Posts in Category: Videopoems

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.

the new therapist specializes in trauma counseling by Claudia Rankine

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This has got to be one of the best student animations I’ve ever seen. Jake Mansbridge animates a poem from American poet Claudia Rankine‘s Forward Prize-winning collection Citizen: An American Lyric as part of an exciting new initiative from the Forward Arts Foundation, which sponsors both the Forward Prizes and UK’s National Poetry Day. Here’s how their director, Susannah Herbert, described it in an email:

National Poetry Day UK, which falls on the first Thursday in October, is about to celebrate its 25th anniversary. Effectively, this is a huge mass participation cultural festival that gives everyone in the nation an excuse to share a favourite poem, or line of poetry – through readings, displays, performances and, increasingly, through social media. The theme this year is Truth.

A friend who ran the MA course in Animation at the University of Hertfordshire invited us to give her students a “brief” that they could work to as part of their degree course. We gave them 100 Prized Poems, an anthology of poems drawn from the shortlists of the Forward Prizes over the years… plus a few other poems, all loosely connected to the theme of Truth, and suggested they each create an animation that would bring the poems they chose – and National Poetry Day – to new audiences.

This stunning Jake Mansbridge animation of a poem from Claudia Rankine’s Citizen is just one of the films that came out of the process… and the best are being shown next month at London’s Southbank Centre.

That 20 October screening at the Southbank Centre is part of a six-day festival, Poetry International. If you can’t make the screening, all of the videos are being uploaded to a playlist on the National Poetry Day YouTube channel.

Rankine is no stranger to poetry film. She collaborated with her husband, filmmaker John Lucas, on a series of video essays, a few of which I’ve shared here, and Citizen included both stills and transcripts from those videos. So I was happy when Citizen became so celebrated and widely read on both sides of the Atlantic. It’s also one of those books that every clueless white person should read.

I thought I had a very nice time by Liz Waldner

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Liz Waldner voices her poem in this newly uploaded video from Denise Newman. Newman, whose experimental work I’ve shared here twice before after encountering it randomly on Vimeo, is a published poet, translator, and multimedia artist who teaches at the California College of the Arts. Liz Waldner is an even more widely published poet with many honors and awards to her name. According to the Poetry Foundation,

Waldner’s work is known for its formal experimentation, reliance on quotation and pastiche, and often playful rhyme schemes. Using long titles, made-up words, and expansive proselike sentences that change topic quickly and constantly, Waldner’s verse, according to poet-critic Stephen Burt, “pays constant homage to the delights of the senses; beside her, most similarly difficult present-day poets seem arid, theoretical, no fun.”

Newman told me in an email that they made I thought I had a very nice time five years ago, and are collaborating on a second video now, which is what prompted her to dig out and share their earlier piece.

When Geometric Diagrams and Digits (Wenn nicht mehr Zahlen und Figuren) by Novalis

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Novalis was the pen name of Georg Philipp Friedrich Freiherr von Hardenberg, a poet, author, mystic, and philosopher of early German Romanticism. The poem here is When Geometric Diagrams and Digits from 1800, a year before his early death at the age of 28. In the original German, the poem is Wenn nicht mehr Zahlen und Figuren.

The film-maker, Eric Edelman, based in New York, has titled the video, Novalis. On the surface it appears very simple, yet I find so much to explore, and to learn from it. More an art work in motion than a film in the traditional sense, the video distills the beauty of the Novalis poem, and the inspiration Edelman draws from its author, into a minimal series of iconic elements, with the poem appearing at the end.

Edelman is a prolific creator of original gifs under his RetroCollage moniker, and the video shows evidence of this. Its style and tone are both contemporary and retro. I find the animation in this video to be the best of the many I have seen from him, and the most emotionally expressive. This is enhanced by a soundtrack from 1791: the Clarinet Concerto in A Major, K. 622, by Mozart.

The notes on the Vimeo page for the video reveal more about the diverse cultural influence of the work of Novalis:

Despite his short life and somewhat slender oeuvre, Novalis has since influenced many figures in Western culture, including Richard Wagner, Rudolph Steiner, Hermann Hesse, Walter Pater, George MacDonald, C.S. Lewis, Jorge Luis Borges, and Stan Brakhage.

The most famous of his works are the unfinished novel Heinrich von Ofterdingen and the poetry in his Hymns to the Night. The Blue Flower, shown in this video, occurs in Heinrich von Ofterdingen as a symbol of human aspiration toward love and spiritual advancement; it became central to the German Romantic movement.

Edelman’s bio tells us he has been making collages, by hand and digitally, for more than 25 years. He scans images from wood engravings found in books and magazines dating from 1850 to 1920, then colourises, combines and alters them in photo-manipulation software. The resulting pieces are “a mix of Surrealism and psychedelia, by turns playful and solemn, simple and complex, straightforward and mysterious”.

He collaborates as part of The Typewriter Underground, led by poet Marc Zegans. One of Edelman’s videos for this fascinating project, A Clack in the Tunnel, has been previously shared by Dave Bonta here at Moving Poems. Exhibitions of Edelman’s work include the Williamsburg Art & Historical Center and the American Museum of Natural History.

2 birds by Martha McCollough

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2 birds by Martha McCollough first appeared several years ago and is still well worth sharing now. Martha is an artist, writer and animator whose sustained work in video poetry is compelling and unique.

The text is an adaption of a verse from the Upanishads. Martha speaks this herself in a many-layered vocal soundtrack. She also created the melodically unusual music, minimal and haunting.

Visually the piece displays a strong relation to experimental film forms. Text on screen is shown in layers, echoing the treatment of the voice. Some lines of verse move very quickly, less like comprehensible words, more an abstract texture of the moving images. Other textual layers appear more legibly. Phrases also appear and disappear at different moments like brief little messages underscoring levels of the voice.

The central visual motif anchoring the different elements reflects the title. Two birds are seen in semi-photographic images and in line drawings. Here we see that the two birds might really be one bird. This is thematically linked to the final couplet that resolves the swirling poetic resonances of the whole.

Marsh by Paul Casey

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The writer of the poem in this video, Paul Casey, is an important figure for poetry in Ireland, especially in Cork. The poem is named for his home city, which comes from the Irish word for marsh.

Spoken in the video by Aidan Stanley, Marsh is a lament. The poem is unusual in being from the point of view of a place, anthropomorphised with a subjective voice. Paul’s avowed interest in history comes to the fore in this piece, spanning a vast sweep of time, from an ancient untouched land to a contemporary urban location.

Environmental themes shadow the development of the city over its long history, from free earth to “buses and pipes”. Between the poles is first the appearance of humans, with “A Celtic hunter slowing his currach”.* In later generations the human appears in the form of “merchants and markets”. In a time of British rule, “Oil street lamps lit stocks and paupers”. Finally the marsh has transformed into a place where “mobile phones and mini-skirts flirt my name”.

The video is by David Bickley, who is a musician as well as a film-maker. He composed the soundtrack of Marsh especially for it, using audio collected at a marsh in Carrafeen, West Cork, the location of the shoot. These recordings were then mixed with ambient musical sounds. The stunning, almost abstract images of the marsh landscape were shot looking directly down from far above with a drone camera. They are a magnificent yet serene expression of the sense of origins evoked in Paul’s poem.

In an interview about Marsh, Paul states that music is central to his writing, saying “without it there is simply no poem”. The song of this poem is in the voice of a “sagacious witness, persisting across the ages… that wise gentle spirit of sparse words (time)”.

Paul’s advice to poets is to “read a poem every day from a known poet, then another from an unknown poet. And write a poem every day too, no matter how short or ridiculous. Eventually you’ll be equipped for a masterpiece… It’s up to the gods then.”

As a contrast to David Bickley’s beautiful rendering of Marsh, there’s another video of Paul reading it himself in the modern-day incarnation of the city of Cork.

Paul’s great contribution to poetry in Cork includes working with the elderly through poetry appreciation. He is most known to the poetry film community world-wide as the founder and director of Ó Bhéal, organising the yearly poetry film competition in association with the IndieCork Film Festival.

The finalists in this year’s competition have just recently been announced. They include a number of film-makers and poets who might be familiar to Moving Poems followers, such as Stuart Pound and Rosemary Norman, Caroline Rumley, Jack Cochran and Pamela Falkenberg, Charles Olsen, Matt Mullins, Lucy English and Sarah Tremlett, Jane Glennie, Janet Lees, and more.

* A currach is a type of Irish boat with a wooden frame, over which animal skins or hides were once stretched.

Find Me a Word by Gus Simonovic

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Find Me a Word came to Moving Poems via a welcome email from its film-maker, Martin Sercombe in New Zealand.

Martin has been making films since the 1980s, at that time involved in the independent film workshop movement in the UK. His experience and creativity are evident in Find Me a Word. The way he visually presents text and his landscape imagery are especially pleasing in this piece.

The poem and voice is by Gus Simonovic, whose writing has been widely published in New Zealand and beyond. He describes his work as post-modernist and post-materialist. Among his range of cultural work, he was previously a co-ordinator for the New Zealand Poetry Society.

Both Martin and Gus have a special interest in teaching and running workshops in poetry and film-making for young people, aiming to give them an expressive voice and means of facing the uncertainties of life in these troubling times.

Martin programs an event called Lyrical Visions, happening this year on December 11th at Lopdell Theatre, Titirangi, Auckland, including four sessions of poetry-related films. It’s good to know there is an active community around video poetry in New Zealand.