Lark, from the autobiography of John Muir

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A passage from the autobiography of Scottish-American conservationist John Muir is treated as found poetry in a filmpoem by the Dutch photographer and filmmaker Judith Dekker. She writes:

Made as a part of my residency in Dunbar, Scotland for North Light. For this film I’ve used John Muir’s words as a starting point: my film is an interpretation and carries these words to a different place. All footage was shot during my time there; the poet John Glenday was kind enough to read a passage from John Muir’s autobiography and composer Luca Nasciuti created a soundtrack which fits like a glove.

Thanks to Creative Scotland.

Discharged into Clouds by Dean Young

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The November selection from Motionpoems is by their co-founder Angella Kassube, and I think it’s one of the best they’ve ever made. The minimalism here really works for me, in part perhaps because I like Dean Young‘s poem so much. The soundtrack (by Carly Zuckweiler) is a perfect match to Tim Nolan’s reading.

Kassube’s process notes are worth a read (scroll down past the poem text). The poem is from Young’s new book, Bender.

Good to see a major player in American poetry film use a reading from someone other than the author. It’s kind of surprising to me that poetry film makers rely so heavily on poets’ own readings, given that all too often we are the least inspired oral interpreters of our own words.

Fallow Field by Scott Edward Anderson

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This is Filmpoem 34 by Alastair Cook, who writes:

Fallow Field is a poem by Scott Edward Anderson, from his brand new eponymous collection. It’s been a pleasure to make a Filmpoem for a friend and this harks back to my earlier work, motifs I explored and delighted in a number of years ago which suit Scott’s incredible words.

Scott’s collection Fallow Field is available from Aldrich Press, Amazon and scottedwardanderson.com.

Of the various blurbs on the website, I particularly liked this one:

“Wow, Pop, I had no idea you wrote so many poems!” – Walker Anderson, the author’s 10-year-old son

Anderson blogs at The Green Skeptic and Scott Edward Anderson’s Poetry Blog.

Aedh wishes for the Cloths of Heaven by William Butler Yeats

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Nic S.’s latest poetry video is especially noteworthy for its soundtrack, which blends the voices of four different LibriVox readers to great effect.

Broken Horse by Sara Mithra

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Sara Mithra is a Vermont-based poet with a particular interest in the use of old home movies and other archival footage for videopoetry. She’s also active on SoundCloud. About Broken Horse, she writes:

This poem film explores the relationship between the labor of the Western frontier and its emotional legacy. Choosing semi-professional archival footage allowed me to present a story of wreckage. Thanks to the Prelinger Archives for providing such a rich trove of creative commons films.

Omelet by Fiona Tinwei Lam

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The poet, Fiona Tinwei Lam, also directed and produced this film, with animation by Toni Zhang and Claire Stewart. The text has appeared in Enter the Chrysanthemum (Caitlin Press, 2009) and Poet to Poet, edited by Julia Roorda and Elana Wolff (Guernica Editions, 2012).

Oir by Luisa A. Igloria

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This new videopoem by Marc Neys, A.K.A. Swoon, is one of his best, I think. Somehow the poem and reading by Luisa A. Igloria are just a perfect fit with the images and music.

As with his previous collaboration with Luisa, Mortal Ghazal, Marc has blogged some process notes incorporating remarks from Luisa. I’ll just quote from the first part of his post:

Some weeks ago we’ve had a thunderstorm at night. I recorded it, added some sounds and improvised piano…
For some reason I thought about the recording of ‘Oir’ Luisa sent me earlier. I combined them all and forwarded the result to Luisa.

I very much love the broody thunderstorm background and the improvised piano. I like the sound of rain very much. A hard rain on tin roofs is a particularly strong memory trace I have from my growing up in a tropical country. Anyway, for me rain has the capacity for both amplifying and muffling/softening the atmosphere. It’s full of emotional portent,

she replied.

Luisa also gave me the idea of using ‘café-ambient’ noises and provided me with some insights about the poem;

…but in part the poem is partly triggered by a conversation I had in a cafe. We talked about work, creative nonfiction essays, family…
As usual the cafe was crowded and noisy. it struck me then but perhaps more afterward, when I was writing the poem, that in the spaces that teem with so much everyday life, activity, business as usual, we strive to hollow out spaces for the intimate to be enacted and reenacted.

Read the rest.