~ filmmaking ~
Swoon on leading a videopoetry workshop in Vilnius
Belgian filmmaker and musician Swoon (Marc Neys) gave a two-day videopoetry workshop as part of the TARP festival of audiovisual and experimental poetry in Vilnius, Lithuania earlier this month. His blog post about the experience should be of interest to videopoets and poetry teachers alike.
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 two groups were formed (making sure each group had someone familiar with film and/or video and someone willing to write) to work on a project of their own. Both groups took the results of the writing experiment as a starting point; One group used footage shot by one of the participants and combined two ‘poems’ of the experiment. In doing so creating two streams of thoughts played out against two streams of images. The other group wrote a new poem (using the same basic idea) and added self filmed footage and filmed some new material the day before the second part of the workshop.
The second evening we recorded the poems. Each group explained and showed their work in progress. Giving me a change to suggest, answer questions and help out where needed.
The Poetry Storehouse aims to connect poets with artists and filmmakers
Just a few weeks old, The Poetry Storehouse, poetrystorehouse.com, is already beginning to live up to its slogan, “great contemporary poems for creative remix.” Everything in the site is licensed under a Creative Commons Attribution-Noncommercial License, and there are also links to off-site collections of work with remix-friendly CC licenses of one variety or another. The site’s editors, led by Nic S., are actively soliciting for submissions of poetry in English, and new material will be added on a weekly basis. The editors tag and categorize the poetry on the site fairly exhaustively in order to maximize its findability.
The Poetry Storehouse is an effort to promote new forms and delivery methods for page-poetry by creating a repository of freely-available high-quality contemporary page-poetry for those multimedia collaborative artists who may sometimes be stymied in their work by copyright and other restrictions. Our main mission is to collect and showcase poem texts and, in some instances, audio recordings of those texts. It is our hope that those texts will serve as inspiration or raw material for other artistic creations in different media.
I’m one of the site’s advisors, along with Marc Neys. My primary agenda is probably pretty obvious: generate more videopoems/filmpoems to share on Moving Poems! But more than that, I strongly believe that poets should be more open to artistic collaboration, and stop viewing a printed book as the ultimate destination for their work. And I think any filmmaker looking for a great short subject should consider bringing a poem to the big or small screen.
I’ve added The Poetry Storehouse to our page of web resources for videopoetry makers in the “Free and Creative Commons-licensed texts and audiopoetry” section. (And while I was updating the page, I also added a new section with links to free online filmmaking tutorials, to make it even easier for poets who want to have a go at envideoing their own or others’ works. Thanks to beginning poetry filmmaker Graham Barnes for the suggestion.)
Some thoughts on collage videopoetry
Over at Via Negativa, I shared a new videopoem I made on a whim last night. This morning I added some process notes, which led to a few further reflections of possible interest to writers and poetry teachers looking for an easy way to get into videopoeming. First, the video:
I made this videopoem entirely out of found text and footage from American television commercials of the late 1940s and early 50s. I’ve been intrigued by the possibilities of collage in videopoetry ever since I saw what Matt Mullins did with a sermon by Oral Roberts in Our Bodies (A Sinner’s Prayer). This doesn’t rise quite to that level, either technically or conceptually, but it was a fun experiment. Thanks to the Prelinger Archives for the material, all in the public domain.
Process notes: I’ve been downloading compilations of old television commercials for possible use in videos for poems from the new chapbook. While making poetry videos for pre-existing texts is fun, it’s easy to get sidetracked by a wealth of good material, and yesterday I decided to give in to the temptation. I went through one of the compilations, writing down all the good lines in a text document, in order as they appeared so I could re-find them easily. Then I wrote a rough draft with some of the most interesting lines, loaded the source material into Windows Movie Maker and began to cut and paste the snippets containing the lines I’d liked into the order I’d put them in the written draft. Once I had fully assembled the first rough draft of a videopoem, however, I found the words went by rather too quickly. I had the idea of using wordless or nearly wordless segments from a single ad both to give space to the lines of found poetry and to act as a sort of refrain.
At this stage, the working title was “Industry at Work” (taken from a clip that I subsequently removed). However, after a couple of hours of trimming and moving things around, it became clear that the refrain segments just weren’t gelling, and the video overall seemed too scattered and miscellaneous. I began looking at another compilation, and the very first ad in it — a commercial for Budweiser — had lots of wordless footage that I liked. It was only after pasting some of those segments into the draft project that I got the idea of using the first half of Budweiser’s then-slogan, “Where there’s life, there’s Bud,” as title and refrain.
I go into all this (hopefully not too boring) detail simply to show that the process of composition doesn’t differ all that wildly from the way regular poems are made. If I were teaching poetry, this is the sort of thing I’d make beginning students do. Of all the possible approaches to videopoetry, found-poem collage with public-domain (or otherwise free-to-use) footage has the lowest barrier to entry. All you really need is a computer with a DSL or faster connection and whatever video editing software the operating system came with. Moreover, this way of making videopoems comes much closer than the typical poetry video to Tom Konyves’ conception of videopoety as
the Duchampian “assisted readymade”. Consider the recorded image as the readymade; the function of the videopoet is to discover whether there exists something significant, yet still incomplete, a collaborative property beneath the surface of the present moment.
New developments at Motionpoems
Some exciting news from our friends at Motionpoems, the Minneapolis-based arts organization responsible for a raft of well-made poetry films (especially animations) over the last few years.
Motionpoems will partner with Minneapolis-based Egg Creative as its production management team, and has engaged Jennifer David (formerly Executive Producer of Fallon Worldwide) to produce the coming season of 12 poetry films.
Egg Creative will provide production management assistance, and its music and sound division, Egg Music, will provide Motionpoems’ film projects with original scores, music supervision, audio production and finishing. Executive Producer Eric Fawcett says, “I’m inspired by how much raw talent exists in the ad industry, and we’re eager to connect those talents to Motionpoems’ film projects.”
Replacing Motionpoems co-founding producer Angella Kassube (who takes a seat on the board), freelancer Jennifer David brings 15 years of experience in agency work, including stints at Martin Williams and Carmichael Lynch before a 9-year run at Fallon serving as EP on Cadillac and Chrysler, and as Producer on accounts like Virgin Mobile, Travelers Insurance and Bahamas Ministry of Tourism. Her 5+ years on the board of the Weisman Art Museum acquaint her with the nonprofit arts sector.
Motionpoems’ annual season consists of 12 short films per year, adapted from poems cultivated in partnership with some of America’s most important poetry publishers. In recent years, Motionpoems has partnered with Copper Canyon Press, Milkweed Editions, Graywolf Press, and Scribner’s annual Best American Poetry anthology. All will contribute poetry again this year, along with newcomers American Poetry Review, McSweeney’s, The Believer, Tin House, Alaska Quarterly Review, FSG, Wave Books and others to be announced. Motionpoems has produced 40+ films over the past four years, working with Pulitzer Prize winners and early-career poets alike.
Read the rest. It’s good to see poetry videos continuing to gain mainstream acceptance in the American poetry establishment.
Erica Goss looks at poetry filmmakers under forty and “12 Moons”
Erica Goss’s latest “Third Form” column at Connotation Press takes a look at “Three Video Poems from Artists Under Forty,” interviewing Jack Wake-Walker, Annie Ferguson and Jesse Russell Brooks about how they’ve approached their respective projects.
Goss is directly involved in another project still under development, a collaboration with Swoon (Marc Neys), Nic S. and Kathy McTavish called 12 Moons. Several things interest me about this: the sheer scope of it (twelve videos in twelve months), its collaborative nature, and the different media venues in which it will appear (web, DVD, print chapbook, festivals). It has real potential to break new ground for filmmaker-poets. Here’s how Erica describes the project.
Producer wanted at Motionpoems
The folks at Motionpoems, the Minnesota-based arts organization responsible for so many stunning poetry films in the last several years, are hiring a producer.
Motionpoems is seeking an ambitious, self-starting Producer to bring artist relations, project coordination, and production skills to a 12-month project, July 2013-June 2014. The Producer will manage production of a dozen new Motionpoems shorts and organize a public screening and online distribution of the films.
Click through for the full description.
On literary film-making: an evening with The Brooklyn Rail @ 7:00 pm on May 23rd
Visual Verse celebrates artists who use film and video to create work based on short stories and documentaries about writers or films which revolve around poetry. After presenting work by four leading literary filmmakers — Ram Devineni, John Scott, Cheryl Gross, and Immy Humes — a discussion will be moderated by Rachael Rakes, film editor for The Brooklyn Rail. That’s coming up this Thursday evening. The location is 52 Prince St, New York, New York. For more details, see the McNally Jackson bookstore website.
McNally Jackson Bookstore in NYC is holding an…
McNally Jackson Bookstore in NYC is holding an event on May 23rd celebrating literary filmmakers. We’re looking to assemble a panel of film/video artists who specialize in poetry films, films based on short stories or documentaries about writers or the writing process. The night will be moderated by Rachel Rakes, film editor at the Brooklyn Rail. If you’re a filmmaker whose work falls into any of these categories and would like to showcase it at the event, don’t hesitate to contact us. Send any inquiries to musa@mcnallyjackson.com.
Is it ever O.K. to use a copyrighted text in a video without the copyright holder’s permission?
Annie Ferguson, curator of The Fluid Raven, sent along an interesting question:
Could you help me out with an appropriation dilemma? How are artists using recordings of poets like Plath and Oliver in their videos without being illegitimate? Is there a place where these poems are free to grab and use?
I’m a filmmaker/poet and wanted to create cinepoems with the words of famous poets, but I ran into copyright infringement. Yikes. I’d love to know more about it though, because I think it’s important for filmmakers to share poets’ work in a new way.
I asked Annie’s permission to share her question here. My off-the-cuff response was that if we’re not getting permission from the copyright holders, we are leaving themselves open to being sued for copyright infringement. (Or at least getting a take-down notice under the DMCA). That said, a liberal interpretation of the Fair Use provision in U.S. copyright law might find that envideoing a poem is sufficiently transformative to pass muster. The Center for Social Media’s Code of Best Practices in Fair Use for Online Video suggests, for example:
Unlike many traditional creator groups, nonprofessional and personal video makers often create and circulate their videos outside the marketplace. Such works, especially if they are circulated within a delimited network, do enjoy certain copyright advantages. Not only are they less likely to attract the attention of rights holders, but if noticed they are more likely to receive special consideration under the fair use doctrine. That said, our goal here is to define the widely accepted contours of fair use that apply with equal force across a range of commercial and noncommercial activities, without regard to how video maker communities’ markets may evolve. Thus, the principles articulated below are rooted squarely in the concept of “transformativeness.”
In fact, a transformative purpose often underlies an individual creator’s investment of substantial time and creative energy in producing a mashup, a personal video, or other new work. Images and sounds can be building blocks for new meaning, just as quotations of written texts can be. Emerging cultural expression deserves recognition for transformative value as much as more established expression.
More professional filmmakers will of course make an effort to contact rights holders. In some cases, they may be asked to pay quite a lot of money. But an even more insurmountable difficulty may be finding out who holds the rights in the case of poets who are long dead and out-of-print. If you’re using a translation, you need permission from both the translator and (I think) the original author. I’ve gotten around that on a couple of occasions by doing my own translations and hoping the poets’ heirs weren’t litigious. (Needless to say, the Fair Use provision only applies to poets who were U.S. citizens.)
Another way out of this dilemma might be to forget about the big names and look for poets who apply Creative Commons licenses to their work (the kind that don’t include the phrase “no derivative works,” abbreviated “ND” in the short form of the license), or simply work with living, web-active poets who are quick to respond and unlikely to ask for money. And of course an ever-growing number of classic poems enter the public domain every year. But fortunately (from my perspective as a reader and viewer) there are good filmmakers with a bit of an outlaw mentality who shoot first and ask questions later. Without them, we might not have any good videopoems for poets like Plath and Oliver.
Have you ever broken copyright to make a filmpoem, cinepoem or videopoem? Are there any circumstances under which you think it might be permissible?
“Another new kind of poem is made”: Michelle Bitting on the making of poem-films
In an interview at Connotation Press, American poet Michelle Bitting, author most recently of Notes to the Beloved, answers a couple of questions about her poem films:
Second, I see that you have created poem-films. Does the strong visual component of films influence your poetry? Is it the other way around (does the visual element of poetry influence your films)? Or is it both? Or that you’re (like me) a very visual person?
I made the poem-films in much the same way I believe I want to make poems. Going intuitively on what I want it to feel and look like and then seeing what actually falls in my path as I go along. So, the illusion of control and then surrender to what’s happening. That’s a truly fun tight-rope to walk. I try to be willing to fall, meaning fail, and I do, a lot. Sometimes the chemistry just ain’t happening and sometimes it’s an alchemical triumph. To me, the films are poems made out of images and sound. Then, informed by the text, another new kind of poem is made. When it’s working right, it’s all poetry.
On the subject of poem-films, how do you approach and understand them? Do you have expectations for them?
I’m pretty much called to create a visual text for a particular poem and then I just start to see it and keep following the thread that spins out of whatever I’ve begun. I let what naturally falls into my lap (or lens) enter into the conversation. For instance, in the film I did for my poem “In Praise of my Brother, the Painter”, at one point, I took photos and filmed bits of an exhibit on Houdini that was showing in my city (Los Angeles) at the time. Later I wanted a particular person to be in the film as a kind of muse-slash-nod to Houdini. Eventually, I realized I was supposed to wear the top hat and so the configuration of Brother, Houdini, Me and the final images led me to a new understanding of what the piece was trying to tell me, or I was trying to tell myself, in the first place. I could never arrive at that stage of revelation without just simply putting one creative step in front of another into the unknown.
Read the rest of the interview (and scroll down to read the poems). (h/t: R.W. Perkins)
Martin Earle on Tranströmer and the Making of “A Galaxy Over There”
Juliane Otto interviewed Martin Earle, creator of “A Galaxy Over There” — a filmpoem for Tomas Tranströmer’s “Schubertiana” — for the lyrikline.org blog. A couple of snips:
LB: Do you think poetic images are of another quality than images in film?
ME: There is this very obvious difference that we normally read poems in books and always watch videos or films on some kind of screen. And in our culture the screen has become the all pervasive and restless mediator of information and entertainment – most of which we consume inattentively and forget after a few minutes. I don’t know if we’ve found a way to use the screen or the internet to take things in slowly and chew over them… as we can when we read a poem in a book.
LB: Does Tranströmer know your film? Did he let you know if he likes it?
ME: I was in contact with Monica Tranströmer who was very generous with her time and in arranging contracts and things. They both seemed to like the animation although Tomas Tranströmer wasn’t keen on the translation of the last word ‘djupen’, which we’d translated as ‘abyss’. He thought that ‘the depths’ would have been much more appropriate… and this seems to me very revealing of the attitude to the world that permeates his work. There is very little sense of alienation or existential tragedy that the world ‘abyss’ might suggest and which is not hard to detect in much modern poetry (and in much ancient poetry too). No, for Tranströmer behind and in everything there is a tremendously positive ‘something’, a great ‘yes’ – ‘the depths’. It’s really a shame that it was too late to rerecord the audio track.
Videopoetry discussions elsewhere: text vs. voice, art or entertainment, and a new weekly column
Several interesting discussions of videopoetry theory and practice have popped up around the blogosphere over the past several weeks, initiated by videopoets whose names should be familiar to followers of Moving Poems.
1. Using text vs voice in videopoems
Nic S.’s thoughtful blog post responded to a point in Tom Konyves’ Videopoetry: A Manifesto about the use of visual text, and Tom stopped by to clarify what he meant in the comments. A fascinating conversation ensued.
2. Visible Verse Festival 2011 • Art or Entertainment; do I really have to choose?
Heather Haley, organizer of the Visible Verse festival in Vancouver (which I hope all Moving Poems followers from the Pacific northwest will be attending this weekend!), shares a bit of her thinking behind the festival in particular and the genre in general at her blog One Life.
Videopoetry or poetry video. Film or video? And then there is cinema to consider. I find semantics tedious. My reaction to the insistence there be a formal definition of the genre, is, why? Don’t we have enough divides? We live in the age of the mashup. Isn’t that merging? Fusion? Transformation? In any case, I have faith in the poet’s ability to render his or her poem. Via video or film, a poet will explore, push the boundaries of image, language and sound. Whether it’s illustrative or conceptual, I trust the poet to make choices, to create a work according to his individual style and sensibilities. Vision. While I can’t abide cliché or literal translations, surely there’s room for both narrative and non-narrative treatments. One man’s execution is another man’s experiment. One man’s amusement is another man’s pith.
3. “Friday Film and Video Poem” series at Rubies in Crystal
Aside from a scattering of brief, general essays and blog posts, plus occasional process notes from videopoets, there’s been an almost total lack of meaningful literary/film criticism of videopoetry and related genres focusing on individual films and artists. Brenda Clews has begun to fill this void with a weekly series at her blog.
- A Hundred and Forty Suns by Jonathan Blair
After the Kafkaesque beginning with insect-like noises that become a mechanical factory of looped wheels and cogs, the organic sound of drumming as the light increases is warm, comforting. And the light is shining, shining into the perception of the animated character who responds with joy, and into the screen where we as viewers feel that pleasure. Ultimately this film imparts joy, beauty, forgiveness, transcendence, the pulse of life renewed anew.
- ‘immersion /2’ by Sheila Packa and Kathy McTavish
Unlike traditional Bokeh, there is no foreground subject. Rather we are immersed in an ever-shifting slow-moving background. It is as if she composes abstract expressionist artwork before our eyes, painting with light and colour.
- ‘Ground’ by Ginnetta Correli
Ground is hauntingly beautiful, in a disturbing way. In the embracing mindfulness, a poetry of poison, death, loss, and beauty, all of which is natural, found in the natural world, amidst a surreality. We feel cross-currents, disambiguations, and yet the over-arching journey metaphor of Cook’s minimalist poetry, and the bond of love he speaks of, yes, living is like this. Simply a superb film.
- ‘SHED’ by Christina McPhee
I consider SHED a genre-crossing piece that brings together a poetry of drawing and video editing. It is a multiplicity, a place of vectors. The nodes and intensities are democratic, without hierarchy; they are nomads drawn into being by the brush of India and acrylic ink and red paint encrusted on the paper by the artist.
