~ Videopoems ~

Videopoetry, filmpoetry, cinepoetry, poetry-film… the label doesn’t matter. What matters is that text and images enter into dialogue, creating a new, poetic whole.

Three Motionpoems screenings upcoming in Minnesota

Via their email newsletter, I just learned about two upcoming events from Motionpoems in Minneapolis/St. Paul: a double screening of a dozen new poetry films on April 24th, and a screening of poetry films by Minnesota authors on April 29th. The full details are currently posted at www.motionpoems.com, though for archival purposes, let me also link directly to the image file.

I’m sure Angella and Todd will eventually post their 2013 films to Vimeo, probably one a month as they have in the past, but if you’re anxious to see them all now and on the big screen, then clearly you need to get to the world premiere screenings on April 24th!

Frozen by John Osborne

http://vimeo.com/63594884

And now for something completely different: a sci-fi short based on a poem by the young British writer John Osborne, directed by Tarek Elshawarby with a screenplay by Sebastian Brogden.

Night, Primal by Erin Miller

http://vimeo.com/64002183

This is a “hypothetical commercial for A Room of Her Own Foundation,” according to the description at Vimeo. Poem and recitation by Erin Miller; film by Courtney Miller.

Nidon (Condemned) / נידון by Haim Lensky

A new poetry film from Israeli director Avi Dabach. According to the Wikipedia,

Haim Lensky (1905–1942 or 1943), also Hayyim Lensky, was a Russian poet who wrote in Hebrew. He wrote the bulk of his verse while imprisoned in several Soviet labor camps from 1934 onward.

Morning Sex & Blueberry Pancakes by R.W. Perkins

http://vimeo.com/57708721

R.W. Perkins‘ latest videopoem was recently featured at Atticus Review:

A woman contemplates how her life’s ambitions have seemed to mature as she sits alone on her back porch.

Morning Sex & Blueberry Pancakes could easily be described as poetic leftovers. The poem crafted from scraps, nearly discarded verse edited from a longer wordier poem, while the film itself is a remix project taken from black and white public domain T.V. commercials, assumed to be produced in the 60s and early 70s.

On May 4th 2013 Morning Sex will make its big screen debut at The Body Electric Poetry Film Festival to take place at the Lyric Cinema Cafe in Fort Collins, Colorado. The event, hosted and directed by Perkins, will be Colorado’s first poetry film festival and will feature poets and filmmakers from all over the world.

You can read about all the selections for the film festival on their website.

Common Presence by René Char

In this film by Maxime Coton, Char’s text in English translation is presented on the screen in dialogue with the translator, Nathaniel Rudavsky-Brody, who responds in the soundtrack — a novel approach to videopoetry that I haven’t seen before.

Lost at first in the crowd, a voice from the past emerges, in silence. A poem of René Char, poet and member of the resistance. Then another, younger, voice responds, filled with doubt and hope. By the glimmer of ephemeral points of light a conversation develops between these two voices, between master and disciple. Together, they evoke the necessity of creating, of rebellion, of transmission.

direction, editing, mixing : Maxime Coton
cinematography, color grading : Miléna Trivier
translation and english voice : Nathaniel Rudavsky-Brody
music : Nico Muhly
credits : Stéphan Samyn

a BRUITS asbl production in coproduction with CPC asbl (Anouchka Dewarichet, Annick Ghijzelings)

Journey up the amazon by Martha McCollough

Martha McCollough says of her latest videopoem: “It’s about shopping. And death.”

This Is Just To Say by William Carlos Williams

http://vimeo.com/62503304

Nic S. blogged some process notes about the making of this video:

The reading had been up at Pizzicati of Hosanna for a while and is only 20 seconds long, so I knew I was looking for something very short in terms of video. There are still some wonderful Equiloud clips I haven’t used yet and it took me just a second of flipping through those to know that his gorgeous 28-second door-opening loop was exactly the kind of image/metaphor I was looking for, once I slowed the clip speed down by about half.

A Drinking Song by William Butler Yeats

Another of Othniel Smith’s videopoems made with free classic film footage from the Prelinger archives and free audio from Librivox. What makes this one work for me, oddly enough, is the lack of music juxtaposed with the dancing scene.

Animatopoeia by Khara Cloutier

Graphic artist Khara Cloutier calls this “a tongue-in-cheek look at semiotics, animal behavior and mimicry. Starring Atticus as ‘The Bird’.” I call it a videopoem.

On the Eve of Death (De cara a la muerte) by Ángel Guinda

Sándor M. Salas with the Seville-based Anandor Producciones made this videopoem using found footage, some footage of the poet, Ángel Guinda, in an acting role, and music by Anacinta Alonso. Subhro Bandopadhyay provided the translation for the English subtitles.

At Freeman’s Farm by Marilyn McCabe

An author-made videopoem by Marilyn McCabe which incorporates voices of war veterans and videography by Peter Verardi. There’s a long and fascinating essay on McCabe’s website about the making of this videopoem, her first. Here’s a more succinct description from an email she sent me:

I gave my poem to some local vets then interviewed them about whether it made them think of anything particular in their experience, and asked particularly about the landscapes of the wars they’d experienced. I then wove some of their words into the stanzas of my poem, and set them to images from the Saratoga National Battlefield park, and the French art song, which is about men who are leaving for the far horizon feeling held back by the souls in the cradles they leave behind.

And here’s a brief excerpt from her essay:

I think the most important thing I learned as an artist from this project is to let go and just wait and see, to try things out without fear. So I tried things and took one step at a time and things began to come together.

I began to learn that images too have rhythm, have silence; that speech – with its rhythms and stutters – is rich and complicated and that voices are a kind of text; landscape is a kind of text and has movement and emotion. That I could create a kind of lineation and space by manipulating the movement of sound and picture. In the end, the whole thing felt more like a creating dance than anything else.

One of the ways I dealt with time was in the movement from image to image. I felt a kind of rise in energy in the third stanza where they’re talking about ordnance and the mechanisms of war, so I used faster flashes, and used the rise of the music here.

Read the rest.