~ 2015 ~
Historia de mi muerte / Story of My Death by Leopoldo Lugones
A Moving Poems production for a new series of poetry in translation for the group literary blog I contribute to, Via Negativa. Go there for the text of the poem and the translation; the titling on the video disregards both punctuation and lineation in the interest of displaying Spanish and English side by side, in the manner of a bilingual book of poetry. I haven’t seen this done on a bilingual poetry film before, but that doesn’t mean it hasn’t been — it seems like a fairly obvious arrangement.
As I wrote at Via Negativa, I translated the poem (with some invaluable assistance from Alicia E-Bourdin on Facebook) specifically with the intent of pairing it with that footage of cabbage white butterflies—which, when I shot it last week, I already recognized as having a certain Lugones-like feel. So it was just a question of finding the right poem.
Upcoming poetry-film and videopoetry events
June 27 in Berlin
Lyrikmarkt (Poesiefestival Berlin)
Darüber hinaus werden die besten historischen und internationalen Poesiefilme, unter anderem von Paul Bogaert, Kristian Pedersen, John Albert Jansen, Marie Silkeberg, Ghayath Almadhoun, Eleni Gioti, Hubert Sielecki, Man Ray, Paul Desnos und Gerhard Rühm zu sehen sein.
July 6-11 in London
Ross Sutherland’s “Standby For Tape Back-Up” at the Soho Theatre
After a hard-drive crash and a near death experience, Ross Sutherland found himself house-bound with only one thing for company: an old videotape that once belonged to his granddad.
Over the months that followed, Ross memorised every second of the tape. Slowly, he learnt how to manipulate the images into telling the story of his life. The videotape allowed Ross to open a dialogue with his late grandfather, and eventually helped him confront the illness that had nearly ended his life.
The true story of one man’s journey into synchronicity and madness.
July 11 in Penzance, UK
PoetryFilm Penzance
“A screening of poetry films curated and presented by Zata Banks” at the Penzance Literary Festival in Cornwall.
July 16 in Reykjavik
PoetryFilm Reykjavik
“A screening of poetry films and live performances curated and presented by Zata Banks” at Mengi.
Robert Peake on “poetry, film, and the dance of memory”
The American-British poet and poetry-filmmaker Robert Peake is the author of this week’s essay at Poetryfilmkanal: “Mnemosyne’s Tango: Poetry, Film, and the Dance of Memory.” I thought it was one of the most original things I’ve read about the the genre.
The relationship between art and memory has long been a family affair, since Mnemosyne is the mother of the Muses. In fact, some of the earliest uses of both poetry and film were for recording cultural history – either by compressing an epic tale into alliteration and rhyme to facilitate memorisation, or by compressing light and sound into physical media. Compression leads to portability and potency, but also imposes unique constraints, which have evolved into our current understanding of the distinct artistic possibilities of each discipline.
In format, the auditory and visual natures of film and poetry are clearly different. Yet a flickering screen can be viewed like a page, and a poem can be read like a script. The cæsura, line break, and stanza break in poetry mirror film’s range of visual transitions. Clearly, they have some fundamental moves in common. How, then, does the poetryfilm best come together to fascinate, transport, and change us?
Peake’s essay is the latest addition to the Magazin section of Poetryfilmkanal. Previous installments in this series of short essays have included “Poetryfilms: when poetry and film have a flirt,” by Eleni Cay; “CINEPOEM – or – Take a Walk on the Wild Side,” by Cathy de Haan (in German); my own essay, “The Discovery of Fire: One Poet’s Journey into Poetry-Film“; and “Redefining poetry in the age of the screen,” by Tom Konyves.
The Art of Poetry Film with Cheryl Gross: “Ursonate (an excerpt)”
https://vimeo.com/66612735
Ursonate (an excerpt)
Poetry by Kurt Schwitters
Film by William Shum
2013
According to the description on Vimeo, this is
A short excerpt from Kurt Schwitters’ sound poem, “Ursonate”. The typeface was created from scratch and inspired by the “Merz” art Schwitters created, hence the name, “Merzy”.
Kurt Schwitters, along with Hugo Ball and Hans Kasper Ivan Karp, was a major pioneer of sound poetry. This art form gained recognition in the early 20th century. A product of Dada, sound poetry has been popular in several movements and has successfully influenced and moved into postmodernism. I would say with confidence that its influence has also made its way into hip-hop and rap.
Dada is probably my favorite movement. There were so many rules that were broken. It gave significance to graphic design, paving the way for it to become a viable art form and not just a vehicle for advertisements. Dada allowed for experimentation. I believe this way of thinking was the result of World War I and its aftermath. Artists always have a lot to say but at this point in time, there wasn’t much to lose and Europe was in the process of trying to recover. Needless to say, the impact of history will always be significant because we use art to record our culture. That said, I will get on with my opinion of this mini masterpiece.
Ursonate is one of Schwitters’ better-known works. The video by William Shum is an excerpt from the poem. The typeface may be the first created from scratch and used in a video poem. What I like most about this piece is the fact that it is stimulating and I have no idea what the poet is saying. I don’t need to know. The message comes across perfectly through the images and the recording of the sound, which is Schwitters’ voice.
I love the black and white video; the imagery of toys (by the way, I had the Charlie Weaver Bartender toy that appears in the beginning of the video) interlaced with street scenes, dogs, and stoop-sales continues to enhance the feeling of a time that, although not too long ago, is rapidly dissolving. The type flies in, out, overlaps—creating a flow that keeps us at this point in time. The subway scene at the end is a very nice touch. This too has sound, which although it isn’t made up of words, seems to complete the video very nicely.
If sound poetry was invented for performance, then video poetry could be a feasible fit. It’s as if the two genres were made for each other.
Here’s what the Wikipedia article on sound poetry says about the poem:
Schwitters composed and performed an early example of sound poetry, Ursonate (1922–32; a translation of the title is Original Sonata or Primeval Sonata). The poem was influenced by Raoul Hausmann’s poem “fmsbw” which Schwitters heard recited by Hausmann in Prague, 1921. Schwitters first performed the piece on 14 February 1925 at the home of Irmgard Kiepenheuer in Potsdam. He subsequently performed it regularly, both developing and extending it. He published his notations for the recital in the last Merz periodical in 1932, although he would continue to develop the piece for at least the next ten years.
Cat on the Tracks by Mark Pajak
This filmpoem by Katie Garrett is an excellent demonstration of how to stay close to the imagery of a poem without merely illustrating it and diminishing both film and text in the process. The text, by Mark Pajak, is a Commended poem from the Poetry Society’s National Poetry Competition 2014. Judge Zoë Skoulding’s remarks on the poem already seem to anticipate the filmpoem:
The ingenious structure of ‘Cat on the Tracks’ produces an eerie sense of inevitability, where the lines of both poem and the train hurtle on their collision course. The filmic detail of the cat’s eyes’ slow blink draws us into a parallel world in which physical laws seem – just for a moment – suspended.
Farerra by Gabriel Rosenstock
Farerra is a selection from a rensaku (“a sequence of haiku or tanka in which the individual stanzas do not function independently,” says AHA) by the prominent Irish poet and haikujin Gabriel Rosenstock. This videopoem version by Swoon (Marc Neys) uses the first eight haiku of the sequence, and combines Rosensack’s reading in Irish Gaelic from Lyrikline with an English translation on the screen. Marc writes:
For the visuals I decided to use stills by Pyanek, who made some brilliant macro photos. He is a photographer who uses the reverse-lense technique to delve deeper into the tiny worlds that make up the world we can see with our naked eye. I thought these images expressed exactly what I was looking for to combine with Gabriel’s observations of the nature around the Catalonian Pyrenees. They both dive into our natural world and surroundings to dig underneath the surface, somehow…
I applied the same visual haiku technique (5/7/5 seconds for each image) as I did earlier and placed the English version as (sober) text on screen with each last image. The only movement is a gentle zooming in and out.
Incidentally, Marc has just launched a low-key crowd-funding campaign to support his work as a filmmaker and composer. His main editing computer just died, and he can’t afford to buy a new one without our help. If you enjoy his videopoems, please consider making a donation. As someone who often has trouble asking for help and believes in open content and open source, I couldn’t agree more with this sentiment:
I strongly believe in art being as free as possible. Unlocked. Shared and spread all over the world (real and virtual).
But I also believe that in order for artists to create and produce, their audiences need to step up and directly support them.
I’m basically stretching my comfort zone by getting out of my comfortable hermit existence to connect with you people and hold my hand out, be it virtually.
Juan Felipe Herrera’s winding path to poetry + Five Directions to My House
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Following last week’s announcement that Juan Felipe Herrera would be the next U.S. Poet Laureate, PBS NewsHour sent their arts correspondent to Fresno and produced this pair of videos.
Juan Felipe Herrera is the author of more than 20 books of poetry, novels for young adults and collections for children, most recently “Portraits of Hispanic American Heroes.” He is the son of migrant workers from Mexico, and today he becomes the first Latino to serve as poet laureate of the United States. Jeffrey Brown travels to the poet’s home in California’s San Joaquin Valley.
In the Air by Kate Sweeney
A unique poetry film: a hand-drawn animation of poets’ hands from interview snippets that can also be seen as a remix videopoem. Kate Sweeney explains in the Vimeo description:
Created from short elliptical sequences taken from archived interviews with four Bloodaxe poets. I wanted to isolate the gestures used when explaining the poetic, the abstract thoughts they couldn’t express in words alone. Gesture is communication that is also a kind of drawing in the air.
C.K Williams, in his interview with Ahren Warner, muses that “In a sense the final version of any work of art pretends to be an improvisation; even a painting. First the painter puts down the ground on the canvas or the wood then he puts down another layer of something then he begins to put the blocks in and then the last layer, little brush strokes, that look like improvisation”. The archive offers a window through to all those described layers. It tracks the process of producing a poem, a book and in a way, a poet. Inspired by my research in the archive, the animation includes the smudges, rips, mistakes and corrections, of the paper it was drawn on, revealing and incorporating the process into the final version.
Submissions are open for 3rd Ó Bhéal International Poetry-Film Competition 2015
This week, the Cork, Ireland-based poetry organization Ó Bhéal, in association with the IndieCork festival of independent cinema, issued a call for submissions:
This is Ó Bhéal’s sixth year of screening poetry-films (or video-poems) and the third year featuring an International competition.
Up to thirty films will be shortlisted and screened during the festival, from 4th-11th October 2015. One winner will receive the Indie Cork / Ó Bhéal Poetry-Film prize, selected by this year’s Ó Bhéal judges:
Patrick Cotter and Padraig Trehy
Deadline for submissions is the 15th of September 2015.
Guidelines
Entry is free to anyone, and should be made via email to poetryfilm [at] obheal.ie – including the following info in an attached word document:
- Name and duration of Film
- Name of director
- Country of origin
- Contact details
- Name of Poet
- Name of Poem
- Synopsis
- Filmmaker biography
- and a Link to download a high-resolution version of the film.
Films must interpret or be based on a poem, and have been completed no earlier than the 1st August 2013. They may not exceed 10 minutes in duration. Non-English language films will require English subtitles.
The final programme (shortlist) will be available via both the Ó Bhéal and IndieCork websites as of the 30th of September 2015.
Hope to see you there!
Swoon’s View: Videopoetry Workshop at the Annikki Poetry Festival
Last week I had the opportunity to visit Tampere, Finland. The Annikki Poetry Festival had invited me to give a workshop on videopoetry (as well as do a short live reading). The festival asked J.P. Sipilä to select a collection of videopoetry to showcase, and he suggested a workshop by Swoon.
Invitations like these are hard to decline and I want to say thanks to J.P. and to Simo Ollila for getting me there.
The objective beforehand was to create a few brand-new videopoems in one day. First I showed some examples of videopoetry and talked about the genre a bit—not too long, though. Doing it is the best way to learn in my opinion.
Experimenting is fun; I showed eight small, one-minute films (animation, film, archive, abstract…) in a loop, asking every participant to write one line (sentence, word, etc.) inspired by each minute of film. So everyone had an eight-line ‘poem’. I made them all pick out one of the minute-long films and let them read their lines aloud during that film. The others could observe, look and listen. It’s a fun exercise to create something ‘right there, right now’. Words suddenly fit a certain shot (though not written for that image). The participants get to experience the importance of timing, the power of coincidence, and, hopefully, the fun of playing with words and images.
After that, four groups were formed to work on projects of their own, making sure each group had someone familiar with film and/or video and someone willing to write. I kicked them out of the classroom with two tasks: go out, film, write, have fun… and come back with two minutes of film and a short poem/text to go with that.
Once they were back they started to combine and collect all the material. Choices were made about which visuals to use, while others started to write (inspired by those choices and the things they saw outside). Music and readings were recorded. Each project was scripted out for me to edit.
The room was buzzing. It’s a joy to experience that.
Time’s up!
At night in my hotel room, I edited three of the four videos, following the instructions and scripts the groups had provided me with. The last one was edited by the group at their school/home.
I must say I am very pleased with how it all worked out. Enjoy!
Read a longer account of the whole festival at my blog.
