Animation by Victor Newman of a poem from Gary Jackson‘s book Missing You, Metropolis, which “imagines the comic-book worlds of Superman, Batman, and the X-Men alongside the veritable worlds of Kansas, racial isolation, and the gravesides of a sister and a friend,” according to the publisher’s description. Newman was assisted by animators Jonathan Djob Nkonbo and Jeff Chong, JD McMillin did the sound design, and the voiceover is by Chuck Johnson.
Tryouts was produced by Motionpoems as part of their Season 7, in partnership with Cave Canem. For the text of the poem, see the Motionpoems website.
A brief animation of a poem from Brecht’s A German War Primer by Andrea Malpede AKA Andrea Nocive, who notes in the Vimeo description:
I’ve always found Bertolt Brecht’s words strong and full of love.
In this animation I tried to give life to his powerful concept.
A wonderful, too-short animation by Australian artist and former research scientist Nicholas Kallincos. He says on Vimeo that it’s an “Experimental mixed media animation made in collaboration with UK spoke word poet, Jason Brennan in 2005. Soundtrack by Cornel Wilczek”.
It could be my Google-fu just isn’t very good today, but I’m not able to find anything about Brennan online aside from this.
An animated poem with text and voiceover by David Olimpio and animation and direction by Efrat Dahan. It was made as part Moving Words, a project from the New Jersey-based organization ARTS By The People pairing American writers with animators from the Shenkar School of Engineering and Design in Tel Aviv. The international premiere of the 2017 animations in Tel Aviv has already happened (August 11), but the US premiere is still up-coming on Sept. 9 at Drew University. (Reserve tickets.) Olimpio told me in an email:
What ABTP is trying to do with the “Moving Words” project is to not only make these stand-alone animation pieces, but also to integrate them with live performances. Here’s the video of me performing this piece live at the Animix Animation Festival in Tel Aviv, where this animation was one of many featured the day before.
Integrating multimedia with live readings is something poets don’t do nearly enough, in my view, and I’ve also long felt that there ought to be more efforts to get university film and animation students to collaborate with poets, so I was excited to learn about Moving Words. (I also really like their name, for some reason.)
As her ambitious Book of Hours has unfolded, it’s been fascinating to watch Lucy English‘s poetry evolve and adapt to the online video medium and to the exigencies of particular film-making styles. Here’s how Stevie Ronnie, her collaborator for this film (along with composer Jim Ronnie), describes their process at Vimeo:
Lucy and I wanted to try something different as a way of kick starting the collaborative process for Dark Place. It started from a desire to work on something that was going to become part of Lucy’s Book of Hours poetry film project. Poetry films often begin with the words or footage or sound but we decided to start from a colour palette. I created a palette and sent it to Lucy and she wrote the poem from the colours. Lucy then sent me a couple of drafts of the poem and, after spending some time digesting Lucy’s words, I decided to respond to it visually. Using the colours that I found in Lucy’s poem I rendered the poem as a painting, where each mark on the canvas represents a letter in the poem. I then captured this process as a series of still images which have been strung together into the film. The soundtrack, performed by my father Jim Ronnie, was composed and added during the video editing phase as a response to the poem’s images and the words.