Marie Craven is a film-maker in Queensland, Australia, and has been making shorts for 35 years. Her work has exhibited extensively at international festivals and events, and gathered many awards. She creates collaboratively with writers, musicians and other artists around the world. Over the decades, she has freelanced as a teacher at universities, technical colleges and community centres, a reviewer of films and books, an arts manager, and programmer. At the end of 2018, she judged the inaugural Atticus Review Videopoem Contest. She is curator and manager of the Poetry + Video project, touring internationally into mid-2020." />
Confidently crossing an imagined border between experimental film and video poetry, Anna Fo‘s Sealed Faithful Halls is an outstanding instance of both. The poetic text is spoken by the film-maker and readable in subtitles. Before the poem arrives there is a two-minute visual introduction with a freely-shifting musical soundscape by Theofanis Avraam. Both of these wordless elements of the film are brilliant as well.
The film was created during lockdown, one of 50 short films selected for the 50 Shorts VS Covid-19 project of the Cyprus Ministry of Education and Culture.
White Clouds is a musical poetry video that was filmed, directed and edited by the outstanding Taiwanese film-maker and poet, Ye Mimi, who released it to the web just two weeks ago. The story of the film…
This song is an adaptation of the poem “White Clouds” by Taiwanese poet Lo Lang (1927-2015). The recording was made by Lo’s daughter Sirong, a renowned, award-winning singer-songwriter in Taiwan. When Lo Lang wrote the poem in 1950, he was expressing his deep desire for freedom. At that time, many Taiwanese were suffering from extreme violence and political repression at the hands of the ruling Kuomingtang, which took over Taiwan after losing the Chinese Civil War to the Chinese Communists. This recording, made in 2018, marks a watershed moment for Lo Sirong and her now deceased father, as Taiwan flourishes today as a fully democratic society.
Lo Sirong sings White Clouds in the Hakka language. She has a marvellous voice, deeply expressive of her father’s poetry. The music overall is wonderful to hear. The English subtitles bring the welcome experience of the poem in written translation as well.
Ye Mimi’s earlier videopoems include I See Green and Golden Shadows as part of the Wild Whispers global videopoetry project, initiated by Chaucer Cameron in the UK. Dave shared three of Ye Mimi’s videos from earlier years here at Moving Poems, including from her own poems. One of these videos was also published by Cordite Poetry Review from Australia, where she wrote an interesting account of her relation to videopoetry.
Ye Mimi’s bio at Vimeo:
Ye Mimi is a Taiwanese poet and filmmaker. A graduate of the MFA Creative Writing Department at Dong Hwa University and the MFA Film Department at School of the Art Institute of Chicago, she is the author of three volumes of poetry and has internationally exhibited several of her poetry films. Through collaging her words and images, she improvises a new landscape trying to erase the border between poetry and image making. Book-length translations of her work are available in Dutch and English.
Human Condition was written and performed by the one and only Rich Ferguson, beat poet laureate of California. For this spectacular film he teamed up with film director Mark Wilkinson and a marvellous ensemble of performers and musicians including gospel singer Stella Ademiluyi and James Morrison from the cast of Twin Peaks.
Human Condition is one of his best so far. It is highly musical, and at the same time funny, mournful and uplifting. The text of the poem is posted at YouTube in the video notes.
Back in May, Dave wrote some words about a video from the poem The Long Burial by Brazilian-American writer Henrique Costa. That piece was a collaboration between Costa and UK film-maker and animator Jonathan (aka Jonny) Knowles.
They made A Sonnet to the Smartphone a few months earlier. It is an elegiac and then rousing cry for our times. For both videos they teamed up with actor Suzanna Celensu, also in the UK, who appeared and voiced the soundtracks.
All parts of this collaboration are equally wonderful. Let’s hope there are more videos from them in the future as well.
Lost was written by performance poet Caroline Reid in South Australia, teaming up with film-maker Pamela Boutros to produce this warm and frank video. The notes on the Vimeo page describe it this way:
A playful fusion of poetry, visual art and film in which a reflective middle-aged poet discovers that life’s interruptions to writing poetry are the very substance from which poems emerge.
Caroline was one of the top five Australian Poetry Slam finalists in 2018 and 2019. Her bachelor’s degree is in theatre and writing. This collaboration with Pamela Boutros brings together its creative elements so well.
This film was made as part of Chaucer Cameron’s marvellous Wild Whispers project, which involved an array of artists around the world. Chaucer’s original poem was sent on a transformative journey through different nations, in a chain of writing, translation, reinterpretation and finally film-making. The project inspired very interesting and varied videos, reflecting the shifting ways we understand and express language, both textual and filmic. At its completion, Wild Whispers had inspired 14 distinct texts in 10 languages and 12 unique poetry films.
Annelyse’s film came towards the end of the two-year process of the project’s evolution across cultures. The words are almost unrecognisable from the original poem, more like a deconstruction and reconstruction of it. She arrived at this via Google Translate. The voice is synthetically generated. She has written about her approach:
I was interested in maintaining some of the imagery and observational eye of the original text while transforming its sensuousness and sentimentality into something cold and mechanical, and in working with a software collaborator that can produce, but not understand, language. (read more)
Of the 12 films in Wild Whispers, this one may have the closest relationship to a history of experimental cinema starting in the early 20th century. Still now this is a movement often abandoning populist or classical approaches to text, whether narrative or poetic, and with a similarly expanded and exploratory approach to making films. It is a movement that continues to be strongly allied with avant-garde art.