Posts By Marie Craven

The Carpet by Ana Pantić

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This video poem is The Carpet, from Belgrade artist Ana Pantić. Ana wrote, voiced and performed in this personal piece, a film-making collaboration with Maja Djordjević, with music by Milan Bogdanović. Watching the film on high volume gave me the best experience of it.

Ana and I were at the Athens International Video Poetry Festival in Greece last December, where we met. The festival brought each of us in contact with other artists from around the world. Ana compellingly performed her work live on the last night.

She is an artist in a number of related creative modes, as well as a public speaker. Recently Ana appeared on Serbian TV, talking at length about international video poetry.

Árbol de Diana (Diana’s Tree) by Alejandra Pizarnik: three excerpts

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Dave writes: This is una mirada desde la alcantarilla / a glimpse from the gutter, the first Moving Poems production directed by Marie Craven. Alejandra Pizarnik‘s brief poems in Árbol de Diana and other collections have been a huge influence on my own writing, but I was never quite satisfied with the video I made back in 2016 for the excerpts included here. I did however like the translation and readings, done with the assistance of the London-based translator Jean Morris. They were part of the Poetry From the Other Americas series at Via Negativa, a collaborative translation project that gave rise to many of the films I wanted to feature in the Poesía sin fronteras screening at Houston last weekend. So I asked Marie, who hadn’t been part of that project, whether she might want to remix or completely re-do the film, and was delighted when she said yes.

The resulting film helped me see what might have been wrong with my own film: too few images, I think, and neither of them quite strong enough to keep up their end of a dialogue with these verses. Marie’s film shows the importance of thinking laterally, by instinct and rhythm. I was pleased that she ended up retaining my and Jean’s voiceovers; Jean’s success in evoking the vulnerable quality of Pizarnik’s own voice was a stand-out feature of our original film, I thought. But Marie’s re-interpretation ended up being a much stronger fit than that earlier effort would’ve been with the other films in the program.

Two Spanish filmmakers have also had a go at Pizarnik’s micropoetry: Eduardo Yagüe, with Piedras verdes en la casa de la noche, and Hernán Talavera, with Todo hace el amor con el silencio: tres poemas de Alejandra Pizarnik.

Marie writes: A few weeks ago, Dave Bonta invited me to participate in the “Poetry Without Borders” program at REELpoetry, by making a video remix of his 2016 piece, “A Glimpse from the Gutter”, from three poems by Argentinian poet Alejandra Pizarnik (1936-1972). Having previously made a number of films with Dave’s poetry, and being involved in some of his wider projects, I was keen to rise to the challenge.

Like the majority of Australians, I speak only the dominant English. Nonetheless, this is the sixth film I’ve made involving different languages. My interest in doing this has arisen in part from a personal impulse to in some way transcend the xenophobia and racism that has long been a lamentable aspect of my own geographically-isolated culture. Aside from this, and despite being in my late 50s, I retain a child-like wonderment that our single human species communicates in so many richly varied ways. In addition, my film-making over 35 years has been largely directed towards international audiences, via the film festival circuit, and now also the web, where poetry film has by far its greatest reach. I also simply love the expressive sounds of different languages as a kind of music.

Dave translated Pizarnik’s poems with advice and in discussion with Jean Morris, a poet and professional translator. Jean voiced the poems in Spanish, while Dave spoke them in English. For my film, I retained only the text and voices, which I re-arranged and mixed with new music and images. I have remained true to Dave’s impulse in his earlier piece to make a truly bilingual film, spoken in both Spanish and English, and therefore without the need for subtitles.

As in a number of my films, the raw images were sourced from Storyblocks, a subscription website with a vast library of short, random clips from videographers in many different countries. The collection of shots I selected were then transformed via changes to speed, light, framing and colour, and the addition of long dissolves that blend and juxtapose the images via superimposition.

Some of the images I selected touch on the literal meanings of the poems. These direct connections of image to text are sometimes seen at moments other than when they are spoken. The film also contains a number of shots that bear no direct relation to the words. My overall impulse was to create a series of moving images that might form a kind of visual poem in themselves, while remaining connected to the resonances I found in the text and in the qualities of the voices. The final visual element is a faintly-flickering overlay containing animated x-rays of human anatomy.

The music is an ambient piece by Lee Rosevere, who for several years has generously released much of his music on Creative Commons remix licenses, enabling film-makers and other artists to create new works incorporating his sounds. I chose this piece for its slow pace, beatlessness and meditative quality, that left room for the voices to take by far the greatest prominence.

I am delighted to have especially made this film for REELpoetry, where it had its world premiere.

Deadlock by Lauren Jones

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Deadlock is about an old English street: Daniel Street in Portsmouth. The text by Lauren Jones, and the film by Jane Glennie, evoke an important moment in its everyday history around 1820. The following quotes are from the artist notes.

“In the looming shadow of prison hulks docked in the harbour, Jeremiah and Charles Chubb worked on this site primarily as ironmongers providing naval equipment. Frequent crimes, including daring robberies of the dockyard warehouses and escapes from the hulks led to a competition being launched for an ‘unpickable lock’. The Chubb brothers accepted the challenge and created the now familiar Chubb lock still used to this day.”

But the success of the Chubb enterprise created a shadow legacy.

“…for those on the other side of the lock, the invention was a devastating barrier that put an end to those who relied on petty crime for survival, to those who were facing long, punishing sentences on the ships and even those women who were confined to the nearby Lock Hospital.”

The bold phrases of the text, and the spirited voice over, are well met by an animated ‘flicker film’ stream of images. Evocative stills rapidly pass through the eye in a way that feels dramatic and textural. The collaboration between the artists recalls to vivid imagination the local history and its impact.

Deadlock is one in a collection of films commissioned to be the online media component of ‘Dark Side Port Side‘ (2019), a walking tour set in Portsmouth.

“…the street has long since vanished in the name of progress and is now the location of Admiralty Road with its own soaring, modern accommodation. Evidence of the concern of security is still visible… behind keypads, passcodes and security men.”

Haiku Time by Lisi Prada

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Haiku Time screened at the Athens International Video Poetry Festival in December, along with two other videos written and directed by Madrid artist Lisi Prada. For me, Prada’s videos were the best discovery of the festival’s screening night, which went from 6:00 pm until about 1:00 am in a continuous stream.

The film-maker is boldly experimental in her approach. Her videos screened in Athens were all multilingual. She also wrote the text for Haiku Time, and has this to say on her website:

“Presented as a video-haiga, the images accompany … poetic text that is recited simultaneously in English and German. Some verses are heard as a chorus also in Japanese, Norwegian, Italian, Portuguese or Spanish, emphasizing that what is said happens to anyone, anywhere.”

The translations were gathered via the internet from different parts of the world. Of the two main voices, the German is translated and spoken by Thomas Topp, and the English by Susan Nash. Nash performs in a style that sounds like the automated voices heard on train platforms or when waiting in phone queues. This is in accord with Prada’s statement about the content of the text and images:

“(the video)… proposes to abolish the borders of what separates us from the other… and questions the alienation of current life in the cities, where we get lost… a world in which speed, pollution, stress… make us move like pawns on chess boards, forgetting what really matters, what makes sense.”

The soundtrack is made up mostly of the different voices in different languages, that are layered in their timing and accompanied by subtitles. This on-screen text is well-placed, forming part of the overall structure and framing of the images. The music, heard only a few times for the film’s duration, is dramatic and highly effective, echoing the edgy quality of the editing.

The film goes for 5 minutes, 7 seconds, 5 milliseconds – mirroring the 5-7-5 syllables of the popular version of the haiku form in writing. This is explained on Prada’s web page for the film, where she describes the images as being…

“…based on simple and deep observations of everyday life, and poetic images among which the moon frequently appears…”

Prada blurs the boundaries between video and poetic text, uniting them into one form, in which the text feels incomplete without the images, the images without the words.

* Quotations from the artist are translated from Spanish to English with the assistance of Google Translate.

Blood Constellations by Malika Ndlovu

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Blood Constellations is a beautifully made example of a poetry dance film, a genre showcased many times over the years at Moving Poems.

Boldly directed by Jim Demuth, based in London and China, the film is part of a broader, multi-disciplinary arts collaboration called Singing My Mother’s Song, which explores family and lineage. The overall director of the project is Bristol-based Rebecca Tantony.

The poet is Durban-born Malika Ndlovu, whose rich and passionate voice rings out in word and song on the soundtrack. It is compellingly danced by Nyaniso Dzedze, also in South Africa.

I was lucky enough to see the film in Athens earlier in December, where it screened at the International Video Poetry Festival.

Virginia Gave Me Roses by Lani O’Hanlon

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In mid-October, Ó Bhéal’s 7th International Poetry-Film Competition took place in Cork, Ireland, in association with the IndieCork music and film festival. The winner was Virginia Gave Me Roses, directed by Dublin-based Fiona Aryan and written by Lani O’Hanlon, from Waterford. 2019 is the first time an Irish film has won this international competition, which has become highly-regarded in the poetry film community worldwide. The winning film was screened at the Kino as part of IndieCork, along with the other finalist films.

The judges this year were poet/film-maker Colm Scully and poet Stanley Notte. Excerpts from their comments:

Being a practitioner myself I learned so much from reviewing the 200 plus entries… Virginia Gave me Roses immediately worked for me on first viewing , and only improved as I watched it again. The beauty of the poem was matched by the subtle imagining of the visual.

—Colm Scully

In the end the film that stayed in the mind as a fusion of words and images was Fiona Aryan’s depiction of Lani O’ Hanlon’s poem, Virginia Gave Me Roses.

This piece depicts a soft-focused, memory-like family interaction that supports, compliments and, at the same time, adds weight to an original text that is both moving and strongly visual.

This depiction transports the viewer into a dreamlike state where one is enveloped by the profound sense of love and safety which being in a close-knit family occasion provides.

—Stan Notte

A warm, nurturing film to see at this time of year.

Bees in the Eaves by Bill Yarrow (2)

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In 2014, Belgian film-maker, Marc Neys (aka Swoon), made a video of Bill Yarrow‘s poem, Bees in the Eaves. Five years later, Marc has just released a new video for the same poem, with new images and music.

Watching the two very different treatments of the same text suggests the changes in sensibility an artist may undergo over time. Even the voice performance, from the same recording by Nic S., has a distinctly varied aural quality, pace and mood in this new version.

The disturbing images in the 2014 video display a directly metaphorical relation to ideas in the poem. In a way akin to the horror genre, the earlier film evokes a strongly emotional response.

In this latest video, the connection between image and word is much more oblique, creating a more contemplative, yet still dynamic, meaning of the poem. While both videos employ repetition to great effect, the 2019 version is more graceful in its approach to film form.

Marc’s striking approach to editing, and his surprising rhythms, remain evident in both videos. This new video is further testament to his unique and masterful work in video poetry.