Posts By Dave Bonta
Gentlemen by Marcus Slease
Like contemporary lyric poetry itself, poetry film these days is overwhelmingly serious in tone. Here’s an exception. Bristol-based filmmaker Graeme Maguire and poet Marcus Slease have produced “an experiment in letting go of perfection and critical thinking” that’s also highly entertaining in a Rabelaisian sort of way. Let me reproduce Maguire’s Vimeo description in full:
DIRECTOR: Graeme Maguire
ASSISTANT DIRECTOR: Sarah Maguire
POETRY: Marcus Slease
SOUNDS: Annie Gardiner of Hysterical Injury
STARRING: Rick Hambleton, Natalie Brown, Mo, Jamie Lindsay
THANKS TO: The Cube, Scubaboy Inc, Floating Harbour Studios, Geneva StopGentlemen is a poetry film project in collaboration with poet Marcus Slease. The film was created for an event called Uptight in Bristol, the name of which was the inspiration for the theme of the film. Inspired by Robert Frank’s ‘Pull My Daisy’, a silent film overlaid with jazz music and poetry by Jack Kerouac, Gentlemen is shot on super-8 and contains no dialogue. It is accompanied by a poetic narration by Marcus and an interpretive bass guitar sound track by Annie Gardiner.
The film is also an experiment in letting go of perfection and critical thinking. It was shot on one 3 minute roll of super-8 with all editing done in-camera. This meant planning and timing out all the shots before the shoot and then shooting each one in sequence using a stop watch. After processing the film the result is a fully edited film. This also meant that we could only do one take of each shot so the actors HAD to get it right first time!
Sarah Maguire is also a poet, and with Slease is the co-founder of Uptight, which has an interesting mission:
[I]nstead of moaning about not being able to connect with other British poets, we want to join forces with artists in other mediums and create a united front against the thugs that control the literary, political and social world of this country. Just as the Beats were influenced by Bop Jazz, and the New York school poets inspired by painters, we feel more at home with Bristol’s DIY artists/musicians/activists.
We are two poets, Sarah Maguire (Bristol) and Marcus Slease (London) that to put it mildly are sick of traditional intellectual, stiff, PHD driven British poetry and feel obligated to do something …anything ….to make a change.
We have created Uptight for our own mental health and general punk fuck you activism! We will hold regular events that will bring together poetry, music and film. Our events will be queer friendly, woman friendly and we will make every effort to be inclusive and engage with artists of various ethnic and cultural backgrounds.
Uptight is working on the first publication of a print (YES real recycled paper) and online magaZINE that will show case all that is truly modern in art and poetry.
Red Kites at Uffington by Martin Malone
A wonderful poem and film from Martin Malone (text) and Helen Dewbery (film and production), with music by Colin Heaney.
News round-up: Motionpoems’ Kickstarter; Dylan Thomas movie; videopoems on Montreal poetry festival website
With just four days to go, Motionpoems’ Kickstarter campaign for its innovative weeCinema outdoor theater is still $15,000 short of its $20,000 goal. As previously reported here, a mere $10 pledge qualifies one to answer their call for poetry films to be screened in the weeCinema during the Minneapolis-St. Paul International Film Festival. Todd Boss announced on Facebook a few days ago that “Kickstarter CEO Yancey Strickler emails today to say he’s a huge Motionpoems fan. He pledged $200 to our newest project.” But it won’t happen without a lot more pledges. Do give if you can.
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In not-so-wee cinema news, the Welsh newspaper Daily Post reports that
A movie about iconic poet Dylan Thomas, which stars a Holyhead-born actor and music by a top Welsh rocker, is to be released in the United States.
Set Fire to the Stars tells the story of a week in the life of hell-raising Welsh poet Dylan Thomas as he embarked on a disastrous tour of American universities in the 1950s.
By his side is young poetry professor and admirer John Malcolm Brinnin, whose philosophy for looking after the firebrand is “I’ll improvise”, but a fragile friendship is stretched beyond the limit.
Holyhead-born Celyn Jones stars as Thomas and he also co-wrote the script while Super Furry Animals’ Gruff Rhys of Bethesda provides the original soundtrack. Brinnin is played by Lord of the Rings star Elijah Wood.
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Finally, a poetry festival set for June in Montreal is foregrounding videopoetry. If, like me, you don’t understand French, here’s what Google Translate makes of it:
The House of Poetry of Montreal, in partnership with the Self media arts center Vidéographe launched an innovative advertising campaign in several districts of the city. On more than one thousand posters in the Plateau-Mont-Royal neighborhood, Hochelaga-Maisonneuve, Mile End, Ville-Marie, Rosemont Petite-Patrie and in the city center and Old Montreal, passers equipped with a smartphone can now scan a QR code and instantly watch videos-eight poems as many poets and video artists.
The viewer-reader at the end of each video-poem purchase the book of poetry which is taken the extract by a single click. It will then be directed to the website of a bookseller or publisher. He can also view all the video-poems on the www.videopoeme.com or at home in the Plateau-Mont-Royal culture, which showcases the works continuously for the duration of the Festival.
Through this joint development program for stimulating the House of Poetry allows several poets disseminate their work in a new form and touch and new readers. The expertise of Vidéographe in the field of media arts opens wide the door of new technologies to the current Quebec poetry.
Assuming that’s more or less the gist of it, that sounds pretty cool. And the videopoems are already available to watch on the website.
(Hat-tip for the second and third links to Thomas Zendegiacomo del Bel at the ZEBRA Facebook group page)
Conference on poetry, film and technology at FACT: three views
I was happy to see a comprehensive, 17-page report [PDF] on the Feb 5 Send and Receive conference about “Poetry, Film and Technology in the 21st Century” at FACT (Foundation for Art and Creative Technology) from the poet John Davies, A.K.A. Shedman. His highly literate and personal take on the conference gives one a good sense of the sorts of issues under discussion and the often conflicting opinions of the participants. Davies also did his own research on poetry film to flesh out the article, which he titled “Send and Receive: misaligned model or magnificent mix?” It concludes with a brief description of each film shown. Check it out.
Davies includes his reactions to two presentations that are also online. Zata Kitowski has posted her talk [PDF] on the semiotics of poetry film at the PoetryFilm website. And while it doesn’t relate to poetry film per se, George Szirtes’ presentation on how he uses Twitter and Facebook to draft poems is nevertheless very interesting, and may be read on his blog (Part 1, Part 2, Part 3, Part 4).
Szirtes also shared some informal reactions to the conference, including the poetry films, in a post on Facebook that’s fully public (i.e., you don’t have to be a Facebook friend of a friend, or even a logged-in user, to read it). Although his assessment of the films was a bit less critical than Davies’, they agreed on which was the stand-out: Dream Poem by Danny Caswell Dann Casswell. “The Dream Poem won it for me, because the idea of the poem was the idea of the film—the one was the other,” Szirtes writes. And Davies called it “superb – witty, clever but thoughtful animation that played with the media. A true poetry film with the right mix and balance.” Unfortunately, I can’t find any trace of this film on the web. Hopefully that will change at some point. It’s available to view on the PoetryFilm site.
Memoires / Memoirs by Paul Snoek
A highly inventive videopoem from the indefatigable Swoon (Marc Neys), who described how it came about in a blog post last month:
Note to self: make more ‘Belgian’ videopoems…
So I made one to start with. One I wanted to make for a long time, but never had the right idea for.Now I did.
The poem ‘Memoires / Memoirs’ is by Belgian poet / painter Paul Snoek.[…]
First I created a soundtrack so I had a time frame to work with once I would start filming. I used the recording of the poem that I found on Lyrikline. [listen on Soundcloud]
My idea for the visual was simple, but effective I believe.
‘Cut up flowers and create a house in the most simplistic manner and then destroy the house’
I filmed the whole process from different angles and with different lenses. Editing came naturally once I had the music and the visuals. I adapted the pace and feel of the soundtrack until there was a sense of unity. A translation by James S. Holmes (from ‘A quarter century of poetry from Belgium’, 1970) was used as subtitles.
Memoires is currently a featured film at The Continental Review.
شاعروں سے ڈرو / Be afraid of poets by Zeeshan Sahil
Be afraid of poets –
they have a hand-grenade
made of dreams…
The late Pakistani poet Zeeshan Sahil “has often been praised for writing in a simple yet profound manner”—a simplicity admirably captured in this short film from Umang, directed by Fahad Naveed and narrated by Mahvash Faruqi with a performance by dancer Suhaee Abro.
Be sure to click on the CC icon for the English subtitles, translated by Nauman Naqvi, or click through to the Umang website to read the full text in English and Urdu.
I Too Come From by Luisa A. Igloria
This new poetry film by the always interesting Lori H. Ersolmaz is an adaptation of a poem from The Poetry Storehouse by Luisa A. Igloria, and includes the author’s own reading in the soundtrack. Ersolmaz incorporated archival footage from the newly available Pond5 Public Domain Project and sound effects from Freesound.org.
Read Lori’s process notes, “Beginning with the End in Mind,” at Moving Poems Magazine.
Carbon Culture offers $1000 poetry film prize
Carbon Culture is a print and online journal at “the intersection of technology + literature + art.” This week they announced a unique poetry film contest:
Poetry Film Prize
We want to integrate film and literary culture. Carbon Culture will award a $1,000.00 prize for the best poetry film using the complete text of John Gosslee’s poem “Portrait of an Inner Life.” The winning entry will receive $1,000.00. The top five entries will receive high-profile placements across a number of networks, note in a one page ad alongside honorable mentions in our newsstand print and device editions. All entries are considered for sponsored entry to our list of film festivals and poetry film festivals. Deadline for submissions is January 1, 2016.
Rules for Submission
1. Create a video adaption of John Gosslee’s poem “Portrait of an Inner Life” using the full text of the poem and the author’s name
2. Post the video to a Youtube or Vimeo account and make it live
3. Submit the piece as an Mp4 alongside your bio or team member’s bios to us.Prize Announcements will be made in April 2016
Film Types
All visual and textual interpretations of the poem are welcome. Animation (digital or cartoon,) live action, kinetic poems, stop motion, anything you can imagine. We are looking for literal or non-literal interpretations of the poem. How long should it be? That is up to you. Poetry is meant to be heard and we encourage audio.
Eligibility
The prize is open to students, individuals and teams.
Click through for the text of the poem (which is very brief) and the link to submit. Fjords Review (which Gosslee edits) included the poem in a video interview, filmed by Roberta Hall at City Lights Bookstore in San Francisco:
Poetry at the movies: “Kahlil Gibran’s The Prophet” and “Endless Poetry”
There was news this week of two more feature-length movies in which poets and poetry play a leading role. The animated film Kahlil Gibran’s The Prophet is due to be released in North American theaters next summer, according to The Hollywood Reporter.
Animation distributor GKIDS has acquired North American rights to Kahlil Gibran’s The Prophet, the animated featured produced by Salma Hayek that is based on the well-known book by Kahlil Gibran. The film, which was introduced at Cannes and made its North American premiere in Toronto, will be released this summer.
The film features a narrative story written and directed by Roger Allers with individual sections based on Gibran’s poems that were designed and directed by animation directors from around the world, including Tomm Moore (an Oscar nominee this year for Song of the Sea), Joan Gratz, Bill Plympton, Nina Paley, Joann Sfar, Paul and Gaetan Brizzi, Michael Socha and Mohammed Harib.
Its voice cast includes Hayek, Liam Neeson, Quvenzhane Wallis, John Krasinski, Frank Langella and Alfred Molina. The score is by Gabriel Yared, with additional music by songwriters Damien Rice, Glenn Hansard and Lisa Hannigan and performances by cellist Yo-Yo Ma.
And the Chilean poet Alejandro Jodorowsky will sit in the director’s seat for a movie based on his autobiography, Endless Poetry (Poesia sin Fin), as Variety explains:
Alejandro Jodorowsky is set to produce and direct “Endless Poetry,” the continuation of his latest film “The Dance of Reality,” which played at Cannes’ Directors Fortnight.
A Chilean-French-Japanese production, “Endless Poetry” is a fantasy-filled autobiographical tale based on the last chapters of Jodorowsky’s book “The Dance of Reality.”
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The film recounts Jodorowsky’s teenage years in Santiago, Chile, and chronicles his struggle to overcome family pressure and find his path as an artist and a poet. Jodorowsky emerged along with Enrique Linh, Nicanor Parra and Stella Diaz as one of the most influential poets of Chile in the 1940s.
“In my memories, my years in Chile had long been associated with suffering and loneliness… but today, at my 85 years of age I have not the least doubt that my encounter with poetry justifies my emergence in that country,” said Jodorowsky.
The producers are planning a Kickstarter campaign, to be launched on February 15.
All Over by Gabriele Tinti
Michele Civetta (Quintessence Films) directs this adaptation of the title poem from a book by Italian poet Gabriele Tinti:
All Over is a collection of epic songs, of epinician odes for our day. The heroes praised are boxers, men the author identifies as the last able to truly astound, to induce awe. These epinician odes on Pindaric models are transformed in the making. What they sing about is not victory but defeat. The hero, the boxer, is deprived the possibility of attaining true “victory” through the gods’ obliging and favorable presence — a limitation that never pertained in antiquity. This is a fragile hero. An all-too human human. He is a “simple” boxer. Nothing but a man. The epinician odes, therefore, end up being direct, and matter-of-fact, in their style and content. They wind up as epigraphs, tragedies in verse form that narrate the real exploits of workday heroes, even if the resulting events are exceptional, moving us to weep, and to feel great admiration and compassion.
The reader here is Burt Young, and the fighter is Davide Buccioni. There’s a good interview with Tinti about his boxing poetry in Vol. 1 Brooklyn. Here’s an excerpt:
Do you feel that you need to evoke the pacing of a fight in a poem written about that fight? And if so, how do you go about that?
I know a lot of boxers, I have seen, I see, so much boxing that to me it is natural to bring back its rhythm, its music. Fist fighting, that terrible dance, on the other hand has a high poetic content. Because boxing is a space in which our repressed feelings, our fears and our identity anxieties all converge. Boxing resolves everything in the sense of death. It manages to do so because it is a primal display; a manifestation of an unrepeatable existential experience, a ‘true’ reality; the revelation of an internal world in which not only the body (with all its suffering) and the flesh are on the line, but also the intellect, the spirit and so-called ‘culture.’ It is a cruel spectacle made of pain and love, of the unpredictable and the serious, of boredom and great emotions.
When you appeared at the Queens Museum recently, your work was read by Burt Young, whose art also appears on the cover of All over. How did the two of you first meet?
We met in Rome. He was here making a film. We immediately became friends and immediately shared this project. He is a very intelligent and sensitive person. He went into my work without demands, perfectly understanding what I needed. We have great mutual respect and admiration. And he knows the world of boxing and boxers very well. Like me he knows that the boxer is a virus, a factor of destruction and living next to him means crying constantly. My poems are lamentations, they should be cried rather than read, as Burt does. Having completely internalized All over, he cries with absolutely no rhetoric and without any pre-arranged agreement.
