poetry Festival in Athens, which had previously been advertised as coming some time in December, is in fact going to take place next Friday, November 28, according to its website:
The yearly International Film Poetry Festival will be held for third time in Greece on Friday 28/11/2014 2014 in Athens. Approximately 1000 people attended the festival last year.
There will be two different zones of the festival. The first zone will include video poems, visual poems, short film poems and cinematic poetry by artists from all over the world (America, Asia, Europe, Africa). The second zone will include cross-platform collaborations of sound producers and music groups with poets and visual artists in live improvisations.
The International Film Poetry Festival 2014 attempts to create an open public space for the creative expression of all tendencies and streams of contemporary visual poetry.
It is very important to notice that this festival is a part of the counter-culture activities of Void Network and + the Institute [for Experimental Arts] and will be non-sponsored, free entrance, non commercial and non profit event. The festival will cover the costs (2000 posters, 15.000 flyers, high quality technical equipment e.t.c.) from the incomes of the bar of the festival.
Etc.
For those of you who prefer a bit of advanced planning in your lives, tickets are on sale for PoetryFilm’s last event of 2014 at the ICA Cinema in London:
PoetryFilm Solstice
21 Dec 2014
3:00 pm | Cinema 1 | £7.00 to £11.00“Founded by artist Zata Kitowski over a decade ago, the PoetryFilm art project continues to play with the avant-garde” – aqnb, 2014
PoetryFilm celebrates experimental poetryfilms, art films, text films, sound films, silent films, poet-filmmaker collaborations, auteur films, films based on poems, poems based on films, and other avant-garde text/image/sound screening and performance material.
The PoetryFilm project has resulted in over 60 events at cinemas, galleries, literary festivals and academic institutions featuring films, poetry readings, live performances and talks. PoetryFilm Solstice will feature a programme of short poetryfilms and live performances curated by Zata Kitowski – the full programme will be posted here shortly.
PoetryFilm is supported by Arts Council England.
If, like me, you’ve been wondering just how Motionpoems managed the logistical hurdles of projecting films onto the front of a train station, what it looked like, and how it was received by the general public, this great little “micro-documentary” gives a pretty good indication.
If you’re a U.S.-based poet and would like the chance to be considered for next year’s version of Arrivals and Departures, the deadline is fast approaching: November 30! I got this reminder in my email inbox yesterday from the CRWROPPS-B list:
SUBMIT TO ARRIVALS & DEPARTURES YEAR 2!
See your poem turned into a film and projected onto the 1,000-foot neoclassical facade of Saint Paul’s Union Depot in Motionpoems’ latest annual public art installation. Poems accepted on the theme of “Arrivals and Departures” through Nov 30. Broad interpretations of the theme encouraged. Poems accepted from all non-Minnesota U.S. residents (Minnesota poets will be invited to submit again in Year 4).
MORE ABOUT THE CONTEST:
Entrants are urged to consider the theme of “Arrivals and Departures” in broad terms. Although this project celebrates the newly revitalized Depot, the Depot isn’t the project’s subject. It’s just the canvas upon which the poems will be experienced. Entrants should consider not what the Depot is, but what it represents, as a source of diversity, culture, commerce, influence, inspiration, and exploration. Also consider the Depot as an early manifestation of newer depots in modern life, which may include the International Space Station, for example, or other ways in which mankind is ‘departing’ or ‘arriving’ culturally, intellectually, spiritually, etc. Poems about trains are less encouraged. Poems published within the last five years will be considered in addition to previously unpublished poems.WHERE TO SUBMIT:
Submissions can only be made online via Submittable at https://motionpoems.submittable.com/submit/34138. Submit one poem only; multiple submissions will disqualify you. The poem should be no more than 500 words. Translations are not eligible, but poems published within the last five years are eligible. Use the “bio” and “cover letter” fields to tell us who you are, how you learned about this project, and why you would like to be part of it.DEADLINE:
Entry deadline is November 30, 2014. No entries will be accepted after the deadline.WHAT HAPPENS NEXT:
All finalist poems will be presented to filmmakers, but only a handful will be developed into films. That handful of poems will be selected by participating filmmakers based on individual preference, as part of an open call to filmmakers in partnership with Independent Filmmaker Project New York. Motionpoems does not guarantee the number of films to be made. Remember: Not all finalist poems will be made into films.MORE INFORMATION:
To read the complete guidelines and submit: https://motionpoems.submittable.com/submit/34138To read the Official Terms of Entry: http://www.motionpoems.com/a-and-d-2-terms/
For more about Arrivals and Departures Year 1: http://www.motionpoems.com/arrivals-departures-at-st-pauls-union-depot/
To learn more about Motionpoems and watch 5 seasons of motionpoems: http://www.motionpoems.com
In other Motionpoems news, there’s an interesting note on their About page regarding their next regular season of films: “Season 6 is a special collaboration with VIDA: WOMEN IN THE ARTS, designed to balance the Motionpoems ecosystem with more poetry by women.” I’ll be looking forward to that. VIDA is a good organization.
Here are ten current favorite video poems, all made by women. One of the things I like about video poetry is its cultural and gender diversity. Many more than these exist, of course, and my list is much longer than only ten, but enjoy these from the US, Canada, Pakistan, Egypt and Taiwan:
goodbye (poem by Kate Greenstreet)
Kate Greenstreet, 2010
I Said Yes (poem by Luisa Igloria)
Nic S., 2014
http://vimeo.com/107386171
The Dice Player (poem by Mahmoud Darwish)
Nissmah Roshdy, 2013
kindness (poem by Jana Irmert)
Jana Irmert, 2012
Whore in the Eddy (poem by Heather Haley)
Heather Haley, 2012
Self Portrait as Beast (poem by Justine Post)
Cecelia Post, 2014
Danatum Passu (poem by Shahid Akhtar)
Shehrbano Saiyid, 2014
At Freeman’s Farm (poem by Marilyn McCabe)
Marilyn McCabe, 2013
In the Circus of You (poem by Nicelle Davis)
Cheryl Gross, 2014
They Are There But I Am Not (poem by Ye Mimi)
Ye Mimi, 2009