Nationality: Scotland

Torch by Aoife Lyall

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A paean to the power of the imagination from Scottish poet Aoife Lyall and her publisher Bloodaxe Books, directed by Irish poet and filmmaker Luke Morgan, with music by his brother Jake Morgan. The poem evidently appears in an upcoming collection called The Day Before:

Focusing on the earliest weeks and months of the pandemic, these intimate and meticulous poems mark the lived experience of someone who must navigate a world she no longer understands, exploring first steps and last breaths, milestones, millstones, emigration, fly-tipping and the entire world to be found in the space behind the front door.

The Firth by John Glenday

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The Firth is the most recent piece from the renowned moving image and poetry project, Filmpoem, founded in 2010 by artist, editor and director, Alastair Cook. As with so much of the work from Filmpoem, The Firth is a moving and beautiful piece of work. The film-making team here also includes regular collaborators, Luca Nasciuti (composer) and James William Norton (cinematographer). All three are based in Edinburgh.

The film draws on two poems by Scottish writer John Glenday, who also voices them for the film. They are from his collection, The Firth (Mariscat Press, 2020). His comments on them:

salve regina is a rebirth poem, of course, but based on the story of my brother almost getting washed out to sea on a home made raft when he was about ten or twelve. The coastguard found his raft, with his clothes on it, in the middle of the estuary, and assumed he had drowned. It’s also a poem of escape from the family, in a way. Some part of him walked home naked, another part never went home again.

dune grass in january is a portrait of my mother, who appears and reappears in The Firth, and I suppose by extension, a portrait of that typical, restrained, self-sufficient Scottish personality. Troubled, but untroubling. Approachable but prickly at times.

Moving Poems has previously shared more than 50 films from Alastair Cook, a major figure in poetry film world-wide.

The Life Breath Songs: toward a nature poem, written by the people of Scotland

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In her first project as Makar (Scotland’s national poet), Kathleen Jamie invited Scots to submit lines for a trio of crowd-sourced film-poems with a clear rewilding theme, to coincide with the 2021 United Nations Climate Change Conference in Glasgow. As filmmaker Alastair Cook explains on the project’s page at Filmpoem:

The Life Breath Songs (Òrain Beò-analach) is a three film cycle from the #PeoplesPoem project supported by the Scottish Government and driven by the Makar, Kathleen Jamie –

The Life Breath Song
The Shivering River
Are We Listening?

Commissioned by the Scottish Poetry Library from Alastair Cook, the triptych is called “The Life Breath Songs – toward a nature poem, written by the people of Scotland”, and is curated and arranged by Scotland’s Makar Kathleen Jamie and read by Eilidh Cormack. The cycle was directed and edited by Alastair with sound by Luca Nasciuti and cinematography by James William Norton.

For the texts of the poems, go to the Scottish Poetry Library. From the same source, here’s a good bio of Kathleen Jamie.

My Father’s Bones by Zoe Paterson Macinnes

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An author-made poetry film by Zoe Paterson Macinnes,

a visual artist and filmmaker from the Isle of Lewis. Zoe’s work is a result of her island heritage. She combines personal observations of land and sea with voice, memory and music from the islands to explore themes of identity and belonging. Her documentary short, Cianalas, which investigates the identity of young musicians in Lewis, was awarded Best Documentary Short by Desert Rock Film and Music Festival, and Best Student Film by Culture and Diversity Film Festival.

The music is by Lauren MacColl—the traditional fiddle tune “MacGregor of Roro’s Lament“—setting the mood for a bittersweet, meditative film which I liked well enough when I first watched it two months ago, but found incredibly moving the second time through. I suppose it helps than I can connect to it in two ways, from having visited other islands in the Hebrides, and from my own deep connection to the place where I grew up (including knowing exactly where I’ll be buried, as the poem says).

Video is such a great medium for poems of place! And despite being a professional filmmaker, Macinnes kept things simple with text on screen and slow-moving shots that aren’t redundant with the text and give the viewer’s mind permission to roam—paradoxically, a state more amenable to active engagement. It moves at a walker’s pace. I like that.

Raaga by Roseanne Walt

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A Shetlandic filmpoem by poet, filmmaker and musician Roseanne Walt, one of a series of four filmpoems featuring masked beings and texts from Dr. Walt’s award-winning, bilingual collection Moder Dy (Mother Wave). Stoal // Raaga is

A series of filmpoems exploring themes of modern myth, memory and landscape. Exhibited at The Booth, Scalloway and Broadway Gallery, Letchworth in 2019. Made with the Kishie Wife Collective. Commissioned by Shetland Arts.

According to the online Dictionary of the Scots Language, raaga refers to wreckage or driftwood, and figuratively “anything useless or spoilt, rubbish, a poor broken-down person or animal.” A raaga-tree is “a tree or branch washed up as driftwood.”

Mining Poems or Odes by Robert Fullerton

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Working-class voices are all too rare in poetry, so I’m delighted to be able to share this profound and lyrical documentary by Callum Rice in which Glaswegian poet Robert Fullerton reflects on how his approach to writing was shaped by his experiences as a welder. It was featured three years ago in Aeon (which I clearly don’t read faithfully enough) in partnership with the Scottish Documentary Institute, which produced it. Thanks to a Facebook friend, Luis Andrade, for alerting me to the post:

The Scottish poet Robert Fullerton is a former shipyard welder who was an apprentice when he found his love of books thanks to his mentor. Drawing inspiration from the sparks that he imagines as ‘wee thoughts, or wee possibilities, or wee ideas’, Fullerton began crafting poems while working at the shipyard, finding his dark, solitary days provided the ‘perfect thinking laboratory’ for mining words. Like its subject, Mining Poems or Odes finds beauty in language and in the docks of Glasgow, combining Fullerton’s thoughts on mining and lyrical readings of his poetry with scenes from the Govan shipyard’s distinctly working-class milieu. This celebrated short documentary by the Scottish filmmaker Callum Rice played at the Sundance Film Festival in 2016 and won a BAFTA Scotland award for best short in 2015.

See the film’s page on the Scottish Documentary Institute website for a complete list of awards and screenings (which don’t include any poetry film festivals, sadly). Mining Poems or Odes was Callum Rice’s first film, as a newly minted graduate of the Glasgow School of Art.

I love how Fullerton identifies mining as a root metaphor for artistic discovery. There’s no ignoring—nor should we want to ignore—the nitty-gritty, industrial or post-industrial reality underpinning our civilization. After several days’ wrestling with the nitty-gritty of modern web-hosting technology as I moved Moving Poems and Moving Poems Magazine to a new host with SSL, this was just the film I needed to watch.

Found by Susannah Ramsay

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A 2018 filmpoem by poet, filmmaker and scholar of poetry film Susannah Ramsay. She calls it

An experimental filmpoem about side-stepping death. The style of filmmaking was inspired by the Materialist/Structural elements of Peter Gidal’s experimental film, Key (1968).

Alphonso’s Jaw by Sarahjane Swan and Roger Simian

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Recently I became part of an international collective of artists called Agitate:21C. In its short existence, it has attracted about 300 outstanding experimental, avant-garde, and generally ‘other’ artists from around the world, including film-makers, poets, curators, critics, lovers of the arts, and just about any kind of alternative creator, focused on any medium, genre, style or form.

Originally part of a larger art installation created for Alchemy Film and Moving Image Festival, Alphonso’s Jaw was the first poetry film I found via A21C. It is written and directed by Scottish artists Sarahjane Swan and Roger Simian, also known as Avant Kinema. Sarahjane appears in the film and voices the piece in English and French. I find it virtuosic in its fusing of word, soundscape and image, as well as deeply moving in its meditation on the timeless horrors of war in the lives of individuals.

This is an excerpt from what the artists have to say on the film’s page at Vimeo:

The installation, and our subsequent short film, were inspired by our fascination for two objects we discovered amongst Edinburgh University’s Anatomy Collection: (1) the cast of a disfigured face; (2) a prosthetic jaw constructed on an early nineteenth century battlefield.

Through some research we unearthed the story of Alphonse Luis, a young French gunner struck by shrapnel at the Siege of Antwerp, 1832. Having suffered horrific facial injuries, losing his lower face, Alphonse’s quality of life was eventually improved when the Surgeon-Major and a local Belgian artist collaborated on the construction of a silver prosthetic jaw, painted in flesh tones and adorned with whiskers.

We uncovered historical accounts of Alphonse Luis’ injury, surgery, recuperation and rehabilitation in medical journals of the day, and drew on these for an exploration of identity, disfigurement and reconstruction.

In Alphonso’s Jaw we imagine that Alphonse Luis has become dislocated from history to exist outside of any specific time or place, trapped in eternal convalescence, soothed by the dreams of his Battlefield Muse, who is equal parts Night Nurse, Scheherazade and Beauty from Beauty and the Beast. Luis’ Battlefield Muse is, in turn, both horrified and fascinated by her patient.

The poem, titled “Beauty and the Silver Mask,” can be read at Avant Kinema’s blog, in both its full English version and the short fragment of it spoken in French, which was translated by Raymond Meyer.

Colour Poems by Margaret Tait

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A classic poetry film by the Scottish filmmaker and poet Margaret Tait (1918-1999). It’s one of “Five Filmpoems: Curated by Susannah Ramsay” in the first issue of an online journal dedicated to “exploring and showcasing the milieux, methods and madnesses of contemporary poetry in all its emergent myriad forms,” All These New Relations. Ramsay has this to say about Colour Poems:

Margaret Tait was known as a filmpoet and experimental filmmaker. Her approach to filmmaking was remarkably similar to the ethos of the avant-garde, generally self-funded, non-conformist, uncompromising, non-commercial, with distribution and exhibition being select. I think Colour Poems (1974) depicts some of the more thought provoking images within her oeuvre. There is a wonderful poetical moment, which begins with the poppy fields where Tait questions the true essence of the image through juxtaposing shots of the Scottish oil industry and related capitalist iconography and a sequence of images relating to a return to the earth. Nature is brought into being through spoken word. The narrator willing the viewer to look beyond what can be seen, to ‘look into all that is illuminated by the light’ […] ‘the own person’s own self perceiving the light and making the music’ suggesting that we are the beholders of (our) true vision.

Ghazi Hussein: four poems and an interview

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This is I came from the unknown to sing,

a short film about the Palestinian / Scottish Poet Ghazi Hussein
directed by Roxana Vilk camera Ian Dodds, Edited by Maryam Ghorbankarimi and Sound Design and composition by Peter Vilk
Executive produced by Scottish Poetry Library and United Creations Collective
Camera Ian Dodds
Editing Maryam Ghorbankarimi
Sound design and composition Peter Vilk
additional music by GOL

Hussein recites four poems in the film, two in English and two in Arabic: “Next visit,” “I came from the unknown to sing,” “I am an interesting file” and “To Edinburgh,” all from the book Taking it Like a Man: Torture and Survival a Journey in Poetry.