Continuing with this week’s feature on Marc Zegans, here’s the first of three videos I’ll be sharing based on texts in his latest collection, circulated to select video artists and filmmakers while still in manuscript. This one is described on YouTube as “retro-collagist Eric Edelman‘s animation of the First Fragment from the Typewriter Underground. Full text can be found in La Commedia Sotterranea della Macchina da Scrivere: Swizzle Felt’s First Folio from the Typewriter Underground. Available from Pelekinesis March 1, 2019.” The publisher’s webpage calls La Commedia
a gathering of verse fragments and collages describing and illustrating the life of the Typewriter Underground, a spontaneous sub-cultural phenomenon that appeared with near simultaneity in a variety of cities and smaller locales across the globe in the late 20th and early 21st Century.
Oakland-based video poet Jenn Vee makes a poem by Marc Zegans her own in this charming mash-up of poetry film and vlog. It’s the first of four films based on Zegans’ work that I’ll be featuring this week. The poem appeared in his 2015 collection The Underwater Typewriter.
Los Angeles-based poet Lois P. Jones supplies the text and part of the voiceover (along with Katia Viscogliosi) in this wonderful new poetry film by Jutta Pryor. It’s the April 5 installment in the Visible Poetry Project‘s release of 30 poetry films in 30 days, which anyone with an interest in poetry film or videopoetry should be following, either on Vimeo or at the website, which includes much more information about the poets and filmmakers (but sadly shoehorns all the videos from each year into a single post, making subscription impossible and download times formidable for those of us with DSL connections).
Portland, Oregon-based poet Cindy St. Onge is no stranger to Moving Poems, but mostly as the maker of her own videos. This one’s the work of Australian filmmaker Marie Craven, herself a Moving Poems regular, and I love the way she both literalized and extended the poem at the same time. She posted some process notes on her blog last May which are worth quoting in full:
‘St. Umbilicus’ is from a poem by Cindy St. Onge, and is one of my shorter video pieces. As well as a poet, Cindy is a maker of videopoems I admire. She also gave her voice to the soundtrack of this video. This is the second video I’ve made from Cindy’s poetry. The first was ‘Double Life‘. The collaboration was closer on ‘St. Umbilicus’ and grew out of personal chats we had recently on Facebook and via email. These led to me expressing an interest in collaborating further, to which Cindy agreed. The poem is about the navel and its bodily reminder of our connection to our mother. To express this, I chose a very close, still image of a navel to be a ‘frame’ for a series of central images featuring mothers and children. The still image, which rotates slightly throughout the piece, was found on creative commons licence at Flickr. The artist is Linnéa Sjögren. The moving images contained within it are from ‘Scenes at the Beach Club‘, a 1927 home movie from the Prelinger Archives. I selected historic images here to emphasise the timelessness of the theme. Music is by Chris Zabriskie, his ‘Prelude No. 12’ from the ‘Preludes’ album.
At the National Museum of the American Indian,
68 percent of the collection is from the U.S.
I am doing my best to not become a museum
of myself. I am doing my best to breathe in and out.
I am begging: Let me be lonely but not invisible.
Mohammed Hammad‘s polyvocalic film of a poem by Natalie Diaz — the first of two of her poems included in Motionpoems‘ Season 8, “Dear Mr. President” — is everything a socially engaged poetry film should be, giving the viewer a powerful sense of the political and cultural contexts from which the poem emerged. There’s a very good interview with Hammad in Director’s Notes; here’s a snippet:
How did your conceptualization of Natalie Diaz’s poem evolve from an initially abstract narrative to its current form and how do you feel the use of portraiture and mixed format cinematography strengthened your interpretation of the poem?
I initially had a visual treatment that was more abstract and super ambitious production-wise relative to the budget we were working with. Part of the initial concept was to film portraits of residents of the reservations. After much consideration and a push from my producers, we decided it would be best to have the film feature portraits of indigenous people living in a city to better relate to Natalie Diaz’s depiction. We felt it would create moments of intimacy that would contextualize the statistics mentioned in the poem.
I felt that the camcorder footage would add that extra layer of intimacy between the film and the viewer, to show a more intimate perspective of the illuminating conversations happening behind the scenes.
From its opening moments, American Arithmetic’s soundtrack is peppered with a multitude of vocal fragments discussing the hostile environment encountered by the Native American community. Could you tell us more about the process of building the film’s soundtrack?
The more I embraced the portraiture treatment of the film, the more the pieces of the puzzle came together more, especially with regards to the audio part of the film. It just made sense to add snippets of our subjects’ interviews and to weave together a collection of reflections, each contributing to the conversation on what it’s like to be a Native person in America today.