~ Sigrun Höllrigl ~

Deadline extended for Art Visuals & Poetry Film Festival Vienna

Just signal-boosting some news from the latest Art Visuals & Poetry Newsletter:

The deadline of the major competition [for] German speaking countries has been extended to May 20. The next Poetry Film Festival Vienna will take place from November 29 to December 1, 2019 at Metro Kinokulturhaus. There is also a intercontinental poetry film competition called SPECIAL AWARD after a given festival poem by Sophie Reyer. The festival offers this poem as a free sound recording under Creative Commons including English translation. Check the rules & guidelines of submitting to the Art Visuals & Poetry Film Festival Vienna.

In addition to the competitions, the international programme of the Art Visuals & Poetry Film Festival 2019 is dedicated to the host country USA. The American poetry film specialist Todd Boss will travel from Minneapolis to present his production label Motionpoems. So far Motionpoems has produced 120 film adaptations of poems. The non-profit production label recently launched the largest international poetry film competition in the USA, the EPIPHANY Awards.

Alongside Todd Boss, leading German curators Thomas Zandegiacomo del Bel and Winfried Bettmer will be guests at the international Poetry Film Festival. This international get-together of important curators was made possible by the support of the American and German embassies in Vienna, for which we would like to express our sincere thanks! With its international focus, the Vienna Poetry Film Festival has once again established itself as the second largest poetry film festival in the world after ZEBRA Berlin.

We are looking forward to welcome you in Vienna!

The deadline for the Special Award is much later—August 30, according to FilmFreeway.

New essays at Poetryfilmkanal from Javier Robledo, Ram Devineni and Sigrun Höllrigl

The German website Poetryfilmkanal has continued its broad, international focus and clockwork regularity with its weekly series of short essays. On July 12, Vienna-based Art Visuals & Poetry (Film)Festival organizer Sigrun Höllrigl contributed “Meine dreifache Faszination für den Poetry Film“—”My triple fascination with the Poetry Film,” according to Google Translate. She wrote about her differing yet complementary perspectives on the genre as a film curator, as a filmmaker and as a poet.

The poet is sometimes at odds with the requirement that linguistic complexity and formal perfection in the sense of formal hermeticism make the film version of a text very difficult. Not all my lyrical texts are suitable for a cinematic presentation. The meaning of the words must be detectable in film speed. Unlike with a book, there is not a natural pause in the movie. What is needed are simple sentences that offer a meaning to the surface, or recorded speech with poetic touch. Good Poetry Film texts are compacted, reduced, and more minimal in their linguistic complexity compared to a poem. The more reduced, the better the simple text, the more space is created for the image. Repeated words or nonsense lyrics are stylistic devices that have proven their suitability. In Poetry Film autocracy of the picture is resolved by the language.

Last Sunday, it was Ram Devineni’s turn. Devineni is “a filmmaker, publisher and founder of Rattapallax films and magazine,” and his essay addressed “Poetry Film Reality,” championing a style of film focused on the poet that he refers to as a poetry-based film, which he says is an ideal form for many beginning filmmakers as well as a good fit for festival programming. I was especially struck by his conclusion:

Soon this small and vibrant genre is going to be challenged with new technological formats that are already challenging traditional fiction and documentary filmmakers. One such technology is virtual reality (VR) which allows the user to fully immerse themselves into an alternative world through a headset like Oculus VR or Google Cardboard. Some of the best VR stories challenge your senses by bending reality. While others create empathy with the subjects you encounter by allowing you to live their experiences. I think VR is ripe for remarkable collaborations between poets and VR designers for the same reasons poetry-based films were for filmmakers and poets. Currently all VR modules are short because of the lengthy time it takes to create them and the large files sizes that need to be downloaded. Virtual reality, like poetry-based films, lets the designer to interpret the poem and go deep into the metaphors. I am curious what ingenious new work will be created in the new emerging genre of ›virtual reality based poems‹? I am sure someone is working on the first one.

Today’s essay is by Javier Alejandro Robledo, organizer of the long-running Videobardo festival in Buenos Aires: “Die archaische Faszination am Poetryfilm“—”The archaic fascination of Poetry Film.” Judging again by Google Translate, Robledo began his historical overview in the Pleistocene:

The director Werner Herzog showed in an artistic way in his film Cave of Forgotten Pictures how petroglyphs came to move in the wavering light of the torches, and proto-cinematic style was formed. I imagine that these projections were accompanied by dances, music and magical-poetic recitations. The magical significance that is the fascination of such projections is the result of their own origin. The dialogue between the moving image, a poetic word, sound and body is so archaic, its origin a magical ritual — from this the fascination derived. From that archaic form until today, every new technology of audiovisual poetry has given new possibilities of expression and invented new special languages, all of which I want the term “Audiovisual” to encompass.

He too concluded with a look ahead:

Today there are about 15 festivals for poetry films and video poetry in the world. Video poetry will grow and develop. To give an example: holographic projections are a technology in full bloom and will be a new format and a new language for the Video Poetry and the Poetry Film that will fascinate you — in this case even without a screen.

2015 Art Visuals & Poetry Film Festival open to submissions from German-speaking countries

METRO Kinokulturhaus, Vienna

METRO Kinokulturhaus, Vienna

The Vienna-based Art Visuals & Poetry Film Festival has opened submissions to their 2015 competition — but only to residents of Austria, Germany and Switzerland, or filmmakers with citizenship in those countries. A more international “special prize” can’t be given this year for budgetary reasons, they say; focusing on the three German-speaking countries (rather than just Austria) for the main competition is therefore a compromise. (Or so I gather from Google’s not terribly adequate machine translation.) A grand prize winner will be awarded 400 Euros, and announcements of other prizes will be forthcoming.

The festival is also moving to a new venue this year: METRO Kinokulturhaus, “one of the most beautiful cinemas in Vienna.” An exact date has yet to be announced.

Submissions are through an online form, and the deadline is September 15.