Don’t be put off by the title: Craig Allen Conoley, the director, told me, “We chose to use the cliche title in an ironic manner… we wanted to subvert the cliche!” If you watch this through till the end, that should become abundantly clear.
This was screened at Visible Verse 2011 and the 2011 Ottawa International Film Festival. For the full credits, see the page at Vimeo, which also includes this description:
The short film/music video provides a visceral account of a poet’s mind/body relationship, mediated through his prose and the language of story. Shot in the subways and busy streets of Montreal, the video was designed to subvert a voyeuristic and often conforming societal gaze by placing Brandon’s point of view in direct contest with everyday motion and its marriage to the status-quo. The video features Claude Munson on guitar.
For more about the Ottawa-based spoken word artist, writer and singer Brandon Wint, see the bio on his website.
O.K., this is something different for Moving Poems — a videopoem made to embody the mission of a university. Marquette University is a Jesuit school whose motto is “Be the Difference.” (Gotta love Jesuits!) The filmmaker is James P. O’Malley of Carnaval Pictures. Here’s what he says in the description at Vimeo:
Using Mary Oliver’s inspirational poem as a script, I created this Poem-Videoclip for the inauguration ceremony of Marquette University’s new president.
I shot all the images solo with my Canon 5D Mark2, using Nikkor and Canon lenses and available light. The sync sound day included John Egan, of Egan Audio Services, and Patrick O’Malley as assistant. Patrick composed, recorded and mastered the piano solo, and John Egan created the sound design and audio master.
The readers are Marquette University students, and all on-camera performers are “non-pro” or “real-people”.
I edited and mastered on FCP, except for the simple graphic call to action I exported from After Effects.
The result is lightly branded enough, I think, to engage Oliver fans unconnected with Marquette. I know I enjoyed it.
This new film from Bloodaxe Books, one of Tranströmer’s English-language publishers, incorporates footage of the Nobel Prize announcement and the Tranströmers’ reaction, as well as footage of Tranströmer playing the piano which Pamela Robertson-Pearce had just shot in August. Robin Fulton’s translations appear as subtitles for the Swedish-language readings, which include “The Nightingale in Badelunda,” “Allegro,” “From the Thaw on 1966,” “The Half-Finished Heaven,” “April and Silence,” “From March 1979,” and “Tracks.” This is of course something that the film/video medium is particularly well suited for: it’s wonderful to hear the poet reading in Swedish and know (more or less) what he is saying.
Do read the extensive notes on the Vimeo page. The detail that “Swedish composers have written several left-hand piano pieces especially for him to play” speaks volumes about his status in his homeland. (Hat-tip: Teju Cole on Twitter)
A motionpoem created by Michael Guncheon and Ben O’Brien.
And speaking of Motionpoems, if you can get to Minneapolis on October 25, they’re planning to screen a whole new season’s worth of films, which will include poems by Jane Hirshfield, Mark Strand, Richard Wilbur and others — a dozen in all, produced to accompany the Best American Poetry 2011 anthology From Scribner. See their website for details.
John Agard is joined on stage by the flautist Keith Waithe, a fellow Guyanan, in an extract from a film by Pamela Robertson-Pearce called John Agard Live!, which was included as a DVD along with Agard’s 2009 collection Alternative Anthem, from Bloodaxe Books. (There’s also video of Agard reading the title poem.)
Seni Seneviratne reads a poem from the forthcoming anthology Collective Brightness: LGBTIQ Poets on Faith, Religion & Spirituality (Sibling Rivalry Press), uploaded to Vimeo by the editor, Kevin Simmonds. (Browse all the videos Simmonds has made for the anthology so far on the Collective Brightness website.) The film is by Laura Richardson.