Szymborska’s most widely anthologized poem in a film interpretation by Pat van Boeckel, using footage shot on Sado Island, Japan, including (at the very end) a sculpture by Karin van der Molen. The usual English translation by Stanizław Barańczak and Clare Cavanagh from View With a Grain of Sand is given as onscreen text, with the poet’s own recitation in the soundtrack. I suppose some might find the images of an abandoned Buddhist temple a bit too obvious here (“great empty halls”, “two thousand years”), but I thought they made a perfect fit. The music is by Max Richter — the very same track van Boeckel used more recently for the documentation of his Rilke-inspired video installation.
I found the combination of found text montage and video footage shot by children simply irresistible in this author-made videopoem by Anna Banout, who says on Vimeo:
Identity. Otherness. Intolerance. Prejudice. Freedom. Integrity. As a half-Syrian girl growing up in Poland, these issues have accompanied me my whole life – I was other before I even knew the true meaning of this word. In this film I’ve combined footage from my childhood – multicultural safe place; a place where otherness didn’t really exist – with a monologue on the theme of identity. The videos were mostly taken by children – me, my sister and cousins – and I’ve decided to choose them as they captured the fragility of seemingly unimportant moments that only a child could capture. The monologue is a fake poem – it was assembled by me from variety of speeches given by poets, writers, actors, artists, activists and other inspirational people whose words I found refreshing in the identity-themed discussion.
Who do I identify myself as? Other.
A poem by Maria Jastrzȩbska from Syrena (Redbeck Press, 2004) that appears in Collective Brightness: LGBTIQ Poets on Faith, Religion & Spirituality, from Sibling Rivalry Press and edited by Kevin Simmonds.
That anthology has its own website, including a videos page where you can watch this and 28 other videopoems! Kudos to Simmonds. It’s rare for a poetry editor to take video seriously at all, let alone make the videos himself.
The ZEBRA Poetry Film Festival has just announced the 29 nominees for its 2014 competition, and this is one of them. It’s also a Vimeo Staff Pick — testimony to the high quality of the animation and production. Tytus Majerski’s description reads:
Stop-motion mixed with CG, short film based on a polish lullaby written by Janina Porazińska. Author of original music unknown. Performed by Maria Peszek.
A home made project, which I graduated with at my film school in Poland.
It combines cut out animation and 3d set-ups.
Janina Porazińska (1888-1971) specialized in children’s poetry, fairy tales and other folkloric material. The translation used in the titling is by Magda Bryll.
Mar Belle reviewed the film for the blog No Film School:
Have you ever noticed how parents seem to delight in terrifying their children? Whether it’s old wives tales of wind changes leaving their faces contorted or the devil stealing their souls post-sneeze, there are endless ways for adults to keep children in a perpetual state of fear. However, the cruelest has to be those moments before bed, when they’ll soon to be abandoned to a long, dark night with tales of cannibal witches or bone grinding giants stalking through their heads. Depicting the tragic story of a love triangle between a king, a princess and a page, Tytus Majerski’s atmospheric adaptation of Polish writer Janina Porazińska’s lullaby Once There Was a King, is cut from the same gruesome cloth that keeps nightlight companies in business.
A brilliant animated poem from Zbigniew Czapla, a Polish screenwriter, director, animator, painter and graphic artist. It was recently featured on Tin House Reels, accompanied by one of their usual engaging write-ups.
Zbigniew Czapla created this week’s Tin House Reels feature, This World—a short based on the poem of the same title by Czeslaw Milosz—at the invitation of the Fundacja Pogranicze, as part of a multimedia exhibition at the Museum of Czeslaw Milosz in Krasnogruda. Czapla calls his project “a catastrophic vision and poetic perspective on human life as a set of secrets, accidents, and misunderstandings.”
“Poetry is a difficult subject for animation,” Czapla said. “It should at all costs avoid banality, infantile associations, and overwrought pathos. The text and sound work together around themes, as in jazz improvisation. Topics connect, overlap, and move away from each other in a game of associations.”
“Animated experimental film is a way for me to combine my various fascinations. Painting, music, theater and literature are like pieces of a puzzle, which I try to organize in a new way. If the end result for me is mysterious and unknown, that it is worth doing. The expected effects do not interest me. A lot of the work ends up being unsuccessful, but that always comes with artistic risk.”
In honor of the great post-war Polish poet and playwright Tadeusz Rózewicz, who died yesterday at the age of 92, here’s one of his Holocaust poems in a multivocal animation by Dawid Jagusiak (A.K.A. 2wid), who described it on YouTube as:
my final 3rd year Christ Church University animation about holocaust(s), poem: Tadeusz Różewicz, music: Pavol Kajan, voices: Kinga Marchelak, Marta Jagusiak, Lorna Archer
The translation is by Adam Czerniawski, and may be read online at The Legacy Project.