Posts By Dave Bonta

Dave Bonta is a poet, editor, and web publisher from the Appalachian mountains of central Pennsylvania.

Under remodeling

If you’re reading this on the website (as opposed to a feed reader or our weekly digest), you’ve probably noticed a few changes around here. Moving Poems Forum is now Moving Poems Magazine, with a greater focus on magazine-like content such as think-pieces and criticism, interviews, and craft essays, in addition to the usual news notes about festivals, contests, and other poetry-film-related things. This is a change that’s been brewing for some time, but got a huge boost from conversations I had with other poets and filmmakers at the ZEBRA festival last week. It’s a good bet that the look of the site will continue to change over the coming days as I work out the architecture, trying to anticipate both the needs of visitors and the likely range of contributions. I think this is what they call a soft launch.

If you’d like to contribute articles (including reprints), please email me with ideas: bontasaurus@yahoo.com. I regret that I cannot afford to pay anyone; this is not a money-making venture, to say the least.

Thomas Zandegiacomo Del Bel on ZEBRA and poetry films

Directly following the awards ceremony at the end of the 2014 ZEBRA Poetry Film Festival in Berlin, I sat down with ZEBRA’s artistic director, Thomas Zandegiacomo Del Bel, for a brief chat. I wanted to learn a bit more about how he and the other members of the program committee (Anna Henckel-Donnersmarck, Heinz Hermanns, Ulrike Almut Sandig and Heiko Strunk) chose the films to be screened, and how Literaturwerkstatt Berlin manages to plan and produce such a big festival. And snce Zandegiacomo is something of an expert on the history of poetry film, I wanted to ask what trends or fashions he’s seen in recent years, and where he sees the genre going in the future.

Mention is made of another Literaturwerkstatt production, lyrikline — an online archive of audiopoetry comparable to PennSound in the U.S., but many times larger and more international in its focus. They just added their 1000th poet on October 18.

As for my own impressions of ZEBRA as a first-time attendee: I found it very well-organized (albeit with a few technical glitches), intellectually and aesthetically stimulating, and a bit overwhelming. It was impossible to attend all the screenings, readings and other events even with a number of repeat screenings in the schedule — especially if one also took advantage of the opportunity to drink beer network and socialize each night. As I say in the video, I liked the way filmmakers were invited on-stage for brief interviews with the moderator after their films were aired, though I did hear other attendees complain that this interrupted the flow. As a web native, I suppose I have a pretty high tolerance for interruptions and distractions. But the folks at Literaturwerkstatt Berlin take the “werkstatt” (workshop) part of their name very seriously; craft talks are part of their core mission.

I was very impressed by the three-person jury (Cornelia Klauss, Alice Lyons and Michael Roes). Each of their four choices was a challenging, unconventional film-poem, in contrast to some of the more mainstream prizewinners from past ZEBRAs. I got the impression that 100% of the prize money goes to the filmmakers, but perhaps some of them will split it with the poets whose work they used, as I heard one animator in the awards ceremony audience vow to do if she won. I liked the themed screenings and was frustrated that I couldn’t attend more of them, but fortunately the paper edition of the festival program includes every film, so I can watch all the ones that have been uploaded to the web (probably at least half of them).

Vienna Poetry Film Festival announces competition films

still from video by 4youreye

still from a video by 4youreye

The Vienna Poetry Film Festival (A.K.A. Art Visuals & Poetry Festival) is coming up on November 5-6, as previously noted. Now they have released a list of the films they’ll be screening on November 6 from both competitions: Poetry films about the Festival poem “Kaspar Hauser Lied” by Georg Trakl, and Textfilm made in Austria. I recognize many filmmakers’ names, especially in the former category. Congratulations to all for having been selected.

The program for November 5, moderated by Sigrun Höllrigl and Hubert Sielecki, has also been released, including some teaser videos. It too looks very interesting. Best of luck to the organizers and participants for what is sure to be a successful and stimulating event.

لاعب النرد / The Dice Player by Mahmoud Darwish

Egyptian student-filmmaker Nissmah Rosdhy’s animation of a section of a Mahmoud Darwish poem of the same title is the winner of the 2014 ZEBRA Prize for the Best Poetry Film. (Though the jury members announced from the stage that they regarded all four of the films they picked for prizes this year as equal winners, the prize sponsored by Literaturwerkstatt Berlin itself was still treated as the first among equals. And having watched all 29 competition films, I wouldn’t argue with that.)

Erica Goss and I met with Nissmah Roshdy the day after the awards ceremony and recorded a twenty-minute interview with her — go watch. The important thing to mention here is that the live recitation with music by the band Le Trio Joubran sparked the film; it’s much more than just a soundtrack. Combine that with a killer animation of Arabic typography and rotoscoped dance moves by the animator herself, and you’ve got an innovative, probably ground-breaking work. Congrats to Roshdy and a tip of the hat to the jury for their inspired selections. (Look for more of those here in the coming days, interspersed with other films from the festival.)

“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.