~ 2015 ~
I Ate the Cosmos for Breakfast by Melissa Studdard
This may be my favorite Motionpoem to date. The title poem from Melissa Studdard‘s new collection is impressive in itself, but it would’ve been so easy for a filmmaker to ruin it by choosing conventionally “cosmic” imagery, or by illustrating some of the more quotidian images in the text. Instead, as director/producer Dan Sickles told Rosemary Davis in an interview,
My way into this poem was an experiential familiarity. It’s an articulation of a moment of utter presence, where a mundane activity provides a portal to divine contact. The poem is elemental, and speaks of nature, life, and death. I wanted to aid in an ethereal, celestial experience of Melissa’s words through film, to inspire a feeling rather than a literal interpretation.
What was the first image you thought of after reading this poem?
The first image I thought of after reading the poem was a shot of the entire planet floating in space. Ultimately, that inspiration boiled down to this idea that size, a juxtaposition of micro and macro shots, and fluidity/liquidity in camera movement were the basic ground rules for how we approached production. […]I was in Puerto Rico for the premiere of my last film, Mala Mala, which we shot on the island over the course of three years, and that’s when we shot this, the day after our premiere. I was after a particular tone expressed in the poem, which I felt could be best represented by the raw, dense, natural landscape in Aguas Buenas and surrounding towns outside of San Juan.
And his approach resonated with Studdard, as well:
I love it! In fact, it is specifically because they avoid the predominant metaphor and related images that they are able to so skillfully tease out subtext. I felt much more understood than I would have if they’d simply shown someone eating a pancake and drinking tea. By pairing the textual imagery with this new visual imagery, they further elicit the sense of creation, sustenance, and elemental divinity at the heart of “I Ate the Cosmos for Breakfast.” Rather than timidly toeing the periphery of the poem, they brave the thick inner brushland and cut new paths back out. That is as it should be. They’re not here to merely represent my poem. They’re here to create a new work of art.
Learning about inch worms by Simply Sylvio
https://vine.co/v/eKqtW7Z6nEX
I figured it would only be a matter of time before someone created a viral videopoem on Vine. (This has also been uploaded to YouTube.) The author, Simply Sylvio, is “Vine’s first avant-garde gorilla,” according to Mashable.
Sylvio’s Vine feed is a treasure chest of drama, comedy, animation and abstract art, all in the form of six-second looping videos. He’s taken a cinematic approach on the platform, showcasing his travels and everyday routines for his 300,000 followers.
Sylvio doesn’t speak, but he once wrote to us: “Vine became the perfect way to capture all of the small, quiet moments on the road that would otherwise have been lost.”
Sylvio himself may not claim that this is a videopoem, but I think it fits the classic, Konyvesian definition to a T.
Presented as a multimedia object of a fixed duration, the principal function of a videopoem is to demonstrate the process of thought and the simultaneity of experience, expressed in words — visible and/or audible — whose meaning is blended with, but not illustrated by, the images and the soundtrack.
The playful manipulation of a Google search recalls the screenshot poetry of Google Poetics. The search acquires a certain pathos, the frantic flailing of the eponymous inchworm remaining open to interpretation no matter how often we re-watch it on Vine’s infinite loop. Given that inchworms are also commonly referred to as loopers, there may also be a certain self-reflexivity at work.
I do think it’s better with the sound off, though. That’s just cheesy.
A Kite is a Victim by Leonard Cohen
Elizabeth Lewis directed and animated this film based on a Leonard Cohen poem, using a reading by Paul Hecht. It’s actually an excerpt from a longer film produced by the National Film Board of Canada in 1977: Poets on Film No. 1, which “brings together animated interpretations of four poems by great Canadian wordsmiths” by four different animator-directors.
(Hat-tip: Anik Rosenblum at the Poetry in Animation Facebook group.)
You Will Drown For Poems by R.A. Villanueva
Based on a poem by U.S. poet R.A. Villanueva, this was commissioned by London’s 2015 Dance Film Festival UK—”a collaboration between the dancer/choreographer, Julie Ann Minaai, and Garrett and Garrett, a brother-sister team of filmmakers,” as Villanueva told me via email. Michael and Katie Garrett work for a variety of clients, but according to the Dance Film Festival UK website,
their real passion lies in filmmaking for the arts, particularly, poetry, dance and music. They have won several awards for their dance and poetry pieces as well as producing a documentary which won the Channel 4 short documentary award at the Kendal Mountain Film Festival. […]
The piece “You will drown for poems” is a continuation of their love of collaborative arts projects and mixes poetry with movement for the screen. The key theme in this piece is that of the migrant artist and it reflects upon the importance of one’s work as a link to home and sense of belonging.
I’ve seen a lot of innovative dance-centered poetry films over the years, but this is the first aquatic one that I can remember, and Julie Ann Minaai‘s choreography takes full advantage of the dream-like movement of fabric and diffuse lighting available underwater. The evocative music is credited to Cato Hoeben. As for the poem, it originally appeared in Lantern Review: A Journal of Asian American Poetry, and carries the dedication “for Dennis Kim, 1983-2005.”
Double Life in REM State by Cindy St. Onge
A Swoon (Marc Neys) videopoem using a text from the Poetry Storehouse by Cindy St. Onge. Marc used footage by Jan Eerala, Videoblocks and Grant Porter, and says:
Double Life in REM State […] has all the dreamlike quality and strange reality that I look for in a poem. […] The poem was perfect for text on screen (and I love the line ‘Dreams are always about the dreamer’)
I started collecting footage for certain lines (insects, animals, nature, movement, and a few haunting ones)Meanwhile I also began working on a fitting soundtrack;
[Bandcamp link]Once I had all my building blocks, I could start ‘composing’.
Image by image, placing lines, adjusting pace,…It’s what I call fun.
Undersong by Stacey Lynn Brown
Motionpoems’ latest, a Vimeo Staff Pick, is a pencil animation by Matt Smithson A.K.A. man vs magnet of a poem by Stacey Lynn Brown. Yaa Asantewa provided the voiceover and Joshua Smoak composed the music.
“Citizen journalist” Jeannie E. Roberts conducted interviews for Motionpoems with both the poet and the filmmaker—check them out. Brown says, in part:
“Undersong” is both an elegy and an ode to the poet Jake Adam York, who died at the age of 40 in December 2012. Jake was a poet of extraordinary depth, courage, wisdom, and empathy. His life’s work, a project entitled “Inscriptions for Air,” was an excavation of race and involved writing an elegy for every single man, woman, and child who were martyred in the Civil Rights Movement. He was a white man from Alabama who confronted the challenges and implications and devastation of racism head on, and the literary world is so much richer for his work—and so much more bereft for the work that will not follow.
Poetry is, in many ways, the only language I have at my disposal to say certain things, and this poem is an example of that. As a poet from the South, I wanted to pay homage to the visual landscape that connected us, to evoke the places we’re both from in an effort to encapsulate origin while memorializing just how far from there we journeyed in our thoughts and actions and words.
And Smithson’s description of his process is extremely impressive:
The process of creating the Motionpoem for “Undersong” was two-fold. Once I had decided on a direction and concept, I spent quite a bit of time researching specific locations that I felt best captured the visual quality described in the poem. Traveling through the South, through rural Virginia, North and South Carolina, West Virginia, and Kentucky, I filmed a variety of places, people, and details that I planned to use in the creation of this Motionpoem. Not every piece of footage was used, but this process helped further connect me to many of the places Stacey Lynn Brown describes, places echoing with a storied past.
The process I used to create the visual style of this Motionpoem involved the labor intensive process of tracing each image by hand to give the piece a handmade quality. Using the filmed footage as a starting point for most of the scenes, I merged the reality with my stylized interpretation, taking creative liberty in the development of each moment.
Call for submissions: 5th Sadho Poetry Film Fest 2015-16
India’s biannual poetry-film festival Sadho is alive and well and open for new entries. I’ve taken the liberty of copying and pasting their call:
Entries are now being invited for the 5th Sadho Poetry Film Fest 2015-16
Deadline: Submission by mail: October 30, 2015
Submission for online preview: October 22, 2015 (if the entry form is submitted through mail.)
Entry form can be downloaded from links given below on this page.
ABOUT THE FESTIVAL
The Sadho Poetry Film Fest, the first of its kind in Asia, is a unique biennial festival that showcases the finest Poetry & Poetic Films from all over the world.
The festival has two avatars. The two-day main event is organized at New Delhi every alternate year, in which all the films are screened and the viewers vote for the ‘Viewers’ Choice Award’. The next year, the festival travels to various cities with abridged screenings, also targeting destinations that are normally left out of the film-festival circuits.
The festival has a special section for poetry films made by students independently or as a part of their film-school curricula.
Sadho also has material exchange partnerships with other important organizations and festivals that focus on this genre of films in other parts of the world, and is always looking for new collaborations.
The screening of the travel festival will begin soon.
TYPE OF FILMS
We showcase films, that broadly fall into following categories:
- Poetry Films – based on or inspired by a poem. Most of the films in the festival are of this genre.
- Poetic Films – Films that are highly poetic in their cinematic construction. We include some of the finest of this vast and varied genre in our festival.
- Poetry Discourse Films – Films that engage in a debate about the image, the word and life.
- Student Poetry Films – Films on poetry made by students as a part of their curriculum or independantly.
- Film on poets
ENTRY FORM
Please download the entry form in a format of your choice.
Normalization of Deviance by Charlotte Pence
A new film by artist and poet Dave Richardson using a text and reading by Charlotte Pence. As the Vimeo description notes, “Normalization of Deviance” appears in Pence’s collection Many Small Fires, just out from Black Lawrence Press.
World premiere of new poetry film based on the work of bpNichol
I’ll be back from my mini-vacation next week and return to a full posting schedule, but in the meantime I wanted to pass on one exciting piece of news: Canadian filmmaker Justin Stephenson‘s film The Complete Works, based on the work of avant-garde poet bpNichol, is at last, er, complete. The world premiere screening will be at the Queensland Poetry Festival next Sunday, August 30; for details, see the Facebook event page.
Fifteen years in the making the film explores Nichol’s work through a series of filmic translations, remixes and transformations. It features filmed performances by many authors including Daphne Marlatt, Roy Miki and Stephen Ross Smith. The Complete Works is a unique look at the work and practice of a seminal Canadian poet.
Nichol’s work embodied a playfulness, generosity and charm that is unparalleled in the challenging world of avant garde poetry. The Complete Works documents Nichol’s poetic methods – it is not an expression of his work or a biographical story, but an exploration of his practice and the implications of the poetic writing.
Before the screening, Lance Sinclair will introduce this important film and Justin Stephenson himself, who is proudly presented in partnership with Canada Arts Council.
Sun 30 Aug 630pm, QPF 2015
Judith Wright Centre of Contemporary Arts
Main Theatre
No tickets, general admission on the night.
Here’s the trailer:
Erica Goss: Video Poetry Summer Camp for Teen Girls Wraps Up
Instructor Jen Gigantino demonstrating how to use special effects
Media Poetry Studio wrapped up its first summer camp on Saturday, August 1, with a screening of student films. Parents, friends and members of the arts community watched the eight short films our students created over the two weeks of camp. The students, who ranged in age from eleven to sixteen years old, were on hand to answer questions about their work.
In spite of the technological aspects of making videos (cameras, editing software, etc.), everything started with paper and pen. Each student received her own hard-bound journal, and spent much of each day writing. During the mornings of the first week, they worked with me on generative writing, and in the afternoons, they attended classes with MPS co-founder and Santa Clara County Poet Laureate David Perez, who introduced them to film techniques. The girls made their first video, using haiku they wrote on the first day of camp, by mid-week. After that, we focused on writing the poem each student would use for her final video.
The camp shifted in the second week to video instruction, and by the middle of the second week, we were in full film-crew mode. Students worked very hard to finish their films by Friday. Some finished early, while some students worked right up until the last minute of camp. The students who completed their films early assisted the students who still had work to do.
Camp curriculum included a number of guest speakers and instructors, who taught students topics that ranged from spoken word to 2D animation. Our highly talented and dedicated staff consisted of instructional aide Elaine Levia, poet Lucia Misch (spoken word), Jennifer Swanton Brown (MPS co-founder and poet-teacher), Jen Gigantino (video special effects) and the team of Annelyse Gelman and Auden Lincoln-Vogel (animation).
We held the camp at the Edwin Markham House in San Jose’s History Park. The house is the headquarters of Poetry Center San Jose, and its location in History Park gave our students a wide range of filming opportunities, from the house itself to the park grounds, which include more historic houses, a train, covered wagon, and gardens. The park is adjacent to the Japanese Friendship Garden, which we made use of for field trips.
Each video was decidedly individual, reflecting the personality and interests of the girl who made it. Our students expressed their feelings about the future, about struggles with control, the idea of home, having time to themselves, and the pressure they feel at school. Each video reflected the unique thoughts and vision of the maker. No two were alike.
David Perez, Jennifer Brown and I are very pleased with our first Media Poetry Studio camp. We’re already planning for next year! We will run another camp next year, and would like to add an advanced camp for this year’s students. We are grateful for the support of the video poetry community and our funders. We could not have done this without you.
Visit the MPS website’s About page for more photos. Three of the girls’ films are on the front page, and we reproduce them below as well.
Written, filmed and edited by Emilia Rossmann.
Written, animated and edited by Maggie Gray.
Written, filmed, animated and edited by Carol Liou.
Submit to the Atticus Review
The Atticus Review is looking for filmpoems/videopoems of between one and eight minutes in length. You can submit a bio and link to your work via Submittable (https://atticusbooks.submittable.com/Submit) or you can contact our Mixed Media Editor directly at m-mull@hotmail.com.
