~ News and Views ~
Call for submissions: 4th Ó Bhéal International Poetry-Film Competition
The Ó Bhéal website’s poetry-film competition page has just been updated with the details of the 2016 competition.
Submissions are now ÓPEN for the 4th Ó Bhéal International Poetry-Film Competition
(open for entries: 1st May – 31st August 2016)
in continued association with the IndieCork festival of independent film and music.
This is Ó Bhéal’s seventh year of screening International poetry-films (or video-poems) and the fourth year featuring an International competition.
Up to thirty films will be shortlisted and screened during the festival, during early October 2016. One winner will receive the Indie Cork / Ó Bhéal Poetry-Film prize, selected by this year’s Ó Bhéal judges, to be announced soon.
Deadline for submissions is the 31st of August 2016.
Guidelines
Entry is free to anyone, and should be made via email to poetryfilm [at] obheal.ie – including the following info in an attached word document:
- Name and duration of Film
- Name of director
- Country of origin
- Contact details
- Name of Poet
- Name of Poem
- Synopsis
- Filmmaker biography
- and a Link to download a high-resolution version of the film.
You may submit as many entries as you like. Films must interpret, be based on, or convey a poem and have been completed no earlier than the 31st August 2014. They may not exceed 10 minutes in duration. Non-English language films will require English subtitles.
The final programme (shortlist) will be available here by the end of September.
Shortlisted films may also appear in Ó Bhéal programmes at various film festivals, to date including the Clare Island Film Festival and Cyclops festval in Kiev. They are also screened throughout the year, each Monday before Ó Bhéal’s weekly poetry event.
Click through and scroll down for the previous years’ winners. Best of luck to all who enter!
Call for Contributions to Poetryfilm Magazine on Sound and Voice-over in Poetry Film
Poetryfilm Magazine, the multilingual, digital and print publication from Poetryfilmkanal, has just issued a call for essay contributions to its next issue, which has the theme “Ton und Voice-over im Poetryfilm” (Sound and Voice-over in Poetry film). I’ll reproduce the English-language version below. There’s also a version in German.
Dear reader,
a film poem might be seen as a visual illustration of a metaphoric text. Beyond that, the sound is a fundamentally important element. Music, voice and sound design have to be considered as essential aspects that add to the whole of the audiovisual experience of a poetry film.
Particularly the recitation is of central importance. No matter if visuals and sound were adapted to the poet’s recital of his text or if the visual part was created prior to the voice-over, the poetry film genre has always been an important experimentation field. More than in dialogue-based fiction films, single words play a key role.
The voice itself is not a neutral media. It intensifies and interprets the poem. Maybe it comments, parodies or even attacks it instead of bringing it into its service. Moreover, it has to adapt or to be adapted to the complex rhythm of the moving imagery, the edit, the foley, the sound and the music. This can happen in various ways. When the relation between the visual and the sound level is redundant, it might be perceived as a disturbance. Complementing one another, the two might create a third level which can add an additional meaning, an audiovisual surplus (Michel Chion) to the text.
Sounds, tones and noises have an impact on the emotional value of a film and guide our visual perception. What we see depends on what we hear. Even what we don’t hear can gain a presence through the sound. As poetry films live from their mood and their atmosphere, they rely fundamentally on the sound design’s qualities.
In her contribution to the first Poetryfilm Magazine’s edition Stefanie Orphal states that the fascination of the poetry film genre can be pointed out particularly well through the consideration of the sound. This is why a charismatic voice and an experienced sound designer should be engaged in the production process wherever possible.
When the music dominates and the beat remains a minor element, the poetry film draws near the genre of the music video. Music videos and video installations can be seen as poetry films, whereas songs and tunes can be interpreted as poetry. Various transitions and crossover forms can be found in this field regarding the visual language, the way of singing or reciting as well as in the complexity of the texts.
Call for Essays
We are looking for submissions for our Poetryfilm Magazine’s second edition, which will focus on aspects of sound and voice-over in poetry film. We are interested to initiate an interdisciplinary exchange of views on and experiences about recitation, music, noise, sound and artistic sound design in poetry film. Essays can be based on a historical research, a film analysis or a theoretical reflection – important to us is the practical approach, through which the filmmakers as well as the audience can gain a better understanding of the genre.
The contributions in the magazine’s first edition »Fascination Poetryfilm?« were held short on purpose, as we wanted to give as many authors as possible a chance to raise their voice. From now on, we are planning to publish longer texts of up to 10.000 signs (without footnotes wherever possible). We are hoping for submissions which lead us to open discussions and unexpected perspectives onto the topic. The second edition of the magazine will be published in time for this year’s ZEBRA-Festival, which for the first time will take place in Münster.
Aline Helmcke, Guido Naschert
For those who may not have read it yet, the inaugural issue of the magazine is available as a PDF.
The Washington Post sponsors ten poetry animations for National Poetry Month
Wednesday’s Washington Post online published ten brief but innovative animations of portions of poems by contemporary U.S. poets. The feature, authored by Phoebe Connelly, Suzette Moyer, Julio Negron, Amy King, Emily Chow, and Ron Charles, has a headline complete with line breaks:
To celebrate
the 20th anniversary of
National Poetry Month
We asked
10 poets for
poems.
10 designers
put them
in motion.
Sadly, there’s no accompanying text to give readers any indication that poetry animation might be a thing that other people have done before — a missed opportunity to, for example, link to Motionpoems, who have been matching up prominent U.S. poets with top animators and directors for years. (Though to be fair, Motionpoems too has sometimes acted as if it’s the only organization doing this.) In another indication of the newspaper’s scarcity mentality, they made the unfortunate choice to host the videos themselves, streaming them from the Amazon cloud, which translates to poor performance at my slow DSL speed, and probably for plenty of others in flyover country as well. And anyone who isn’t a paid subscriber may be blocked if they’ve already used up their monthly quota of articles. Fortunately, the Post has also uploaded the videos to AOL.On and Dailymotion, and a couple of the animators have posted their work to Vimeo, so let me share those versions as a public service, in the order in which they appear in the article. (The one thing that’s missing here is the text of the poems, which is useful to see how the excerpts used in the animations relate to the larger works. For that, you’ll still need to visit the Post‘s website.)
Kevin Young + Art&Graft: ‘Commencement’
Edward Hirsch + Ellen Porteus: ‘Cotton Candy’
Mary Karr + Charlie Brand: ‘Face Down’
Dunya Mikhail + Hannah Jacobs: ‘A Second Life’
Nick Flynn + James Price: ‘Harbor’
John Yau + Bran Dougherty-Johnson: ‘Portrait’
Patricia Lockwood + Paul Cooper: ‘The Hornet Mascot Falls in Love’
Michael Robbins + Rafael Verona: ‘Not Fade Away’
Tracy K. Smith + Muti: ‘Visitation’
Can’t be embedded — Watch on AOL.
Victoria Chang + Phil Borst: ‘The Boss Calls Us at Home’
Can’t be embedded — Watch on AOL.
John Scott: Ten Favorite Cinépoems
I’m a filmmaker not a poet. So for me the word “poetry” means something different I think than how poets might see it. For me the poetry part of cinépoetry is not the written part, it’s a kind of magic that can suddenly bring alive an enchanting correspondence between words, sounds and images. Given this definition, here are my current favorites put into categories.
Category 1: The Interior Dilemma Comes to Light
Once
Written and directed by Lyn Elliot, 2000
Lyn Elliot must surely be America’s most underappreciated filmmaker. Her work is so smart, so simple and often times uproariously funny. What more do you want? Ok, how about short and to the point too. I love this film. I wish I was this smart.
On Loop
Directed by Christine Hooper, 2013
Poem by Christine Hooper and Victoria Manifold
I went to the Zebra Poetry Film Festival in Berlin in October of 2014 and I saw many great cinépoems. This was my favorite one there. I still don’t fully understand how she did it, but I think she perfectly captures that moment where we are trying to sleep but our mind seems instead to dissect us into multiple fighting personalities who churn things over endlessly.
Having Intended to Merely Pick on an Oil Company, the Poem Goes Awry
Directed by Joanna Kohler, 2010
Poem by Bob Hicok
Are all the best cinépoems directed by women? Sheesh, third in a row. I think what I really love best about this one is how it finds a way to create an enchanting dialogue between the interior voice of the poem and a kind of external visual journey of the ruminating man. Also, projecting on chest hair is a genius visual idea. I wish I’d thought of that.
Category 2: Opening up New Worlds
Closed Wounds
Directed by Lanka Haouche Perren, 2014
Poem by Michael Harding
I saw this at the Zebra Poetry Film Festival in 2014. It’s haunting. A brilliant and troubling juxtaposition of images and sounds with words. Some might call the film exploitative, but all I saw was its humanity. Also, I never would have thought of putting this poem with these images. It’s a surprising confluence of words and images that would at first seem entirely inappropriate, but here, somehow, this piece elevates both the words and the visuals to levels I’m not sure they achieve on their own.
When Walt Whitman was a Little Girl
Directed by Jim Haverkamp, 2012
Poem by M.C. Biegner
I think this film takes us down a rabbit hole into an Alice in Wonderland style visual universe that’s enchanting in way that’s both completely its own thing, but also perfectly suited to the tone of the words. I also like that I don’t think it tries to be impressive – like so many calling card short films. It just makes the original work sing again with spirit and soul, transposed into a new key.
Never Too Late
Director uncredited, 2013
Poem by Michael London
I love the poem and how it sounds when read. I think the words work cleverly to open up the difficulties, paradoxes and the potential for change in what I take to be life in inner city Chicago. Also, for me at least, it feels like I am invited to feel the breathing spirit of a personal, family space and understand its value to the poet, and to all of us. I know the piece has affected me when all the natural sound drops out at at the end and I can still feel and hear it in the poem and what it describes.
Heliotropes
Directed by Michael Langan, 2010
Poem by Brian Christian
I think the sequence from :52 to 1:09 in this film are my favorite 17 seconds in cinépoetry. It’s perfect. I’m sure there is some kind of eternal punishment for being perfect, even if it’s just for 17 seconds — maybe door to door electioneering for Donald Trump(?)
Cars Will Make You Free
Written and directed by Lyn Elliot, 1997
I don’t guffaw, or make giant snorting sounds while watching this piece (like I do while watching certain scenes from Trailer Park Boys) but I do laugh throughout it, and you can’t really wipe the stupid grin from my face. It’s simple, fun and smart.
Massacre at Murambi
Written and directed by Sam Kauffmann, 2007
I think this is a cinépoem masquerading as a documentary. One could could characterize the words here as simply poetic, rather than a poem onto itself. Maybe it is, maybe it isn’t. I guess I don’t care either way. But for the purists, I urge you to hang with it until its conclusion before you cinch any final judgment here. While at first the words may seem like a conventional documentary voice-over, the poetry is revealed soon enough, and the whole movie turns on a few well chosen words and their devastating reveal.
Category 3: Masterwork
La jetée
Written and directed by Chris Marker, 1962
https://www.youtube.com/watch?v=aLfXCkFQtXw
Well, who am I to add anything more to the volumes written about this movie. It’s an acknowledged masterwork that deserves your undistracted attention for its duration. Actually, imagine you didn’t have a phone or a computer or any devices and you were in a dark cinema in Paris in 1962. It’s still great though even if you do glance at your devices once or twice. I don’t believe it has been surpassed really — an astounding blend of visuals, sounds and words. It’s a one of a kind work that, if not a cinépoem must be instead a grandfather to the genre.
Timeline: a poetry film event in Manchester on 29 March
Tickets are now available for an evening of poetry films in Manchester next Tuesday, March 29, presented by the filmmaking group Bokeh Yeah!.
Bokeh Yeah! the Manchester based filmmaking group presents an evening of poetry film produced for the Timeline Poetry Film Challenge in association with Manchester Literature Festival and local publishers Carcanet Press, Flapjack and Commonword. The project helps Bokeh Yeah! members adapt poems provided by the publishers into short films using DSLR cameras. Publishers and filmmakers from across the region were invited to take part in the 2016 challenge, widening the opportunity for creative collaboration. This screening includes all of the films created for the challenge.
Event details
This screening will be accompanied by live poetry readings from Dave Viney and Helen Tookey.
An award will also be presented for the best poem film. The independent judging panel will include Zata Banks, poem filmmaker and founder of the PoetryFilm project, poet and Senior Lecturer at the University of Manchester, Vona Groarke, and Michael Symmons Roberts, poet and Professor of Poetry at Manchester Metropolitan University.
Book tickets here, or see the event listing on Facebook for more information. This isn’t the first “Timeline” event that Bokeh Yeah! has sponsored, though I notice that the list of co-sponsors no longer includes Comma Press, which used to be a major player in the Manchester poetry-film scene ten years ago. It’s good to see other local publishers also taking an interest in poetry film.
Multimedia-related panels at AWP 2016
The annual AWP conference is the largest gathering of creative writers and writing teachers in North America, with more than 12,000 attendees and some 550 on-site panel discussions, readings and other events, to say nothing of the numerous off-site events. This year, it will be held in Los Angeles, so you’d think there might be at least one panel on poetry film, but I couldn’t find any in the online program. As with AWP 2015, however, there are a number of panels with at least some bearing on multimedia, cross-genre collaborations, and the like. Here are some I spotted (click through to read about the presenters):
R185. The Poetry of Comics
Room 411, LA Convention Center, Meeting Room Level
Thursday, March 31, 2016
12:00 pm to 1:15 pmThe combination of text and image holds the power to create indivisible meaning on the page. Just as poets ground their work in the arrangement of words, ordered by such elements as sound or sense, most cartoonist-poets gravitate toward comics’ foundational device of juxtaposition. The tradition of comics has created generous, exciting spaces for the poetic, lyric, and hybrid. In this panel, artists showcase and read from works that live at the intersection of the visual and the poetic.
(The above is one of at least three poetry comics-related panels on the schedule.)
R227. Visual Arts in Creative Writing, Literature, and Composition Classrooms
Room 510, LA Convention Center, Meeting Room Level
Thursday, March 31, 2016
1:30 pm to 2:45 pmWriters and teachers of poetry, fiction, plays, and screenplays discuss their use of visual arts in creative writing, literature, and composition classrooms. Moving beyond ekphrasis, these educators and writers describe assignments that promote parallel thinking, metacognition, and creative problem-solving via various mediums and games at the undergraduate and graduate levels.
R204. Poetry, Politics, and Place: A Reading and Conversation with Rachel Eliza Griffiths, Naomi Shihab Nye, and Luis J. Rodriguez, Sponsored by Poets House
Petree Hall, LA Convention Center, Exhibit Hall Level One
Thursday, March 31, 2016
1:30 pm to 2:45 pmThese leading poets read their poems and discuss their poetry-activism in New York, San Antonio, Los Angeles, and around the country. Each engages poetic practice and community building with projects that expand poetry’s place in our lives and culture: Griffiths through photography, Nye through writing for children, and Rodriguez through publishing projects and political organizing. The transformative power of poetry brings these three together to talk about how we can make a better world.
(Rachel Eliza Griffiths is an accomplished videopoet.)
F119. Necessary Hybridity: The Politics & Performance of Making Multigenre, Multimedia, Multiethnic Literature Visible
Room 502 A, LA Convention Center, Meeting Room Level
Friday, April 1, 2016
9:00 am to 10:15 amHybridity in literature is often thought of as a kind of cross-pollination that leads to “vigor.” But what happens when hybridity is considered through the lens of political and aesthetic necessity? From queer politics to POC feminism to postcoloniality, hybrid forms have been a critical part of making visible otherwise illegible experiences. Join five writers as they explore the significance of hybridity to queerness, trans culture, black bodies, mixed-race narratives, and erased histories.
F249. Comics, Films, Songs, and More: Multimodality in Creative Writing and Composition Courses
Room 409 AB, LA Convention Center, Meeting Room Level
Friday, April 1, 2016
3:00 pm to 4:15 pmOur students function as visually literate composers, engaging with writing and reading across multiple modes of communication. Hear from a panel of instructors that embrace their students’ comfort with multimodality by teaching in multimodal formats and assigning both composition and creative writing assignments that push students outside their comfort zones and into the types of writing they’re most likely to encounter on the job.
S125. Ekphrasis in the Digital Age: Beyond Mere Description
Room 505, LA Convention Center, Meeting Room Level
Saturday, April 2, 2016
9:00 am to 10:15 amContemporary ekphrasis has been described as a form of critical meditation that mixes commentary, homage, resistance, argument, and self-criticism, but what does it look like in practice, especially given digital tools? And how does one push beyond mere description or instrumentalization of the work of art? These panelists present examples from their own work and offer practical exercises, with an emphasis on digital technology, for community, undergraduate, and graduate classrooms.
S215. Why We Innovate: The Case for Hybrid Genres
Room 409 AB, LA Convention Center, Meeting Room Level
Saturday, April 2, 2016
1:30 pm to 2:45 pmEditors of and contributors to Family Resemblance: An Anthology and Exploration of Eight Hybrid Literary Genres discuss writing and teaching hybrid literature as innovative acts of artistic, social, and cultural criticism, and as radical self-creation. Panelists discuss why writers mix forms and provide ideas and examples for crafting and teaching hybrid genres, focusing on blendings of visual, performative, lyrical, and narrative techniques.
S253. From Page to Screen: Exploring Successful Adaptation with Industry Insiders
Room 501, LA Convention Center, Meeting Room Level
Saturday, April 2, 2016
3:00 pm to 4:15 pmAuthors have more opportunities than ever to bring their works to the screen, but the complexity of that process has increased exponentially. This panel, presented by the Authors Guild, explains film and television adaptation through the insights of those best equipped to reveal its secrets: authors whose works have been adapted; producers and agents who select, sell, and develop books for Hollywood; and industry executives (HBO, Lionsgate) who oversee that lucky, and laborious, journey.
Incidentally, the AWP website does have a videos section, with “Videos of select featured presentations from the more than 550 events offered at the AWP Conference & Bookfair.”
The Art of Poetry Film with Cheryl Gross: Poetry Film in its Infancy
https://www.youtube.com/watch?v=Lz3u0hPOTqw
from Two Too Young
poem: “The Charge Of The Light Brigade” by Alfred, Lord Tennyson, performed by Carl Switzer
directed by Gordon Douglas
1936
In my quest to find the perfect video poem I stumbled upon a wonderful piece that brought me back to my childhood: “The Charge Of The Light Brigade” by Alfred, Lord Tennyson, as performed by Carl “Alfalfa” Switzer. Could this be the early days or even perhaps the first poetry film?
When I was a child the preferred baby sitter in our house was the TV. Back then morning television was limited to Farmer Grey cartoons, and reruns of The Little Rascals.
The Our Gang/Little Rascals version of “The Charge Of The Light Brigade” may not actually be the first poetry film, but it does have a place. Strictly humorous, watered down and marginalized, for many it was our first exposure to the art form better known as pop culture. I assume the intention was not to spark a new genre, however producer and creator Hal Roach did just that. If not the first at least he played a role in the development of video/film poetry. Unintentionally history or film poetry history was made.
This particular YouTube version includes some of my favorite actors: Spanky McFarland, June Marlowe (Miss Crabtree) and Eugene Gordon Lee (Porky.)
Not to stray too far off topic, Warner Brothers had a part in introducing young minds to this satiric (distorted) form of our art as well. What’s Opera Doc? from what I can remember is probably my first opera. I got hooked not only on the music but it assisted in deepening my appreciation for the art of animation, hence my love of video poetry.
Wagner’s Siegfried starring Elmer Fudd as the titular hero and Bugs Bunny as Brunhilde. Elmer is again hunting rabbits as they sing, dance and eat the scenery. For me it’s a walk down memory lane:
What’s Opera, Doc?
directed by Chuck Jones
screenplay by Michael Maltese
voice actors: Mel Blanc and Arthur Q. Bryan
1957
Submissions Open for the Third Rabbit Heart Poetry Film Festival
Press release from 29 February. (I was on the road.) Dear other poetry film festival organizers: Please send me press releases like this one, OK? —Dave
WORCESTER, MA – Doublebunny Press announces today that submissions have opened for the third Rabbit Heart Poetry Film Festival.
The Rabbit Heart Poetry Film Festival is a competition meant to highlight poetry and visual art at the intersection of film. The festival, due to take place in Worcester in October of 2015 focuses on short films that illustrate original poems, all of which are non-performance based (read: no footage of the poems being performed).
As well as a $200 prize for Best Overall Production, Rabbit Heart will be awarding $100 prizes in six other categories: Best Animated, Best Music/Sound, Best Smartphone Production, Best Under 1 Minute, Best Valentine, and the Shoots! youth prize. The gala awards ceremony and viewing party will be at Nick’s Bar in Worcester, MA on October 22nd.
About Doublebunny Press
Doublebunny Press is a small independent press that serves the New England area through poetry design, layout, and production of fine books and posters. Doublebunny also supported Omnivore Magazine, a poetry and arts monthly which, during its three-year run, published poetry and articles by over 150 authors, and carried a national subscription base.
Doublebunny has a history of great spoken word events in Worcester. They combined forces with The Worcester Poets’ Asylum to present V Day to the city in 2002 and 2003, and the Individual World Poetry Slam in 2005. In 2014, Doublebunny brought the inaugural Rabbit Heart Poetry Film Festival to the city, and in now for the third year’s festival, they plan an even more exciting show for Worcester, inviting the imagination of poets and filmmakers to once again take center stage.
About Rabbit Heart Poetry Film Festival
Rabbit Heart Poetry Film Festival is one of very few outlets in the US for poetry on film, and the only festival that asks that the author of the poem participate in the making of the production. In 2014 and 2015 Rabbit Heart attracted international attention, including not only European submissions, but the honor of a showcase in the CYCLOP festival in Ukraine and showings in Barcelona, Spain at pro.l.e.
This year Rabbit Heart Poetry Film Festival has been recognized with a grant from the Worcester Arts Council. Here’s the official language: This program is administered by the Worcester Arts Council, for the Local Cultural Council – an agency supported by the Massachusetts Cultural Council, a state agency.
Submissions are now open for the 2016 Rabbit Heart Poetry Film Festival, and will remain open through July 1st.
To learn more about this event, please go to:
www.doublebunnypress.com and click on the menu link to Rabbit Heart Poetry Film Festival
The Art of Poetry Film with Cheryl Gross: “A Nose That Can See Is Worth Two That Sniff”
A Nose That Can See Is Worth Two That Sniff
poem: William Carlos Williams
animation: Isaac Holland
narration: William Carlos Williams
sound and music: Skillbard
Part 4 of Poetry of Perception, an eight-part series featuring representations of perception and sensation
produced by Nadja Oertelt
2015
It’s great to see The Fundamentals of Neuroscience embrace video poetry. Any organization that uses an art form such as this is in my opinion groundbreaking. The main reason why I even mention it is because by doing so it increases our audience.
A Nose That Can See Is Worth Two That Sniff is one in a series of animations illustrating their online course at Harvard University. Another fun one to watch, although not a video poem, is Perception Is In The Eye Of The Beholder:
https://www.youtube.com/watch?v=B1B07g8WVCs
Makes me want to enroll in the course.
Now getting back to A Nose That Can See Is Worth Two That Sniff: The work is incredibly charming. Beginning with the visual (my favorite place to start), the colors are somewhat subdued. This allows the viewer to glide through the poem without distraction. The illustrations are made up of flat vector computer-generated shapes. The old scratchy film effect combined with vector imagery makes it even more interesting. It’s a great blend and adds to the atmosphere of the piece. The outcome is not only successful, but bears the imprint of the artist’s unique style. I love the use of type, and the movement is terrific.
There is an echo in the voice. My guess is that it was recorded on computer or using a small microphone. It’s the poet’s own voice, which is a nice, simple touch. Perhaps the sound is deliberately distressed to match the visuals.
All in all, A Nose That Can See is Worth Two That Sniff is well worth checking out.
Applications open for two-week Films as Poems workshop in London
I was excited to hear about this upcoming course for aspiring poetry-film makers from filmmaker and poet Zillah Bowes.
Films As Poems is a 2 week workshop in film creativity structured around making a film poem, taking place in London 4-15 April 2016.
Participants develop, shoot and edit a 2-5 minute film poem on the course during 2 weeks. There are workshops in camera and sound as well as feedback during the various stages of the film process.
Previous participants have screened their films after the course, including selection at the Zebra Poetry Film Festival.
Participants are mainly factual filmmakers looking to develop poetic expression, but the course is open to all.
Full details and examples at www.filmsaspoems.com.
Filmmakers needed for a digital Book of Hours
Call for collaborators!!!! I am creating a contemporary digital re-imagining of a Book of Hours. I will be making forty eight poetry films to represent four times of day for each month of the year. Loki English, from Berlin, will be building the site. I have made five films with Marc Neys and one of these, A Postcard From My Future Self, was screened at Visible Verse in Vancouver. Helen Dewbery, Carolyn Patricia Richardson, Eduardo Yagüe and Maciek Piatek have also made films. I would be interested in hearing from other film makers. Let me know if you would like to be part of this project. Here is a link to the website.
I am exploring different approaches to making poetry films. With Marc Neys we started with the sound. With Helen Dewbery and Maciek we started with the images. I also have a selection of poetry and I am keen to write more. Please contact me for further information: Lucy English, slamlucy@hotmail.com.
