~ Nationality: U.K. ~
The Herrin’ Trail by Rita Bradd
Alastair Cook writes about his 24th filmpoem:
The Herring Trail was commissioned by North Light, based on the poem The Herrin’ Trail by Rita Bradd as part of my summer residency at McArthur’s Store in Dunbar. I spent 3 months there over the summer, working with the fishermen using wet plate collodion (a photographic process from 1851), 120 film and shooting with 8mm and 16mm. This film has scant relation to that, as I’ve used film given to me by the British Council, which is deliberately digitally extrapolated.
To be able to find such a wonderful poet in Rita was inspiring and I asked her to compose for the filmpoem on the Clarsach (or Lever Harp, if you’re not in Scotland) and I read the poem so that she might play. We premiered this at Sally Evan’s Callander poetry weekend in early September 2012 to a full house, with Rita playing live while i read over the film. Lovely to read in my native Scots, though not quite in my natural Galloway Irish/ Ulster Scots brogue!
Judging by North Light Dunbar’s news blog, Alastair has been very busy there indeed. They also have a page about his residency. I like the bio:
Alastair works predominantly with lens-based media as an analogue photographer concentrating on antique technologies and as a filmmaker using 8mm and 16mm film, combining these with digital technology to great effect. His award winning film and photography is driven by his knowledge, skill and experience as an architect: this mercurial work is rooted in place and the intrinsic connections between people, land and the sea. Alastair trained at the Glasgow School of Art then fled the country, returning after a dutiful spell in London and a more relaxed time in Amsterdam; he now lives and works in Edinburgh.
(Unfortunately, I wasn’t able to find a good webpage for Rita Bradd.)
I-poem 6 by Vangelis Skouras
http://vimeo.com/49758673
Pablo Lópes Jordán directed, filmed and composed the soundtrack for a text by Vangelis Skouras. Jordán noted at Vimeo:
Daily thoughts can be a form of poetry even if, or assisted by the fact that, they are not expressed face to face. Images of real life help these words gain further substance and depth.
I like the leisurely pace at which the text fragments are shared, and how well that contrasts with the more frenetic image-stream and (excellent) soundtrack.
Mirror by Sally Evans
Alastair Cook‘s 23rd filmpoem uses a text and reading by Sally Evans, an English poet living in Scotland.
Plasticman by Mark Gwynne Jones
http://vimeo.com/37756338
A great spoken-word performance in a supermarket by Mark Gwynne Jones, filmed by Andy Lawrence, as part of their psychicbread series of poetry films. It’s fun to see how the other shoppers react (or don’t react, as the case may be).
Kata by Lavinia Greenlaw
Another in the Winning Words series of poetry videos filmed by Andy Hutch. “Here professional parkour athlete Jolade Olusanya reads Lavinia Greenlaw’s ‘Kata’ in Stockwell.” I don’t have a category for parkour, but this seems close enough to some of the poetry dance videos to include in that category.
The text of the poem, which appeared in the 2011 collection The Casual Perfect from Faber & Faber, is here. For more on Greenlaw, see her website.
The Grass is Greener by Ivor Cutler
An Orla Mc Hardy film based on a short piece by Scottish poet and radio performer Ivor Cutler — an evocative, dream-like interpretation that takes the poem to a whole new level, I think.
Talent by Carol Ann Duffy
One of a series of films from Winning Words, an Olympics-related public poetry project in the U.K. As with the 11 other videos in the series, it features the reader as a performer — kind of an interesting wrinkle on the usual (wo)man-on-the-street-reads-poem video, making it more of a filmpoem. “Here Strategic Planner Angella Tapé reads Carol Ann Duffy’s ‘Talent’ in her office at McCann Erickson,” says the description at YouTube. Andy Hutch is the filmmaker.
When I Have Fears That I May Cease to Be by John Keats
Video by Louise Dautheribes McKerl, who notes that she has borrowed the narration from the BBC and the music, “Entendre la fôret pousser,” from Chapelier Fou.
Twenty Second Filmpoem: 20 poets, 20 seconds each
Alastair Cook‘s 22nd filmpoem is both playful and profound, a lovely demonstration of the magic that can happen when poets write ekphrastically in response to film clips.
Twenty Second Filmpoem (the 22nd Filmpoem) is twenty 20 second Filmpoems; it was conceived when I was asked to do a pecha-kucha.org night. An interesting concept, you present 20 slides for 20 seconds; I thought I’d do something a little different, actually create some work for the event. I commissioned 20 writers, all listed below, to write flash fiction against some 1960s found footage I’d edited. It’s ambitious and inevitably some bits work much better than others, but for me it is imperative to push this a little, to leave my comfort zone. And invariable, all the writing is superb, and for that I am thankful.
I also took the opportunity of using Vladimir Kryutchev’s binaural field recordings, for which I thank him. His amazing binaural map of Sergiyev Posad in Russia is here: oontz.ru/en
See the rest of the description on Vimeo to read all 20 short poems. The poets are: Andrew McCallum Crawford, Mary McDonough Clark, Al Innes, Guinevere Glasfurd-Brown, Elspeth Murray, Janette Ayachi, Jane McCance, Donna Campbell, Ewan Morrison, Angela Readman, Gérard Rudolf, Zoe Venditozzi, Jo Bell, Sally Evans, Pippa Little, Tony Williams, Robert Peake, Stevie Ronnie, Sheree Mack and Emily Dodd. Dodd blogged about her part in the production. A couple of excerpts:
I received a link with a password for my film, it was number twenty (password twenty). The film was 1960s found footage and it was beautiful. Alastair had edited it to tell a 1 minute story.
I watched a woman in a white dress on her wedding day. She kept looking at the Best Man. I wrote my initial thoughts down and came back to watch it again, two days later.
My brief was to respond with a piece of flash fiction that could be read aloud within 10 seconds. Alastair wanted it to be short, two or three lines maximum, he said just a haiku in length.
[…]
When I was first commissioned I’d thought along the same lines as the bride… is this really me?
- What if I watch the film and have no emotional response?
- What if I can’t do flash fiction?
- What if my piece ruins the whole presentation?
And all of this ran through my head while waiting for a response from Alastair.
Thankfully, I had this reply within a couple of minutes:
No it’s bloody perfect x Baci x
Saffron by Kate Ruse
A striking animation by Zhiyu Zhao for a piece by UK poet Kate Ruse.
I Lost You by Guinevere Glasfurd-Brown
Alastair Cook says about his 21st filmpoem:
Guinevere Glasfurd-Brown’s I Lost You is a letter to her father, who was killed when he was 29. This film is for our fathers, and yours.
Cook continues to surprise, eschewing his usual abstraction for an extreme simplicity, which, for me, enhances the emotional appeal of the text.
