The recently concluded Art Visuals & Poetry Film Festival Vienna challenged filmmakers to make a make a film with this poem by Georg Trakl, and screened the results just two days after the 100 anniversary of his tragic death. For those who wished to use English, festival organizers supplied a most excellent translation by Alexander Stillmark, as well as a reading in German by Christian Reiner. Many of the competition films have now been shared on Vimeo. UK director Maciej Piatek said about his film (above):
Before I started working on the video footage I had conducted a small study on Georg Trakl’s work. The poet himself was one of the most important Austrian Expressionists. As an avant-garde style, Expressionists cherished more emotional experience over physical reality. The starting point for me was to watch Werner Herzog’s “The Enigma of Kaspar Hauser”. The movie had inspired me to carry out another research on Georg Trakl. This time I was studying the importance of colours in Georg Trakl’s poetry. The Kaspar Hauser Song incorporates colours into a text as much as the other poems by this poet. The main four colours I was focused on were: crimson, green, black and silver. According to Wiesław Trzeciakowski (,,Kolorystyka wierszy Georga Trakla”,kwartalnik-pobocza.pl) we could ascribe to each colour certain emotions and feelings. Therefore I tried to use those four colours as a foundation and structural framework of my film. Additionally I brought to the film an experimental/improvised music by Fanfare, a perfect background music based on live instruments and free unspoiled expression.
German director Susanne Wiegner‘s 3D animation style is instantly recognizable. Quoting from her description at Vimeo (spoiler alert; watch the video first):
The visualization of the poem is based on the inscription of Hauser’s gravestone where you can read in Latin: “Here lies Kaspar Hauser, riddle of his time. His birth was unknown, his death mysterious.” In the film, the typeface is three-dimensional and builds a sequence of spaces, that is passed by the camera. Images and videos are projected on the letters, that lights up in the dark like kaleidoscopic smithers of memory. By these means the epitaph becomes the abstracted path through Hauser’s life from the subtle, slightly colored experiences of nature to the gradually darken spaces of civilisation, to a confusing labyrinth. Towards the end of the poem, the camera leaves the typeface, the script becomes flat again and one realizes Kaspar Hauser’s headstone.
Once I had a finished [sound-]track I started working on the visuals. A combination of sources this time. Footage by Lauren Lightbody (I used parts of this years ago) and SeriesNegras combined with stuff I filmed myself last fall.
I wanted anything but sharp images…blurry feel, colours green and brown… I wanted the edited parts to project a feeling of travel or movement over a period of time and seasons. From contryside to the city from spring to fall.
And finally, this film was
a collaboration between JosdenbroK (video) and Alfred Marseille (sound). The poem, Das Kaspar Hauser Lied, by Georg Trakl was written in 1913. Kaspar Hauser (30 April 1812 (?) – 17 December 1833) was a German youth who claimed to have grown up in the total isolation of a darkened cell. Hauser’s claims, and his subsequent death by stabbing, sparked much debate and controversy.
This was chosen as the winner of the competition. The statement from the jury reads (in English):
The art work in its graphic-abstract form offers versatile imaginative arrangement and a striking combination of drawn animation and moving image sequences to the text. Together with the coherent music composition a compelling work of art has been created. The film by Jos den Brok and Alfred Marseille on the text of Georg Trakl has been considered to the jury to be particularly outstanding and worthy to win the ART VISUALS Special Award 2014.
The nine other “Kaspar Hauser Lied” films screened at the festival may also be watched on Vimeo or YouTube, from directors Jutta Pryor, Nicolas Pindeus, Zooey Park, Dean Pasch, Othniel Smith, GRAF+ZYX, Justine Bauer, Karina Ille and Timon Mikocki.
This film by Marie Craven is the remix category winner of the Poetry Storehouse First Anniversary Contest. The challenge was to “Create a remix (a video remix, an art collage, a soundscape, a sound collage, or surprise us) in response to any Storehouse poem currently up at the site.” Erica Goss, Marc Neys and I were the video judges, but in fact all the remix entries were videos, so our top pick was the category winner.
On the poetry side of the contest, Jessica Piazza picked a winner and three runners-up, and I’ll be sharing the resulting ekphrastic videopoems by Neys, Eduardo Yagüe and Lori Ersolmaz as they are completed. Please see the full announcement at Moving Poems Magazine. Let me just quote what Erica Goss wrote about why we selected First Grade Activist.
In judging the contest, we looked for an overall fit between the poem, images and soundtrack. The winner had to demonstrate a sophisticated understanding of the elements of video poetry, blending them to create an artwork that is more than the sum of its parts.
As we evaluated the contest entries, we watched the videos many times over. Dave watched each video on different days, to try to eliminate the influence of whatever mood he might be in at the time, while Marc says he looked at “the total package, the crafting, as in editing skills, original camerawork, and the visual concept and originality.” For my part, I watched looking for that indescribable quality that a good video poem has, the juxtaposition of poetry, sound and image that jumps from the screen.
We agreed that “First Grade Activist” has those qualities. Dave said it had a “great populist aesthetic, as is appropriate for the subject matter. The music is fitting and compelling. The split screen with text on the left is on one hand reminiscent of a classroom blackboard, and on the other just a good choice for a self-referential poem like this one. I like everything about it.”
I thought it dealt well with a subject that’s gotten a lot of attention lately: bullying. I love that the poem imagines a “first grade activist” who combats bullying with a poem praising her friend’s red hair, the very attribute she’s getting teased for. As the children march down the hallway, little ones first, we feel the pain of the child who doesn’t fit in and the courage of her friend, who imagines a way to help.
Marc added, “The video is as crisp and fresh as a first school day, with a strong and taut concept in a tight execution. Good rhythm and good use of split screen in combination with the poem on screen (and the use of red in the letters). The music brings it together and gives it a nice build up, while the visuals remain the same. The video is clever and actually lifts the poem to a higher level.”
Congratulations to Marie Craven for winning the contest, and thanks to all who sent in their work.
On a personal note, I was pleased that the winning film was made with a poem by Nic Sebastian, even though this barely registered when I was evaluating the entries. Nic is of course the driving force behind The Poetry Storehouse, and added some of her poems at the beginning (as did I) mainly to set a good example and get the ball rolling. She works tirelessly to promote others’ poetry, lending her wonderful reading voice to many projects and creating a huge number of remixes herself, but her own poetry deserves to be much better known.
As mentioned in Part 1, for the 2014 ZEBRA festival, filmmakers were challenged to make a film using a text by the young German poet Björn Kuhligk, with an English translation provided by Catherine Hales. The ZEBRA programme committee chose three best films; these are the other two — both animations, conceived and directed by the animators themselves.
Susanne Wiegner says about her film (above),
The film starts with a peaceful, blue sea scenery full of hope and light. The recitation of the poem begins, that describes in a very drastic way the treatment of the boat refugees by the European Union.
The sea scenery becomes dark and hostile and ends up in front of a wall. The ear-deafening noise of helicopters resounds.The camera pans upwards and one realizes that the walls were built by the European emblem and the whole scenery turns into the European flag. The helicopters disappears, the Fortress Europe “was defended successfully” once again.
The heraldic description of the European flag given by The Council of Europe is:
“Against the blue sky of the Western world, the stars represent the peoples of Europe in a circle, a symbol of unity. Their number shall be invariably set at twelve, the symbol of completeness and perfection…Just like the twelve signs of the zodiac represent the whole universe, the twelve gold stars stand for all peoples of Europe – including those who cannot as yet take part.”
Council of Europe. Paris, 7–9 December 1955
Sometimes, we are like marionettes in the hands of those whom we have either consciously or
unconsciously chosen to please.
A visual adaptation of the poem “Die Liebe in den Zeiten der EU” by Björn Kuhligk.
In addition to the nicely oblique relationship between images and text, I thought the interplay of spoken and whispered lines worked brilliantly.
The collaborative partnership between London-based experimental filmmaker Stuart Pound and poet Rosemary Norman dates back to 1995, and nearly twenty years later, they’re still going strong. I saw “Grandmother is a Crab” at ZEBRA. The description on Vimeo reads:
Grandmother is a Crab borrows from an earlier digital video, made fifteen years ago, that itself used footage captured from a travel advertisement on television. Black and white, and mirror effects, take the image out of time, giving it both vividness and distance. The music is played in reverse. And the voice-over and under-titles are a poem that re-enters the magic world of a child on a beach.
Simple yet ingenious. It’s not just the kids who excel at digital remix these days.
I had the pleasure of seeing this film, from Italian director Gianmaria Sortino, on the big screen at ZEBRA. Like Sina Seiler’s Elephant, it prompts us to consider the interior spaces of women’s lives from a new perspective.
Sortino describes it at Vimeo as
Video poetry based on a piece by a young talented poet, Azzurra D’Agostino.
A special thank to Marina Spada, who inspired this work.
Azzurra D’Agostino’s own reading is in the soundtrack. Jeff Abshear is the translator. (There’s also a version without the subtitles.) I see that Abshear has translated a collection of D’Agostino’s poetry, Canti di un luogo abbandonato/Songs of an Abandoned Place, for a small, letterpress edition from the Kalamazoo Book Arts Center.