~ Sarah Tremlett ~

MIX 2023: Storytelling in immersive media

The seventh MIX conference was this year held in collaboration with the British Library to coincide with their exhibition on Digital Storytelling.

British Library – London, UK

MIX describes itself as an innovative forum for the discussion and exploration of writing and technology, attracting an international cohort of contributors. I, for one, feel like it achieves this aim. I’d last attended in 2019, and this year the event was much bigger. In many ways, this is a great thing – more people interested and excited by what can happen with literature, stories and poetry in the digital world. But it is also a trade-off. There were multiple sessions that ran simultaneously throughout the day. Which can be good if you know exactly what you do and don’t want to hear about, and are interested in a particular niche. But I do like a smaller event where, largely, everyone attends every presentation because there is only one strand. You discover unexpected things, and in a break, everyone has heard everyone and it is easier to pick up on the points of connection and mutual interest, or debate, and to take that forward into later conversations or long-term collaborations.

In the exhibition there are a variety of approaches to digital literature that can be seen and experienced. I’m left feeling I’m still waiting for digital literature to find its own aesthetic. The game-based examples of digital storytelling look like games to me – which is fine, but I can’t really comment because I don’t know enough about games. However, in the area of digital literature that are not game-based (including short stories, poetry and longer literature) but are designed uniquely, the examples that I saw are very strongly tied to classic book aesthetics. Either with shades of William Morris and the private press movement, or with the clichéd scrapbook/photo album aesthetic. I really feel I want to see something that has more innovative design that is not signalling ‘yes, we know you might be unsure of digital literature … but it’s ok, don’t panic, it looks like an old-fashioned book/scrapbook/pop-up book’. Those examples might be out there but I didn’t see them in the exhibition. Having said that though, there are some interesting things to see.

Seed Story by Joanna Walsh (screenshot)

Seed Story by Joanna Walsh is very beautiful to look at but as much as I can appreciate that there is a different way of navigating through the text in different orders, I wasn’t sure I felt I knew why I would want to. I can do that with a hard-copy book. I can read chapters out of sequence or flick through and dip in and out, and often do, and enjoy the artefact in my hands. I guess though, Seed Story creates something of that experience and it needs to be compared to reading on an e-book reader where there are no cues to read in a different way, dipping in and out, reading in a different order or skimming are actually quite difficult. The navigational approach of Seed Story could be really interesting in connection with a collection of poetry or poetry films.

This is a picture of wind – by J. R. Carpenter (screenshot)

Poetry is represented by This is a Picture of Wind – a weather poem for phones by J.R. Carpenter.

During the conference itself, I then discovered the VR experience The Abandoned Library by Dreaming Methods. The VR creates a compelling world with lapping seashore, dripping rain, and blowing dust, in which to experience what could easily be described as a moving poem. There is spoken poetry in the audio, and poetry written in the landscape you see in front of you, and archive film clips, but everything contributed together to a very poetic experience. It was more than the sum of its parts in the best tradition of poetry film.

The keynote speaker Adrian Hon was great, and I particularly appreciated his call for creatives to be involved with technology at all stages of development and production of a project – this, I feel, is can be true for poetry filmmaking collaborations.

Panel 5 featured poetry film in Narratives of Climate Crisis – voicing loss, resistance and hope through the poetry film. The audience heard from Sarah Tremlett and Csilla Toldy, though sadly Janet Lees was unable to attend.

Sarah Tremlett presenting at MIX 2023

A further poetry film cameo was in Panel 12: Remixing the archive – creative digital reimaging, reworking and reuse. I shared the new project that I’m working on with writer Toby Martinez de las Rivas and sound artist Neda Milenova Mirova that uses, and is inspired by, a photographic archive at the Museum of English Rural Life.

Thank you to all the MIX team that put the event together. I look forward to another one.

The exhibition in London is open until 15 October 2023.

REELpoetry 2023: Ecopoetry Films & Subjectivity

Ecopoetry Films & Subjectivity is the title of a group discussion to be given by Ian Gibbins (Australia), Mary McDonald (Canada) and Sarah Tremlett (UK), as part of this year’s REELpoetry, a festival for videopoetry in Houston, USA.

These highly esteemed artists and thinkers will be discussing approaches to making poetry films in relation to the theme of ecopoetry and subjectivity. The full discussion will be streamed at REELpoetry on Sunday 26 February at 6:30-7:15pm (Houston time). The full festival program and more information is here.

The trailer:

New Art Emerging: Notes from a Symposium on Videopoetry

Editors’ note: the symposium titled New Art Emerging: Two or Three Things One Should Know About Videopoetry took place on 5 November 2022 in Surrey, BC, Canada. It was convened by the renowned theorist of videopoetry, Tom Konyves, who also curated a related exhibition program, Poets with a Video Camera: Videopoetry 1980-2022. Valerie LeBlanc and Daniel H. Dugas were guest speakers at the symposium and kindly accepted our invitation to write an account to appear here at Moving Poems Magazine…

To start, instead of cutting the information down to fit, it might be easier to just start a new videopoetry blog. That is not a serious proposal, it is just that every videopoet holds the potential to write a book in a conversation and each videopoem is a complete story in itself. Writing a report from within is new for us and to begin, we admit that our comments must be somewhat biased.

The exhibition Poets with a Video Camera: Videopoetry 1980-2022 at the Surrey Art Gallery formed the base for the Symposium, as well as providing the impetus for Poems by Poetry Filmmakers, readings at Vancouver’s People’s Co-op Bookstore that were organized by Fiona Tinwei Lam, Vancouver’s Poet Laureate, 2022-2024 and the Symposium’s keynote speaker, Sarah Tremlett.

On Friday night, November 4, a major windstorm blew through the Lower Mainland with the City of Surrey being one of the hardest hit in the area. Large trees, weakened by months of drought, had been toppled, and on Saturday morning scores of BC Hydro customers were affected. Surrey was at the epicenter of the storm and the Gallery was without power but not powerless. Thanks to the quick action of Jordan Strom, Surrey Art Gallery’s Curator of Exhibitions and Collections, Rhys Edwards, Assistant Curator, and Zoe Yang, Curatorial Assistant, the symposium was efficiently moved to the Surrey Public Library, a stunning building in the City Centre. The schedule had to be retooled into a shorter program, but the room was packed and ready to see all the facets of this videopoetic diamond.

The symposium audience

To contextualize the place of the smposium it might be useful to have some information about the exhibition. From the gallery’s website:

Poets with a Video Camera presents the largest retrospective of videopoetry in Canada to date. The exhibition features over twenty-five works by some of the world’s leading practitioners. It is organized around five categories of videopoetry: kinetic text, visual text, sound text, performance, cin(e)poetry.

The title is a reference to Dziga Vertov’s 1929 film Man with a Movie Camera that has become iconic in experimental film discussions in advocating for a complete separation between the language of theatre and literature. Similarly, Konyves argues for videopoetry to be thought of as outside of poetry and video art. Instead, Konyves states that it is a form that is in its “early days . . . still in a process of redefining poetry for future generations.” This exhibition shows the humorous next to the serious, the experimental alongside the genre bending, the ironic with the sincere, and the timely together with the timeless expressions of this new form.

Jordan Strom opened the Symposium and introduced Guest Curator, Tom Konyves.

Tom Konyves

Tom stated his intention to provoke dialogue and to challenge perspectives. While developing a course in visual poetry for the University of the Fraser Valley, Abbotsford (2006), he had come to realize that he needed more sources for videopoetry than his own work. After contacting Heather Haley, she sent him 76 examples. From there, he came up with a definition of videopoetry that proposed a triptych of text, image, and sound in a poetic juxtaposition. He was able to further clarify his research findings in Buenos Aires when he met Argentinian artist Fernando García Delgado. Finally, Tom arrived at the idea that the role of the videopoet was that of juggler, visual artist, filmmaker, sound artist, and poet. He concluded that, within that mix, the videopoem as an art object, poetic experience, and metaphor, is created.

Sarah Tremlett

UK-based videopoet Sarah Tremlett delivered the symposium’s keynote speech in which she spoke about her definitive volume The Poetics of Poetry Film, as well as the importance of sound and subjectivity in an artist’s experimental audiovisual journey. Through her own work, as well as her contributions to the examination of poetry film, film poetry, and videopoetry, Sarah occupies a central place in the videopoetry world. While addressing the symposium, she also introduced her current work: research into a complex family history, spanning several centuries.

Heather Haley and Kurt Heintz spoke of their individual activities and collaborations in what is recognized as their history in the world of videopoetry. Their presentation, titled Entangled Threads: How One Canadian and One American Poet Took on Technology and Charted a Genre, proposed an engaging exchange on the shared commonality of early events linking not only poets in different geographic locations, but also text/voice to technologies. Among these commonalities was the early 1990’s Telepoetics project, a series of events using videophones to connect poets. As noted by Heather Haley on her website: “[…] before Skype or Zoom poets were using videophones to connect, to exchange verse, despite a myriad of limitations and challenges. […]”

Kurt Heintz and Heather Haley
Adeena Karasick

Poet, performer, essayist, media artist, professor, thinker Adeena Karasick, and artist-programmer, visual poet and essayist Jim Andrews delivered a high-powered and mesmerizing performance of Checking In, a work about our insatiable appetite for information. Jim’s coding meshed seamlessly with Adeena’s texts and her high-level acrobatics of spoken word and movement. Through the fusing of voice, text, and image, Jim’s video, and Adeena’s recitations/movements, the two delivered a performance that never missed a beat!

Founder and Director of the VideoBardo Festival, Javier Robledo (in absentia), planted himself onto a sofa and placed a bird cage on his head to present a playful performance/poetry mix. Reminiscent of early 20th-century Dada performances, he closed the performance when he blew a whistle that mimicked a caged bird. In his video presentation, and speaking about his work P-O-E-S-I-A, Javier spoke about the importance of the performative gesture and its repercussions in articulating meanings.

Javier Robledo
Matt Mullins

As Matt Mullins was also in absentia from the symposium, Tom provided an introduction to his work in the exhibition, as well as Matt’s own pre-recorded intervention about his creative process and the decisions made in the making of the three videos: Our Bodies (A Sinner’s Prayer), 2012; Semi Automatic Pantoum, a collaboration between Mullins and the Poetic Justice League of Chicago, 2019; and america, (i wanted to make you something beautiful but i failed), 2022.

When we spoke with Annie Frazier Henry a few days following the Symposium, she felt energized by taking part in the event. She is a writer with roots in theatre, music and film. In her presentation, she mentioned the influence that E. Pauline Johnson had on her growth. She generously expressed that the warm and safe space created by the meeting was about all of us. Grounded in her perspective, Annie talked about encouragement and relevancy. The words from her 1995 poem Visions resonate forward to the contemporary platform of videopoetry:

I don’t want to see stars in my eyes
I want to see stars in the sky,
Where they belong

When you enter a room
There’s invisible war paint on your face
And it looks good

Annie Frazier Henry

Fiona Tinwei Lam, the Vancouver Poet Laureate (2022-2024), presented The Plasticity of Poetry, a series of videopoems based on the dilemma of plastic pollution and its dizzying accumulation. Many of Fiona’s works are collaborative endeavours with animators. She also screened the work Neighborhood by Pamela Falkenberg and Jack Cochran which they state “is a look at modern life in the suburbs as the world courts climate disaster.” Neighborhood juxtaposes a poem by Fiona over live-action and animated scenes of suburbia. At the root of all of these works resides a deep desire to make a difference in the world.

Fiona Tinwei Lam

As for us, we presented Rust Never Sleeps: Nuances in Collaborative Creation, a talk on collaborations and the diverse ways that we have collaborated while continuing to each work on our own individual projects. Collaboration begins with a discussion, and that exchange frames the outcome of any project. It is a shared authorship and to work in such a way, one must be ready to let go of preconceived ideas and to be ready for whatever might arise.

Valerie LeBlanc and Daniel H. Dugas


To accommodate the time frame for the venue afforded by the library, the Q&A was pushed to the end of the day. One member of the audience, Surrey-based poet Brian Mohr, has a story worth mentioning. When he showed up at the gallery to see the exhibition on Saturday morning after the storm, he was redirected to the library. He knew about the exhibition but not about the symposium. Brian, who is in the process of making his first videopoem, went with the flow and ended up participating in the event. He had a question for the panel about using video games as source locations for videopoetry. Several presenters addressed his question and according to discussions we had with him later, the symposium gathering was of utmost importance to his development as a videopoet.

Just as Jordan Strom finished his closing remarks, a loudspeaker announcement resonated through the building: “The library will be closing in five minutes!” Videopoetry is all about timing, and so was the conclusion of the symposium.

A symposium is designed to bring together, a group of people with common interests. When they come away from the meeting, they should have learned something new, made new connections, and should have possibly established the grounds for future collaborations. The Surrey Symposium made visible a complex web of relations and affinities between videopoets. It revealed the contour of a community of artists/poets, and affirmed that we are not isolated, that we are not living in a vacuum; that we have a place in the world. This sentiment was echoed in a comment that Kurt Heintz wrote on an email thread after the Symposium:

While I have long been aware that I’m not the only person doing what I do, I’ve often felt quite solitary. And so, one of the biggest takeaways for me is simply having experienced a critical mass of minds, if only for a weekend. Certainly, we’re all very different people with different perspectives on the art we make and/or study. Our critical languages often differ. And we’re far-flung; the exhibit plainly speaks to the international origins for poetry in cinematic form. And yet, that very mix is what actually pointed to a body politic.

This symposium answered some questions surrounding the creation of videopoetry. It also made it clear that videopoetry operates on many different levels of consciousness. The event accomplished its mission, and if there might be an idea to improve upon the gatherings, it might be to increase the meeting to a full day, which would allow more time for Q&A as well as informal discussions. A dream would be to have a bi-annual videopoetry symposium.

From the art gallery to the library, this symposium managed to bridge two of the fundamental sites of videopoetry: visuals and words. The voices that we heard on that afternoon were the third element — a perfect poetic juxtaposition.

Seated left to right: Adeena Karasick, Fiona Tinwei Lam, Jim Andrews, Annie Frazier Henry, Jordan Strom
Second row: Kurt Heintz, Sarah Tremlett, Heather Haley, Valerie LeBlanc, Daniel H. Dugas, Tom Konyves

Photos: Pardeep Singh

Reconnections: free online screening of poetry films at Lyra Bristol Poetry Festival

Pleased to see this:

Reconnections banner

Date: Saturday 17th April 2021
Price: Free
Time: 12:00 – 1:00pm

A screening of poetry films on the theme of Reconnection, curated by Liberated Words. Reconnection to landscape, the body, our history, family and heritage, during and before the pandemic. Artists featured include Kat Lyons, Edalia Day, Rebecca Tantony, Alice Humphreys, Liv Torc, Yvonne Reddick, Helmie Stil, Helen Johnson, Sarah Tremlett, Sarah Wimbush, Isobel Turner, Edson Burton, Michael Jenkins, Pierluigi Muscolino and Francesco Garbo. Followed by a discussion and Q&A with Sarah Tremlett and Lucy English of Liberated Words.

In registering for the event, I found that I had to use a UK postcode — your mileage may vary. Get your free ticket here.

Call for Papers and Presentations: MIX 2021

Via their website:

Are you interested in the future of content publishing? Are you a writer, artist, technologist or researcher engaged in finding new ways to tell stories to new audiences? Are you keen to hear from people working across books, digital, sound, video, AR, VR, and games? MIX 2021 offers an opportunity to join us as we think about the future of content creation and publishing.

MIX is a four-day virtual conference that explores the intersection of writing and technology, bringing together people from around the world to make, think and talk. We are looking for writers, artists, practitioners, researchers and creative technologists to share their projects, research and practice through papers or presentations.

After the success of the last five MIX conferences, held across our Bath Spa University campuses, the conference returns in a fully virtual form with an increased focus on making alongside two of our other favourite activities, thinking and talking. We will be hosting two days of making on Saturday 3rd July and Sunday 4th July followed by two days of papers, presentations and discussions on Monday 5th July and Tues 6th July. This includes poetry film screenings on the theme of Amplified Voices curated by Adrian B Earle from Think/Write/Fly and Sarah Tremlett from Liberated Words.

Read the rest.

“Poetry and Climate” film screening at Lyra Bristol Poetry Festival

Lucy English and Sarah Tremlett of Liberated Words have organized a poetry film event focusing on poetry and climate on Saturday, March 14 in Bristol, UK. Tickets are free.

Curated by Liberated Words, these short poetry films will reflect on the current climate emergency as well as celebrate the natural world. Plus short discussion on the rising genre of poetry film and how artists and poets are responding to our changing environment. With Lucy English and Sarah Tremlett.

Arnolfini (Theatre)
Saturday 14th March 2020
1:00 – 2:00pm

There’s more information on the Liberated Words website, and it sounds like a really exciting event, with films from around the world and a panel discussion including Mark Smalley from Extinction Rebellion as well as UK ecopoets Helen Moore, Meriel Lland and Caleb Parkin. If you can’t make it to Bristol, Lucy and Sarah note that “We are also looking for further screening venues, and other poetry films on the subject, particularly including diversity within the makers.” For those who can attend, the whole festival looks pretty unmissable, with an overall theme of “climate, nature, and romantic Bristol.”

Poetry film at the MIX 2019 conference

Over at Liberated Words, Sarah Tremlett has posted a detailed and fascinating report on what went down at MIX 2019, the conference on digital media held at the beginning of July at Bath Spa University in the UK. I considered attending myself, but like most such conferences it was way out of my budget as a non-academic dirtbag poet, so I’m grateful to Sarah for this erudite summary of the talks, screenings and panels. Check it out: “MIX 2019: Experiential Storytelling – poetry film meets profiling and the panoptic gaze“.

Poetry film panel included in Saboteur Awards Festival

I was pleased to see this inclusion among the workshops and panels scheduled to coincide with the 2019 Sabateur Awards ceremony, to be held on May 18 at Impact Hub, Birmingham, UK:

2:30-3:30pm Poetry Film: The Power of Collaboration, a panel run by Lucy English, Helen Dewberry, and Sarah Tremlett.

This panel investigates the rapidly growing genre of poetry film, and how it is expanding through social media sharing and poetry film making workshops. Spoken word poet Lucy English, and film makers Helen Dewbery and Sarah Tremett, discuss the collaborative process in the creation of The Book of Hours and share some of the challenges and benefits of cross genre art forms.

The Book of Hours was created by spoken word poet, Lucy English and 27 collaborators from Europe, America and Australia. The Book of Hours is a re-imagining of a medieval book of hours and contains 48 poetry films. The project has been twice longlisted for the Sabotage Awards and was shortlisted for the New Media Writing Prize. Individual films have been screened at a variety of international short film festivals.

Founded in 2011 by Sabotage Reviews, the annual Saboteur Awards include some genuinely interesting categories, with a public nomination process that may or may not make it more egalitarian—which seems on the face of it an odd concern for an essentially competitive undertaking, but literary prize culture always invites a certain amount of anxiety and discomfort, so such gestures toward populism can help dispel that.

Since the vast majority of Moving Poems’ readership is from outside the U.K., it might help to put this in anthropological context. From what I can determine, the U.K. literary scene appears to be largely centered on a bewildering array of prizes and honours, which poets must compete for in order to make themselves more attractive to potential publishers and to assert dominance over fellow poets. This is not surprising given the intensely hierarchical and competitive nature of British tribal culture, especially among the Oxbridge moiety, many of whose members come from the traditional warrior elite. The size and popularity of the literary prize system may also partly be explained by the awkward nature of British courtship practices and intimate relationships more generally, which historically has led individuals to attempt to demonstrate romantic fitness and/or filial piety through grotesque and extreme efforts, helping to launch a colonial empire and the industrial revolution. So, for example, the newly appointed poet laureate, Simon Armitage, cited his indebtedness to his parents in his first statement to the press — and had his qualifications for the job ritually questioned by members of the Oxbridge moiety, disturbed perhaps by his northern and working-class background (though too constrained by linguistic taboos to say so directly).

All that said, I still don’t understand why Lucy English’s Book of Hours project has failed to win in the collaboration category for the Saboteur Awards—not once, but twice. This more than anything indicts the prize system for me, though it’s cool that they have this festival to help broaden the conversation.

“Uprooted” poetry film screening in Bristol, 23 March

There’s a brand-new poetry festival in Bristol this month called Lyra. Lucy English is one of the co-directors, so you know there’s got to be at least one poetry film screening. And sure enough, there is. Here’s the description from the full programme [PDF]:


Filmmakers for these short poems include Ghayath Almadhoun and Marie Silkeberg, Jan Baeke, Alfred Marseille, Maciej Piatek and poet Hollie McNish.
Time: 12:00 – 1:00pm
Price: Free

Uprooted is a curated poetry film screening by Liberated Words co-directors, poet Lucy English and videopoet Sarah Tremlett, reflecting on the lives of refugees and migration, and how artists can illuminate and fulfill important roles. Three types of film will be shown: those centred on war zones, those in transit and the views from those both welcoming and ‘settling’ in a new country. The films show how artists can bring another view of the refugee crisis beyond how it is portrayed in the media.

These regional poetry festivals around the UK are really turning into a good venue for poetry films. If you’re able to get to Bristol in two weeks, the whole event sounds grand.

Newlyn Film Festival deadline extended to February 28

The deadline for submission of poetry films and other shorts to the 2019 Newlyn Film Festival, originally set for December 30, 2018, has been extended to February 28. Visit FilmFreeway for all the details.

I should also mention that there’s an excellent interview on the Liberated Words website with last year’s winner, Dave Richardson, conducted by Sarah Tremlett: “Unchartered Terrain: The Personal Within.” I was especially interested to learn that Richardson’s first poetry video gig was making Flash animations for the late, great online magazine Born. It’s an influence that persists in his videopoetry to this day:

DR: My journalism training in college told me to cut and cut to what matters. When I started to do that with the more poetic stuff, it felt more authentic, like my real voice. I try to keep it simple so that I am not trying to over-write. Many times I stop with the second draft of the text, just to not over-think.

ST: In relation to that, often you have different text on screen to the voice-over – is this something deliberate and is there a point behind this? It is difficult to get this right and quite an art.

DR: I did some experiments with Flash years ago, where I was randomly coding phrases to interact with randomly loaded images, and I was enthralled with the endless results and connections that were unexpected. That randomness, just a quality of unexpected relationships between image and text — I try to recreate that in my work for fun, for the pleasure of seeing what might surprise me. It makes new meaning for me. And then I edit.

Read the whole thing. A genuinely illuminating conversation.

Poetry films on the refugee crisis to be screened at North Cornwall Book Festival

For those able to get to St Endelion on October 4th, this sounds like a great event.


Event 2
Thursday 4th October, 7.30pm, St Endellion Hall
Admission £6 (Free to accompanying carers)

Uprooted tersely describes the situation of the subjects of this evening of poetry films. Poetry filmmaker and writer, Sarah Tremlett and performance poet and novelist, Lucy English are Liberated Words. They’ll screen powerful and varied short poetry films from their Home From Home project, exploring the effects of war in the Middle East and the refugee crisis, as well as interpretations of home for those arriving as immigrants in a strange country. Between films, Lucy will perform poems from The Book of Hours.

If you’re not sure just what a poetry film might look like, you can watch some of the Liberated Words catalogue of films here.

You can find out more about Sarah’s work here, and about Lucy’s work here.

Liberated Words CIC www.liberatedwords.com was founded in 2012 by poetry filmmaker and arts writer Sarah Tremlett (www.sarahtremlett.com) and performance poet and novelist Lucy English (Reader in Creative Writing at Bath Spa University). Poetry films are short films combining poetry (spoken and/or written with the moving image and music, and Lucy and Sarah’s focus is to curate and screen films from their community workshops alongside top international poetry filmmakers. Workshops include working with: school children (English, Media and Dance), dementia patients, and teenagers with autism (where they were recognised by Bath Council for raising awareness about autism, particularly for the parents and carers involved).

Their current project-in-progress Home from Home which will take place in 2019, centres on urban and rural groups facing homelessness, whether refugees or those from a variety of disadvantaged backgrounds.  It offers the opportunity to use poetry film workshops and a one-year screening programme as a means of expression and learning, while creating a revealing approach to consciousness-raising for the general public. Films screened on this special festival evening have been selected by Sarah from the Liberated Words and Poem Film archives, or by courtesy of the artists. There will be an opportunity for discussion after the screening.

Click through to book a ticket.

Poetry Film Competition: Light Up Poole

Submissions are requested from poets and filmmakers as part of Light Up Poole, a unique digital Light Art Festival aiming to transform Poole’s town centre after dark from 15-17 February 2018.

Focussing on a theme of ‘Identity’, festival organisers are looking for films, up to a maximum of three minutes, that address the topic and consider how identity is reflected in contemporary society. What does it mean to be an individual, a member of a family, a worker in the city, in a rural setting, a person living in Britain today?

For the purpose of this submission request, a poetry film is defined as a fusion of spoken/written word with visual images where the combination of media provide a richer experience than either the spoken/written word or visual images could do on their own. In this instance, a poetry film isn’t simply a video recording of a poet reading a poem. The poetry film can also include music.


Ten short-listed films will be shown at select venues in Poole’s town centre throughout the duration of the festival, with further screenings as a prelude to main cinema screenings at Lighthouse Poole during March/April 2018. The winning film will receive £500, to be shared between poet and film-maker in the case of collaborations.

Links to films must be received by 26th January 2018. High Definition files will be required for short-listed films.

Please send to matt@artfulscribe.co.uk


Lucy English is co-creator of the poetry film organisation, Liberated Words, which curates and screens poetry films. Lucy is best known as a performance poet who has published three novels and is currently a Reader at Bath Spa University where she teaches on the undergrad and Master’s Creative Writing courses. Her specialisms include writing for digital platforms.

Sarah Tremlett, MPhil, FRSA, SWIP, is a British poetry filmmaker, artist and arts theorist/writer, with a first-class honours degree in Fine Art and an MA in Creative Writing from Bath Spa University. In 2012, she co-founded Liberated Words poetry film events with poet and novelist Lucy English to screen international poetry filmmakers alongside films made in the community, and co-conceived MIX conference, Bath Spa University.


Entry is free to anyone, and should be made via email to matt@artfulscribe.co.uk 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 the festival theme. Non-English language films will require English subtitles.