A whimsical look at movement in the city. While reciting the poem, Francois Vogel »walks grainy« on the stairs of Montmartre, in Paris.
For this version, Vogel recites an English translation of the poem, but if you know French, the original is also on Vimeo.
(Hat-tip: ZEBRA Poetry Film Club.)
A day late for American Thanksgiving (I was busy hanging with the fam), here’s a Judith Dekker film of a poem by Flemish poet Max Temmerman, with Willem Groenewegen’s English translation in subtitling (and also in the Vimeo description). Dekker notes:
Max Temmerman’s poems and my images are related in a way. They both show the small movements, moments, objects and try to slow down around them. All the images for this one are shot in a time i had to say goodbye to one home to move to another. They are glimpses from both homes. The soundtrack is made by multi-instrumentalist Jon Birdsong.
Click through to Vimeo to read the rest.
A text by the Flemish poet Bart Moeyaert in a filmpoem by Dutch photographer and filmmaker Judith Dekker. Commissioned by the library of Genk, Belgium, it was screened at this year’s ZEBRA festival as part of their focus on Dutch and Flemish poetry films. Moeyart supplies the reading used in the soundtrack, and the English translation in titling (also included in the description at Vimeo) is by Astrid Alben.
This is Filmpoem 50, a collaboration between Scottish filmpoet Alastair Cook and 20 other poets hailing from Scotland, England, Ireland, the U.S., South Africa and Belgium. I have a rule against posting films containing my own poetry to Moving Poems, but in this case my lines account for only 1/20th of the poem, so I decided not to be precious about it. Besides, it’s too important a poetry film not to feature. The composition process involved Alastair sending each writer a snippet of found film. To quote his original email:
You can be trite, erudite, short or shorter (no more than three or four lines) but the brief is this—Americana, the 1950s, travel.
All the clips are from the same batch of film and the artistic conceit is that a narrative will thread through these. This batch of film has this family move through America over the years, these boys grow up and some of the footage I have is heart-wrenching, always tinged with the salient and sombre fact that I source these from house-clearances, that the death of the filmmaker releases this footage to me.
The official description, from Vimeo and the Filmpoem website, reads:
Watch Alastair Cook’s brand new film, three years in the making, with new writing by twenty of the world’s best poets, sountracked by composer Luca Nasciutia and read by poet Rachel McCrum – screens worldwide from Autumn 2016. New ekphrasis work by poets John Glenday, Vicki Feaver, Stevie Ronnie, Janie McKie, Brian Johnstone, Jo Bell, Andrew Philip, Linda France, Dave Bonta, Angela Readman, Michael Vandebril, Gerard Rudolf, George Szirtes, Emily Dodd, Ian Duhig, Rachel McCrum, Robert Peake, Polly Rowena Atkin, Pippa Little and Vona Groarke.
This was originally planned as Filmpoem 40, but got delayed for a number of reasons, during which I believe the concept changed and matured a bit. I list Alastair as the chief poet here because it was his concept from start to finish, and he edited and moved around the submissions after they all came in. The decision to have a single narrator was, I think, a good one, but it’s amazing how well the conjoined text holds together on its own. Clearly, this is an approach to filmpoetry/videopoetry composition deserving of further experimentation. Alastair had been building on what he learned in making his Twenty Second Filmpoem back in 2012, which also involved 20 poets and some found footage.
In other Filmpoem-related news, I see that there will be a fourth Filmpoem Festival, or series of festivals, dubbed Filmpoem Sixteen, though it doesn’t sound as if we can expect an open call:
Filmpoem Sixteen will focus on a series of invited curated events. The first of these is at the Hauge Centre in Ulvik in Norway, where Alastair is artist in residence in May. Alastair has directed The Sword, a new film working with Hauge’s incredible landscape poetry, alongside readings by John Glenday, cinematography by James Norton and sound by Luca Nasciuti; the film will premier on May 12th. Alongside this new film, the Hauge Centre will screen a Scottih retrospective of Alastair’s work and selected works by others from the Filmpoem Festival submission archive.
Check back for further announcements as our new director Helmie Stil brings her own flavour to Filmpoem.
On this day of international solidarity with Belgium, I’m sharing the most Belgian videopoem I could find. Marc Neys A.K.A. Swoon is the filmmaker, credited on Vimeo with “concept, add. mouthsounds & music, editing & grading,” and his fellow countryman Velimir Lobsang contributed the reading and the soundpoem. In an old blog post about an earlier collaboration, Marc explained the poet’s pseudonym:
‘Velimir’ is de voornaam van de Russische futurist ‘Chlebnikov’ en ‘Lobsang’ is een Tibetaanse naam die zoiets betekent als ‘positieve, heilzame studie’, aldus J.V. een ex-collega die onder het wonderlijke pseudoniem Velimir Lobsang gedichten schrijft.
(“Velimir” is the [first] name of the Russian futurist Khlebnikov and “Lobsang” is a Tibetan name that means something like “positive, wholesome study,” says JV, a former colleague who writes poems under the strange pseudonym Velimir Lobsang.)
Claus’s poem is adapted to film by his fellow Belgian Marc Neys AKA Swoon. The poet’s reading is courtesy of Lyrikline and the English translation is by John Irons. Marc used footage by Jan Earala, but everything else—concept, music, editing—are his own.
Marc told me recently that he’s moving away from writing process notes, preferring to let the films speak for themselves, as witnessed by his new, stripped-down, portfolio-style website. Last year, he made a pair of films for another Claus poem, “Halloween,” the second one also using footage from Jan Earala. Here’s hoping that more Hugo Claus filmpoems might be in the offing.