In honor of Armistice Day, Remembrance Day, and in the U.S., Veteran’s Day, here’s a poem by Jehanne Dubrow adapted by Nicole McDonald for Motionpoems, whose monthly email newsletter describes it as “a love letter to all who’ve had a loved one overseas.” The poem is from Dubrow’s new collection The Arranged Marriage (University of New Mexico Press, 2015). Read interviews conducted by Jenny Factor with both the poet and the director on the Motionpoems website. I was impressed by the depth of the McDonald’s feeling for the poem and for literature generally:
The poem itself is so lush, so I experimented tremendously…I felt texture and light was key. A balance of dreamy, stark, and intimate shots. And so the wardrobe also needed to be balanced with this thinking. I adore the dress Britt Bogan wears in the last section, as it captures light so beautifully in its delicate textured details, just as Britt’s character does. […]
Homer has always had an impact on my art, especially his use of Dawn as a character (“rosy-fingered dawn…” I adore those visual transitions.). And Penelope of course was the role model of undisputed patience and blind faith. Buuut, I’ve often wondered what kind of life she lived while she waited? What did she miss out on because of those virtues? Are they virtues…? When do we release the pause button and press play?
I also liked this quote from Dubrow:
I was thrilled that the filmmaker created a visual vocabulary for the villanelle form. She repeats and overlaps images (particularly of a woman who often uses the same gestures or movements again and again) to embody the musical refrains and interlocking rhyme schemes of the villanelle. In this way, the film is a great teaching text; it offers a visual representation of the fixed form, enacting the villanelle’s obsessive rhetoric, its maddening desire to solve the unsolvable.
Somewhat parenthetically, I can’t help noticing that in a year of poetry films produced in partnership with VIDA: Women in Literary Arts, this is one of the few that also has a female director, which presumably reflects a gender imbalance in the filmmaking industry at large. In the international poetry-film and videopoetry scenes specifically, however, many of the most innovative directors and animators right now are women: people such as Kate Greenstreet, Kathy McTavish, Martha McCollough, Lori Ersolmaz, Cheryl Gross, Kate Sweeney, Helen Dewbery, Marie Craven, Ebele Okoye, Nissmah Roshdy, Susanne Weigener, Anzhela Bogachenko, Rachel Eliza Griffiths, and Motionpoems’ own Angella Kassube. It will be interesting to see whether this continues to be the case as poetry film attracts more attention, or whether men will gradually take it over as so often happens when an art or profession becomes more prestigious. I hope that those of us who care about the genre can help prevent that from happening by making special efforts to enlist, reward, and draw attention to female directors.