A videopoem of the purest sort, meaning that poem and video are one and the same, by filmmaker Helmie Stil with Haide Rollo assisted by Denise Saul. The project from which it and two others emerged sounds fascinating:
Silent Room: A Journey of Language is a collaborative video poem project funded by Arts Council England. Denise Saul, project founder and poet, and Helmie Stil, filmmaker, work with individuals who have the speech disability, aphasia, to produce a series of video poems. This second video poem is Haide Rollo’s Bird.
That’s the Vimeo description. Here’s the Silent Room website. About this film, it says:
Haide Rollo is a workshop participant and emerging poet. … Haide used prompts, writing and hand gesture to create a poem about silent places.
A film by Sundance Award-winning director Malik Vitthal for Motionpoems, based on the title poem from Carmen Gillespie‘s 2106 collection from Two Silvias Press. An adept juxtaposition of filmpoem lyricism with the kind of storytelling familiar to movie-goers conveys a powerful sense of the experience of loss within the African American community and beyond.
Motionpoems have also released a video interview with Gillespie, filmed and edited by Ramble Pictures, about the origin of the poem and the film:
Eric Doise, who conducted the interview, also put together a lesson plan for poetry teachers [PDF] based on the film and interview — the sort of thing I hope to see a lot more of in the coming years, both from Motionpoems and from other poetry-film makers as well.
A brilliant meditation on mortality from director Pasquale Napolitano, actor Alessandro Haber, and poet Gabriele Tinti, filmed in the National Archaeological Museum of Naples by Luca Lucrezio Catapano, with a soundtrack by Giovanni de Feo. Tinti writes on Vimeo:
The aim of my series of ekphrastic poetry is to reactivate the now lost aura of the work of art, of all those relics of worlds and heroes – of a humanity – that no longer exist. The sense of death, of fragility, of emptiness, even of our masterpieces that we would wish to be eternal, are the instigation for my work. In this way the work takes on new life and the poetry, by reference, finds an ideal body in which to take form. On the other hand, critical analysis always restricts the aesthetic and cultural range of a masterpiece. Because every time a work is analyzed it is defiled, an attempt is made on its irreducibility. Poetry is never reduced to an explanation. Real poetry is always beyond any calculation, any system, any geometry: it is incompleteness, evocation, lament, thrill.
Concept, editing, grading & Music: Marc Neys
Field recordings and footage: Jan Eerala
Extra Footage: FKY (from ‘The Sea Also Rises’)
webpage: vimeo.com/fky – Licence: ATTRIBUTION LICENSE 3.0
Thanks to Mazwai & Ray Hsu
The poem was written out of a passion to challenge the invisibility of the many ways women are silenced and I tried it out in performance with many different audiences of women – in schools, universities, feminist groups, at poetry events and in prison. Clare and I then collaborated with three drama students at the University of Kent, Canterbury, England who interpreted the poem through movement.
This locally-produced, no-budget film has been screened internationally at feminist film festivals.
The dancer/choreographers are Kristin Bacheva, Vanessa Owusu and Elle Payne. The sound is by Daniel Battersby, with music by Jahzzar and Ars Sonor.