Check out this terrific interview with Belgian filmmaker Swoon and American poet David Tomaloff about their recent collaboration on a triptych of videopoems. I loved learning about their collaborative process and how they thought of each other’s work, and as an amateur maker of videopoems I was especially impressed by some of Swoon’s thoughts about his approach, such as:
I love working with found material. Trying to give images, shot for a whole other purpose by someone you don’t know in a place you’ve never been, a new life and, more important so, a new meaning, is very liberating. It gives you a weird sense of power. Even the material I shoot myself is often not shot directly for a specific film. I try to build a library of images, shot by me and found footage, where I can wander around in when making a new film. On the other hand, it’s also very nice if I can shoot images the way I want them to be for a specific idea and poem.
Read the rest (and watch the triptych).
Alastair Cook‘s 16th filmpoem is also his third collaboration with South African poet and actor Gérard Rudolf. Alastair writes,
14th Avenue Tshwane (née Pretoria) is a poem by Gérard Rudolf from his collection Orphaned Latitudes. It is my first work of 2012 and illustrates the year’s intent: it is made from tangible film, not digital recordings, and 2012 is the year of using the digital to edit the analogue. I cannot edit without digital, I cannot make film without analogue. The year of Rollei, Bolex and Collodion. See you soon and Happy New Year!
This film contains Standard 8, Super 8, 16mm and miniDV, edited digitally.
The text of the poem appears on the publisher’s page for Orphaned Latitudes.
Swoon Bildos combined three poems — “Blue Territory,” “Ghost Train,” and “The Theory of Meaningful Coinicidence” — for a videopoem in support of Howie Good‘s new collection, Dreaming in Red. Profits from the sale of the book go to the Crisis Center in Birmingham, Alabama, which works on suicide prevention and provides services to victims of sexual assault, day treatment for the indigent mentally ill, and other services.
“A short poem by Charles Bukowski illustrated by film, texture and stills. Original soundtrack by immprint.” It’s worth noting, however, that the London-based graphic design company used the same soundtrack in another video, for William Blake’s poem “The Sick Rose.” This is one of three Bukowski videopoems they’ve uploaded to Vimeo so far. It’s not clear who commissioned them.
Michelle Bitting‘s latest poem film.
It’s been too long since I last featured one of Kathy McTavish‘s lovely pieces of cello-accompanied video art for a poem by her regular collaborator, poet Sheila Packa. This is a piece from Packa’s new collection, Cloud Birds.
Most of the time, videos that consist only of still images don’t seem like a good fit for a site called Moving Poems, but McTavish’s videos are too full of life and movement to exclude.
http://www.youtube.com/watch?v=pAiik7SKXX8
Another videopoem from John Scott‘s projected feature-length documentary, Elizabeth Bishop and the Art of Losing. See “Sandpiper” for more information and links. Jason Harrington supplied the animation here.
It would be hard to top last year’s animation of “Nicholas Was…” by Beijing motion graphics studio 39 Degrees North, but Trine Malde and narrator Aaron Kay took this in a completely different direction with “a mixture of rotoscoped animation, live action and found footage to comment on the stress and evil of christmas consumerism.”
The latest filmpoem from Alastair Cook, who describes it on Vimeo as follows:
Slow Wave Through The City is a poem by Jacq Kelly, published by Colin Herd this year. It crossed my path digitally and I watched the film in my head as I read, my adopted city of Edinburgh speeding by.
Jacq lives in Edinburgh but dreams of moving to Sweden and becoming a viking. Until this happens, she spends her time writing poetry, fiction and trying to make a difference in politics as a campaigner.
Slow Wave Through the City was filmed in Edinburgh on 8mm film in Summer 2011 on a long walk with the poet; it was shot using Ektachrome Super8, processed in Kansas by Dwaynes.
By way of a coda, this is a first, a Scottish Filmpoem. Looking through all 15 films, this is the only one which has only Scots contributors for the film, narrative and music. This was not deliberate, but is fitting, since it’s devoted to Edinburgh.