Posts in Category: Animation
Winter Solitude by Matsuo Bashō
Kathryn Darnell makes film animations from calligraphy of poetry. In this piece, Winter Solitude, the lines are from a poem by Matsuo Bashō (1644-1694), a major progenitor of what came to be known as haiku.
winter solitude—
in a world without color
the sound of the wind
Dave: Not sure who translated this. The original reads 冬枯れや 世は一色に 風の音 which is better captured by Robert Hass’ translation, rendering the second line “in a world of one color” (yo wa isshoku ni). Fuyugare (冬枯れ) means winter bleakness; kare/gare means dry, withered, dead, etc. But I guess loneliness is also implied.
Marie: Darnell made this film for the 2022 northern hemisphere winter solstice just passed. Even from here in the midsummer of Australia I appreciate the light touch of snow in this film, and the simple beauty of the words.
As adjudicator of the Atticus Review Poetry Film Competition in 2018, I awarded first prize to an earlier film by Kathryn Darnell, Things I Found in the Hedge. This was a collaboration with UK poet Lucy English, who commissioned the piece for her larger poetry film project, The Book of Hours. This film was also part of the Poetry & Video international touring program I curated the following year. Another of Darnell’s films I have shared here at Moving Poems is Write Out: A Scribe’s Haiku #3.
From the ‘about’ page of her website:
Less important than what I do… but here it is in a nutshell. I also answer to Kate, Kath or K.L.Darnell. A native of Michigan and a graduate of the University of Michigan School of Art, I maintained a freelance studio art practice in East Lansing, Michigan for 40 years. I spent most of those years also teaching art; both independently, facilitating workshops, and as an adjunct professor in the art program at Lansing Community College.
Happy New Year to all reading!
La luna asoma (The moon appears) by Federico García Lorca
The winner of the 10th Ó Bhéal International Poetry-Film Competition in Ireland is La luna asoma (The moon appears). The piece is by Belgian film-maker, artist and animator Jelle Meys, from the poem by the great Spanish writer Federico García Lorca (1898-1936).
The pace of the film is slow and graceful and the animation simple and fluid, meeting well with the brevity and mystery of the poem. The film-maker talks more about his process in a brief interview with Jane Glennie as part of her overall review of the Ó Bhéal event.
Full credits:
Director and animator: Jelle Meys
Poem: Federico García Lorca
Voice: Joaquin Muñoz Benitez
Soundtrack: Nathan Alpaerts (guitar) feat. Maf! and G.L.A.S.B.A.K.
English translation editor: Christopher Maurer
Winning films from all 10 years of the Ó Bhéal competition can be seen in another post by Jane Glennie.
Blank by Linda France
Blank is another in a series of collaborations between film-maker Kate Sweeney and poet Linda France. Sweeney’s artist statement about the film:
In the administrative section of the Bloodaxe Books Poetry Publisher’s archive, there is a post-it note stuck to an invoice. The note has slipped through the archival ‘cleaning’ process and rather than being discarded, has been preserved by accident. In 2017, I drew and digitised a font from the letters making up the short message written on the note. For every missing letter in the font, there is a dot; a hole, an ellipsis. I called the font, ‘Janet’.
‘Janet’ an ephemeral trace drawn from an archive has become a conduit for other voices and the starting point for collaboration with other artists and writers to speak, not about or for, but through ‘Janet’.
In 2019, I invited poet Linda France to write a poem using ‘Janet’. Blank is a response to both the metaphorical and the structural potential of the font, ‘Janet’. France has extracted the implicitly feminist possibility of ‘Janet’ as a tool for articulating the female experience of the effect of the male gaze (and consequently the effect of its absence).
As a printed document it is possible to see how France has utilised the concrete and structural qualities of ‘Janet’. The poem printed on the page is punctured but readable. In order to make the video, Linda and I had to translate and devise a way to ‘sound out’ the poem. And so, as a video poem, Blank becomes a playful presentation of the relationship between the visual and audible characteristics of the mark – the period, the omission – and its use within poetic texts presented on the page, the screen and in performance.
Blank is one of a series of video-poems produced in collaboration with other poets and artists. It is part of my practice-led PhD project; working with the Bloodaxe Books publisher’s archive as a site and source for my research into the ways collaborative practice can be used to look at the shape and form of the hidden archival artefact.
Both film-maker and poet have featured several times before here at Moving Poems, on projects together and and with other artists.
Startling by Linda France
British filmmaker Kate Sweeney, whose work we’ve featured here in the past, collaborated with one of my favorite contemporary ecopoets, Linda France, for a poetry film in support of her tenth collection with Faber. Here’s the YouTube description:
A short film by Kate Sweeney, with poetry written and read by Linda France.
“I have taken to counting what I want to call ‘Startlings’. They are creatures who, sensing their species is facing extinction, feel the cell-tingling impulse to evolve and ensure their survival. Within their tissue and bones, hearts and minds, they enact the necessary transformation. For every Endling there is a Startling.”
To celebrate the publication of Linda France’s tenth poetry collection – influenced by her three years of writing the climate – artist Kate Sweeney has created a new film responding to Linda’s words.
Linda France’s residency as Climate Writer was supported by New Writing North, Newcastle University and Arts Council England. Startling was published in partnership with Faber Books.
Find out more about the residency and its projects: https://newwritingnorth.com/event/writing-the-climate/
Order a copy of Startling: https://www.faber.co.uk/product/9780571379026-startling/
The Greatest Poem by Philippa Hughes
“The United States themselves are essentially the greatest poem.”
– Walt Whitman
The Greatest Poem is a project involving many collaborators. At the heart of it is a spirited and uplifting poem by Philippa Hughes. The film-making is a composite of many short animated pieces by different artists, brought together into a consistent whole by Elyse Kelly. A statement about the film:
“The Greatest Poem” is inspired by the words of Walt Whitman who believed that the power of poetry and democracy are derived from their capacity to make a unified whole from diverse and sometimes contradictory parts. In this spirit of diversity and unity, the film was made into a beautiful whole by a team of 20+ artists, from around the U.S. and world, posed around the question “What does it mean to be American?” – source
FULL CREDITS:
Writer: Philippa Hughes
Director: Elyse Kelly
Voice: Raechel Wong
Music & sound design: Cathead Noise & The Lunar Year
Sequence Directors (in order of appearance): Rohan McDonald, Nazli Cem, Zoë Soriano, Eric Larson, Catalina Matamoros, Cynthia Chu, Yoon Su Lee, Nijah Brown, Sofia Diaz, Mithra Krishnan, Jackson Ammenheuser, Megan Jedrysiak, Matea Losenegger, Angela Hsieh, Ana Mouyis, Sara Spink, Selina Donahue, Dena Springer, Dorca Musseb.
Additional design: Darren Enterline
The project was commissioned by Arena Stage in Washington D.C.
The More Loving One by W. H. Auden
Auden’s poem animated by Taiwanese filmmaker Liang-Hsin Huang for The Universe in Verse, “A project by Maria Popova in partnership with On Being“. Here’s Popova’s post introducing the new video. A snippet:
In what may be the single most poignant one-word alteration in the history of our species, [Auden] changed the final line of the penultimate stanza to reflect his war-annealed recognition that entropy dominates all. The original version read: “We must love one another or die” — an impassioned plea for compassion as a moral imperative, the withholding of which assures the destruction of life. But the plea had gone unanswered and eighty million lives had gone unsaved. Auden came to feel that his reach for poetic truth had been rendered “a damned lie,” later lamenting that however our ideals and idealisms may play out, “we must die anyway.”
A decade of disquiet after the end of the war, he changed the line to read: “We must love one another and die.”
The reading is by Janna Levin, and Garth Stevenson composed the music.
How to Triumph Like a Girl by Ada Limón
This is “An animation created for MTV’s Women’s History Month. It was made using watercolor cut paper stop motion” by Providence, Rhode Island-based artist and animator Hayley Morris. Ada Limón is the poet. See Vimeo for the full credit list.
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