A film about the Great Hanshin Earthquake of 1995 from Elephant’s Footprint—the collaborative team of Chaucer Cameron and Helen Dewbery, with Cameron contributing the poem and the two of them co-directing.
a film written, directed, shot, performed, and edited by Sabina England.
-Voice Over & Sound Design by Micropixie.
-Music by Om/Off (Paco Seren and Pablo Alvarez)
-V.O Recording by Elliott Peltzman.
Filmed in India (Old Delhi, India and Patna, Bihar, India)
Though England grew up in the UK, the sign language here is ASL. She notes in her bio (which is so interesting, I almost hate to excerpt it):
I use a combination of American Sign Language, mime, poetry, voice-over, multimedia, and/or music in my stage performances. I am always looking for more opportunities to expand my works, and I love meeting new people from different cultures. I believe that art and culture can bring people together in spite of differences and issues.
I have been profoundly deaf since I was two years old. I am fluent in English, Spanish, and American Sign Language.
After one year in the making, it’s here for public viewing. ENGLISH & SPANISH subtitles are available for your watching. My film shows the diversity of Indian society (in Patna) and I wanted to show a variety of Indian groups (Muslims, Hindus, Sikhs, Buddhists), including Deaf Indians (and myself as a Deaf Indian).
(Hat-tip: Thomas Zandegiacomo Del Bel at the ZEBRA Poetry Film Festival group page on Facebook)
A new author-made videopoem from Matt Mullins. Poet as Godzilla (rather than poet as god, à la Vicente Huidobro) is definitely a concept I can get behind. For the first couple of minutes, I was puzzled by all the different screen arrangements, but it eventually made sense… in fact, using videopoetry to critique movie making and movie watching is something that should happen more often, I think.
Experimental poetry can sometimes seem excessively cerebral and lacking in emotion, but Norwegian visual poet Ottar Ormstad escapes that trap here with the help of terrific still images and a compelling score. The description from Ormstad’s upload to Vimeo is worth quoting at length:
In the film “when” Ottar Ormstad is transferring his practice as concrete poet to the realm of a programmable networked space, blending his poetry with specially composed modern music and electronic elements. His photographs are presented in combination with words in different languages, most of them presented as “letter-carpets”. Some sentences are from well known songs or films, other letter-combinations are invented by the author.
The film is telling a story about life and death, basically from the standpoint of cars, rotten in a field in Sweden. The narrative is open, and each viewer may experience the film very differently. It is also dependent upon the viewer’s language background, any translation is – intentionally – not given.
This experimental film cannot be translated in a traditional way. The words in different languages are integrated in the poetic expression. Subtitles are irrelevant.
The music and the animation was created in close cooperation with the author.
Music: Hagen & Nilsen from Xploding Plastix
Animation: Ina Pillat
Script, photographs, visual poetry by director & producer: Ottar Ormstad
Rachel Eliza Griffiths has made poetry book trailer-style videopoems for a couple of other poets, but this one from 2011 was for her own collection, and Roxane Gay, writing at HTML Giant, was impressed:
Mule & Pear is a new book of poetry by Rachel Eliza Griffiths and has a book trailer I really love which is saying something because I do not care for book trailers.
This Dust Road: Self Portrait is an excerpt from the final poem in Mule & Pear. According to the publisher’s description,
These poems speak to us with voices borrowed from the pages of novels of Alice Walker, Jean Toomer, and Toni Morrison—voices that still have more to say, things to discuss. Each struggles beneath a yoke of dreaming, loving, and suffering. These characters converse not just with the reader but also with each other, talking amongst themselves, offering up their secrets and hard-won words of wisdom, an everlasting conversation through which these poems voice a shared human experience.
These are three, seven and twelve from Angie Werren‘s “twenty seconds of haiku” series, a deliberately low-tech approach to videohaiku that’s brilliant when it works. One big advantage Werren has over most other filmmakers, amateur or professional, who attempt videohaiku: she understands what English-language haiku — and micropoetry in general — is all about. Spend some time at her blog Feathers and you’ll see what I mean.
A concrete videopoem by the UK-based Polish video artist Maciej Piatek that alludes to a text by Paul Eluard and an historic, public use of that text, as the write-up on Vimeo explains:
The film was screened at Liberté during the ArtsBridge Festival 2014. Liberté was a multi-discipline performance featuring collaborations in poetry, music, film, dance, prose, performance and visual arts, that used Paul Éluard’s “Liberté” poem as a starting point. The poem was famously dropped from aeroplanes during WWII by the British Air force over occupied France.
2014 was a year of the centenary of the start of WWI and the 75th Anniversary of the start of WWII, and in an age where we see almost perpetual war, we are told that it is all necessary “for our freedom”. The performance attempted to analyse what liberty/freedom meant to each contributor.
Featured work by Lianne Brown, Gillie Carpenter, Isolde Davey, Holly Hero, Gaia Holmes, Tallulah Holmes, Cliff James, Alice Mill, Paul Mill, Steve Nash, Maciej Piatek, Winston Plowes
ArtsBridge Festival 2014 at Christchurch, Sowerby Bridge, UK