A poem by Jessica Goodfellow adapted to film for Motionpoems by Alex Hanson and Edward Chase Masterson of Commandr studio. See Masterson’s Vimeo upload for a full list of credits, which appear to have gone missing in Motionpoems’ otherwise fabulous new website design.
Released on January 1, this was the last episode (as they’re now calling them) in Motionpoems’ Season 6, which was produced in partnership with VIDA: Women in Literary Arts and featured a lineup of all female U.S. poets. As with the others in this season, there’s a bonus interview with the poet. Here’s the final question and response:
What was your initial reaction to seeing the motionpoem?
I don’t know what I was expecting, but I had to watch the movie two or three times before I could take it in, because its story line was so different from the poem. I was all the while captivated by the the textures in the imagery, the childlike yet knowing voice of the narrator, the mystery of the film, those actual crows (I had expected animation since I did not think real animals would be feasible) and that final striking image. Even now, though I’ve watched the film a dozen times, it remains mysterious to me, but that’s the genius of what Alex Hanson and Edward Chase Masterson have done—adding layers of mystery rather than in trying to explicate the poem. Because of their film, the poem has become a deeper, more moving experience, one that evokes a despair in me that I did not expect.
William Carlos Williams’ own recitation of his poem is included in the soundtrack of this animation by Isaac Holland. The video is part of the Poetry of Perception series commissioned by Harvard for its Fundamentals of Neuroscience course.
Published online at TriQuarterly a year ago, this is the most recent of the Situation videos produced by Claudia Rankine with her husband, documentary photographer John Lucas, and included in text form in her award-winning collection of prose poetry Citizen.
Australian artist Marie Craven describes her first videopoem in many months as
Some fun with Sheffield dance music, DIY visual fx and poetry.
Concept & Editing: Marie Craven pixieguts.com
Music & Mixing: Adrian Carter soundcloud.com/adicarter
Voice: Nic S. verylikeawhale.wordpress.com
From a poem by Ashleigh Lambert poetrystorehouse.com/2015/03/28/ashleigh-lambert-poems
It’s nice to see filmmakers continuing to draw upon work in the Poetry Storehouse.
An animation by Lily Fang, part of the Poetry of Perception series for the Harvard University course Fundamentals of Neuroscience. Sarah Jessop provided the voiceover with music by Skillbard. The epigraph is by Igor Stravinsky: “I haven’t understood a bar of music in my life, but I’ve felt it.”
This film by Maggie Bailey blends interpretative dance with snippets of a 1961 interview with Sylvia Plath and Ted Hughes. Here’s the description from Vimeo:
An Interview stems from a desire to explore the life of Sylvia Plath. This short film analyzes Plath’s feelings about her relationship with her husband, daily life, and raising her children, through dance and gesture work, paired with excerpts of an interview with Plath and her husband, Ted Hughes. Though she says quite the opposite in this interview, we can infer that she feels a loss of identity and purpose in life, in the midst of caring for a new baby. The year of the interview is 1961, two years prior to Plath’s suicide. Directed & filmed by Maggie Bailey. Edited by Maggie Bailey and Tyler Rubin. Performed by Heather Bybee. Music by Michael Wall. Interview with Sylvia Plath and Ted Hughes.