This film by Maggie Bailey blends interpretative dance with snippets of a 1961 interview with Sylvia Plath and Ted Hughes. Here’s the description from Vimeo:
An Interview stems from a desire to explore the life of Sylvia Plath. This short film analyzes Plath’s feelings about her relationship with her husband, daily life, and raising her children, through dance and gesture work, paired with excerpts of an interview with Plath and her husband, Ted Hughes. Though she says quite the opposite in this interview, we can infer that she feels a loss of identity and purpose in life, in the midst of caring for a new baby. The year of the interview is 1961, two years prior to Plath’s suicide. Directed & filmed by Maggie Bailey. Edited by Maggie Bailey and Tyler Rubin. Performed by Heather Bybee. Music by Michael Wall. Interview with Sylvia Plath and Ted Hughes.
combines the structure of language with the healing principles of various medicaments. Like pills, language is something to be consumed by the body, and in turn it does not only affect our conceptions of things, but it also comes to designate our very corporal movability in the world. Consequently, words are not only something we consume, they are refractory entities that in turn define and consume us. Wordpharmacy can be seen as a poetical gesture endeavouring to let words work their magic from within the body itself.
The Wordpharmacy is written and produced by the danish poet Morten Søndergaard.
The Wordpharmacy is translated into English by Barbara Haveland and designed by Christian Ramsø and is now available in six languages.
According to the Vimeo description,
Morten Søndergaard was interviewed by Christian Lund at Hardy Tree Gallery in London in April 2014. Thanks to Steven Fowlers and Cameron Maxwell.
Camera: Matthias Pilz
Edited by: Miriam Nielsen
Produced by: Christian Lund
Juan Felipe Herrera is the author of more than 20 books of poetry, novels for young adults and collections for children, most recently “Portraits of Hispanic American Heroes.” He is the son of migrant workers from Mexico, and today he becomes the first Latino to serve as poet laureate of the United States. Jeffrey Brown travels to the poet’s home in California’s San Joaquin Valley.
A unique poetry film: a hand-drawn animation of poets’ hands from interview snippets that can also be seen as a remix videopoem. Kate Sweeney explains in the Vimeo description:
Created from short elliptical sequences taken from archived interviews with four Bloodaxe poets. I wanted to isolate the gestures used when explaining the poetic, the abstract thoughts they couldn’t express in words alone. Gesture is communication that is also a kind of drawing in the air.
C.K Williams, in his interview with Ahren Warner, muses that “In a sense the final version of any work of art pretends to be an improvisation; even a painting. First the painter puts down the ground on the canvas or the wood then he puts down another layer of something then he begins to put the blocks in and then the last layer, little brush strokes, that look like improvisation”. The archive offers a window through to all those described layers. It tracks the process of producing a poem, a book and in a way, a poet. Inspired by my research in the archive, the animation includes the smudges, rips, mistakes and corrections, of the paper it was drawn on, revealing and incorporating the process into the final version.
Amid racial tensions in communities such as Ferguson, Missouri, and following the unwarranted deaths of young black men like Michael Brown and Trayvon Martin, two slam poets confront what it means to be black men in America and in their communities. Theo Wilson, once a victim of police brutality, delves into his internal struggle of dealing with the past encounter, remembering how powerless he felt in the face of his oppressor, and his ensuing resolve to change the rules of the game. Beneath the smoldering anger and aftermath of police violence is a growing disquietude toward the future of race relations. Jovan Mays, the poet laureate of Aurora, Colorado, uses his spoken word to express the turmoil of emotions and experiences inherently attached to growing up a black boy in America.
These two related poetry films are by Mary I. Stevens, an associate producer of digital video at CNBC. They deserve to be seen widely in the wake of yet another grotesque miscarriage of justice in the racist police state that the United States has become. Those of us who have the luxury of merely wallowing in outrage and not fearing for our lives (yet), simply because we happen to have been born with white skin, need to hear the testimony of the victims of police violence and humiliation, and ask ourselves whether our anxious calls for peaceful protest aren’t motivated more out of a desire to sweep unpleasant realities under the rug rather than to actually confront the glaring inequities in our society.
Jovan Mays and Theo E. J. Wilson, A.K.A. Lucifury, are members of the Slam Nuba team, who won the National Poetry Slam in 2011. The first film, an artful blend of interview and poetry, contains a few excerpts from the performance of “Burning House” featured in the second film, but devotes much more space to a poem recited by Mays, “To the Black Boys.” The song “Look Down Lord,” included in both films, is performed by Dee Galloway.
John Ashbery probably needs no introduction to fans of contemporary American poetry — or does he? Has his very eminence led many to ignore him in favor of younger, more fashionable poets? Williams Cole and Lily Henderson of Open Road Integrated Media, Inc. made this brief, highly watchable film portrait to celebrate the release of 17 books of his poetry in ebook form. The New York Times took note.
When John Ashbery, the Pulitzer Prize-winning poet, first learned that the digital editions of his poetry looked nothing like the print version, he was stunned. There were no line breaks, and the stanzas had been jammed together into a block of text that looked like prose. The careful architecture of his poems had been leveled.
He complained to his publisher, Ecco, and those four e-books were immediately withdrawn.
That was three years ago, and digital publishing has evolved a lot since then. Publishers can now create e-books that better preserve a poet’s meticulous formatting. So when Open Road Media, a digital publishing company, approached Mr. Ashbery about creating electronic versions of his books, he decided to give it another chance.
Last week, Open Road published 17 digital collections of Mr. Ashbery’s work, the first time the bulk of his poetry will be available in e-book form. This time, he hasn’t asked for a recall.
“It’s very faithful to the original formatting,” said Mr. Ashbery, 87, who is widely recognized as one of the country’s greatest living poets.
The article goes on to examine the current state of poetry ebook publishing — in particular, how publishers are handling the formatting. This is, incidentally, something I’ve long been interested in myself. Basically, as the article says, two different approaches have evolved: stick to PDFs or other static files to preserve text arrangement (which of course forces people on mobile devices to do a lot of scrolling), or hand-code every line so they collapse into hanging indents on smaller screens, following the printers’ convention of displaying lines too long for a page. This latter approach, thankfully, was the one Open Road chose.
The poetry of Mr. Ashbery, who often writes in long, Walt Whitmanesque lines and uses complex indentations, was difficult to digitize. “Many of my poems have lines that are very long, and it’s important to me that they be accurately reproduced on the page,” he said. “The impact of a poem very often comes down to line breaks, which publishers of poetry often don’t seem to find as important as the people who write the poems.”
After his first misadventure, Mr. Ashbery was reluctant to sell his e-book rights again. But then two years ago, his literary agent met with Jane Friedman, Open Road’s chief executive, who was interested in publishing digital versions of Mr. Ashbery’s work. She assured Mr. Ashbery and his agent that the e-book formatting would preserve his lines.
After a courtship that stretched on for about a year, Mr. Ashbery agreed to sign over digital rights for 17 collections.
The e-books took several months to produce. First his poems were scanned, digitized and carefully proofread. Then Open Road sent the files to eBook Architects, an e-book development company in Austin, Tex. There, the text was hand-coded and marked up semantically, so that the formal elements were tagged as lines, stanzas or deliberate indentations. When a line runs over because the screen is too small or the font is too big, it is indented on the line below — a convention that’s been observed in print for centuries. The technology is still far from perfect. Mr. Ashbery’s poems retain their shape better on the larger screen of the iPad, and are squeezed, with more lines spilling over, on a Kindle or an iPhone.
Poetry scholars say such minor discrepancies are a small price to pay to ensure Mr. Ashbery’s legacy in the digital age.
“John Ashbery is our T. S. Eliot, our Gertrude Stein,” said Robert Polito, president of the Poetry Foundation. “It’s vital that his work be authoritatively available in as many different formats as possible.”
“Line by Line, E-Books Turn Poet-Friendly” by Alexandra Alter
As for the filmmakers here, it’s worth noting that Lily Henderson was recently named one of the “25 New Faces of Independent Film” by Filmmaker Magazine.