Deadlock is about an old English street: Daniel Street in Portsmouth. The text by Lauren Jones, and the film by Jane Glennie, evoke an important moment in its everyday history around 1820. The following quotes are from the artist notes.
“In the looming shadow of prison hulks docked in the harbour, Jeremiah and Charles Chubb worked on this site primarily as ironmongers providing naval equipment. Frequent crimes, including daring robberies of the dockyard warehouses and escapes from the hulks led to a competition being launched for an ‘unpickable lock’. The Chubb brothers accepted the challenge and created the now familiar Chubb lock still used to this day.”
But the success of the Chubb enterprise created a shadow legacy.
“…for those on the other side of the lock, the invention was a devastating barrier that put an end to those who relied on petty crime for survival, to those who were facing long, punishing sentences on the ships and even those women who were confined to the nearby Lock Hospital.”
The bold phrases of the text, and the spirited voice over, are well met by an animated ‘flicker film’ stream of images. Evocative stills rapidly pass through the eye in a way that feels dramatic and textural. The collaboration between the artists recalls to vivid imagination the local history and its impact.
Deadlock is one in a collection of films commissioned to be the online media component of ‘Dark Side Port Side‘ (2019), a walking tour set in Portsmouth.
“…the street has long since vanished in the name of progress and is now the location of Admiralty Road with its own soaring, modern accommodation. Evidence of the concern of security is still visible… behind keypads, passcodes and security men.”
Boldly directed by Jim Demuth, based in London and China, the film is part of a broader, multi-disciplinary arts collaboration called Singing My Mother’s Song, which explores family and lineage. The overall director of the project is Bristol-based Rebecca Tantony.
I was lucky enough to see the film in Athens earlier in December, where it screened at the International Video Poetry Festival.
In mid-October, Ó Bhéal’s 7th International Poetry-Film Competition took place in Cork, Ireland, in association with the IndieCork music and film festival. The winner was Virginia Gave Me Roses, directed by Dublin-based Fiona Aryan and written by Lani O’Hanlon, from Waterford. 2019 is the first time an Irish film has won this international competition, which has become highly-regarded in the poetry film community worldwide. The winning film was screened at the Kino as part of IndieCork, along with the other finalist films.
The judges this year were poet/film-maker Colm Scully and poet Stanley Notte. Excerpts from their comments:
Being a practitioner myself I learned so much from reviewing the 200 plus entries… Virginia Gave me Roses immediately worked for me on first viewing , and only improved as I watched it again. The beauty of the poem was matched by the subtle imagining of the visual.
In the end the film that stayed in the mind as a fusion of words and images was Fiona Aryan’s depiction of Lani O’ Hanlon’s poem, Virginia Gave Me Roses.
This piece depicts a soft-focused, memory-like family interaction that supports, compliments and, at the same time, adds weight to an original text that is both moving and strongly visual.
This depiction transports the viewer into a dreamlike state where one is enveloped by the profound sense of love and safety which being in a close-knit family occasion provides.
A warm, nurturing film to see at this time of year.
This 2016 film co-directed by Stephan Bookas and Tristan Dawes moved me to tears. That’s how effective, and affecting, I found this juxtaposition of W. H. Auden’s poem (text here) about Jewish refugees from Nazi Germany—read by a man identified only as Noah, a refugee and former child soldier from Uganda—with excellent documentary footage of contemporary refugees. Here’s the official synopsis from Bookas’ website:
Set to the verses of W.H. Auden’s 1939 poem, the multi-award winning “Refugee Blues” charts a day in ‘the jungle’, the refugee camp outside Calais. More intimate and unlike much of what has been seen in the mass media, this documentary poem counterpoints the camp’s harsh reality of frequent clashes with the French riot police with its inhabitants’ longing for a better future.
On Vimeo, Bookas includes a mini essay about the making of the film, which I found illuminating in its suggestion of how documentary poetry can differ from journalism. This was something I’d been thinking about because I recently attended a reading and slideshow from another documentary poetry project, which was a collaboration between a poet and a photojournalist: Julia Spicher Kasdorf and Steven Rubin’s Shale Play: Poems and Photographs from the Fracking Fields. Technically, Auden’s poem by itself would not be considered an example of documentary poetry, but as a filmpoem Refugee Blues certainly would qualify, in my opinion. Anyway, I hope Mr. Bookas won’t mind my quoting a sizable chunk of his post:
We didn’t set out to make a film at first – that idea came later – we just packed a car full of blankets, clothes, food and other items and went, not fully knowing what to expect. But of course, being filmmakers, we also brought along our cameras – to see if we might have the opportunity to document, to capture, to find the human story in all the chaos that was so ubiquitous in the media at the time.
Soon after our arrival, we found the people living at the refugee camp to be very warm and welcoming, as long as we assured them we weren’t news-gathering journalists.
We didn’t film anything to begin with and just walked around, introduced ourselves as documentary filmmakers and listened to people and their stories. Every single one of them was unique and heartbreaking.
Following these discussions, we asked if it would be alright to take out our cameras and start filming. For the most part the answer was a resounding yes.
We spent the following days exploring the camp and talking to people, discussing the situation and the political climate and spending time with them, being invited for coffee and food and allowed to film elements of their daily lives. This turned out to be the calm before the storm, as things culminated in a clash between the camp’s inhabitants and the French riot police on the road leading to the ferry terminal, symbolic for the plight of the refugees and their struggle against institutional powers they are unable to defend themselves against. […]
Of course, our film can’t possibly even begin to try and unravel all the lives and personal fates entangled within this crisis. But in some small way, and for us especially, it has given this tragedy a face that’s less abstract, more relatable, more human.
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.
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.