Filmmaker Rachel Laine collaborated with poet Nabila Jameel in preparation for the Comma Press Film Poem Festival 2010. I found a bio of Jameel at the (UK) Poetry Society website:
Runner-up in the Manchester Cathedral International Religious Poetry Competition 2010. Published in anthologies, Stand Magazine and Poetry & Audience. … Currently writing a chapter on ‘Performance’ for an academic book.
Scottish artist and filmmaker Alastair Cook’s latest filmpoem (and in my opinion his best to date). Here’s what he says about it at Vimeo:
-ed is my film of a poem by Mairi Sharratt, from her as yet unpublished (nudge) collection This is a Poem. You can read more of Mairi’s work on her excellent blog, alumpinthethroat.wordpress.com.
It took a long time for me to begin this filmpoem for two reasons: I have been busy with this summer’s solo film and photography show as part of the Edinburgh Festival; also the poem is dark and yet meditative, lifting to a powerful crescendo and as a result I felt that I needed to introduce a figurative element. So I ruminated…
Mairi says in a blog post that the film will be screened at Edingbugh’s Hidden Door Festival, which runs from October 22-24.
Not a video poem, but a video of an interactive digital installation, a piece called Dinner Party, which involves the animated text of “Jabberwocky.” Artist Hye Yeon Nam explains,
Dinner party provides a space where people meet and interact with Lewis Carroll’s poem, Jabberwocky, inspired creatures hiding in the shadows.
At first glance, the single chair and place set for one, seemingly provides a solitary dinner; rather the interaction offers a communication between oneself and the imaginary creatures. Initially gathered under the shadow cast by the plate, disturbed creatures will nervously scatter attempting to go around any other shadow cast on the table. A period of quiet status will encourage the creatures to reveal themselves.
Zach Lieberman and Jeremy Rotsztain are listed as collaborators. I’m not sure who created the video itself, but I’ll credit Hye Yeon Nam in the filmmaker category, since I don’t have a separate taxonomy for video artists here.
I’m glad to see This Collection continuing to broker and upload innovative films for its Edinburgh-centered poetry project. Oliver Benton and Stefanie Tan did the camera work and editing respectively, and “thiscollection.org was proud to collaborate with Rocio Jungenfeld to adapt Poet Anna Dickie’s work ‘Same Place Different View’ into a bricolage installation on the shores of Aberlady.”
Anna Dickie is a Scottish artist and poet now blogging at it’sabouttime. You can read the poem at thiscollection.org.
A complete short film spun from a brief poem by Ron Butlin, part of the This Collection project of poems by Edinburgh poets. This was written, produced and directed by CP Lucas Kao and Charmaine Gilbert; see all the other credits on Vimeo.
This is a collaboration between the poet, Eleanor Rees, and the filmmaker, Glenn-emlyn Richards. It was featured as part of the Comma Film/ Version Film Festival 2009 and the Sadho Poetry Film Festival 2009-2010 in New Delhi.
This is evidently the opening poem in Rees’ debut collection from Salt Publishing, Andraste’s Hair, which garnered an endorsement from Carol Ann Duffy: “Eleanor Rees’s first full-length collection introduces an ambitious, experimental voice, vibrantly charged with the energy of city life.” From the publisher’s page, here’s a sound bite from the author and her city, Liverpool:
http://www.youtube.com/watch?v=9HMA-q8ePkA
I haven’t featured too many videos of poetry readings here, mostly because I haven’t taken the time to look for the ones that are well-filmed and edited with a listenable audio track. What I am saying is that at least 90 percent of the poetry-reading videos uploaded to YouTube and Vimeo suck. Here’s a great example of one that does not. It was brought to my attention by Christine Swint, in a post at Moving Poems’ news and discussion blog back in May. Christine wrote,
I’ve read her chapbook, Winter Hands, and it’s beautiful. Her video reading interests me because she first talks about her writing in general, as well as the authors who have influenced her. As she reads, she stands next to an antique lamp with tassel fringe, in front of a wall painted deep red. The sound of dishes clinking in the background gives the reading an immediacy. The filming is good, because normally when a reading is recorded the poet stands on a stage in front of a mike.
I doubt I would ever have a chance to hear Annie read live, so this recording is almost as good as hearing her in person.
For more on the poet, see her page at poetry p f — which includes the text of “Fairground Man.” The video was produced by the U.K.’s Literature North West — not a press, but “a promotional tool for the region’s independent presses and literature organisations.” This is one of 21 videos they’ve uploaded to YouTube.
A collaboration between Scottish poet Samuel Jackson and filmmaker Ali Hayes, produced for the This Collection project of videopoems set in Edinburgh, which now has a cool new website. You can read the poem here.
http://www.vimeo.com/12538662
British-Pakistani poet Moniza Alvi’s poem as interpreted by a student filmmaker in British Columbia.
Continuing the theme of videopoems that riff on television conventions, here’s a poetry promo from the BBC disguised as a sporting news story from the BBC. The poem is referred to as “Jerusalem,” but it’s actually from the Preface to Milton. A popular hymn adaptation by Hubert Parry a century after Blake wrote it is reponsible for the new title, according to the Wikipedia.
The poem was inspired by the apocryphal story that a young Jesus, accompanied by his uncle Joseph of Arimathea, travelled to the area that is now England and visited Glastonbury. The legend is linked to an idea in the Book of Revelation (3:12 and 21:2) describing a Second Coming, wherein Jesus establishes a new Jerusalem. The Christian church in general, and the English Church in particular, used Jerusalem as a metaphor for Heaven, a place of universal love and peace.
That’s one of those metaphors that would seem to have outlived its relevance, except perhaps in the writing of the late Mahmoud Darwish.