This new poetry film by the always interesting Lori H. Ersolmaz is an adaptation of a poem from The Poetry Storehouse by Luisa A. Igloria, and includes the author’s own reading in the soundtrack. Ersolmaz incorporated archival footage from the newly available Pond5 Public Domain Project and sound effects from Freesound.org.
Read Lori’s process notes, “Beginning with the End in Mind,” at Moving Poems Magazine.
A collage videopoem by Dale Wisely using a text by Laura M Kaminski from The Poetry Storehouse. The voices in the soundtrack are Nic S.’s and Eric Burke’s. The poem originally appeared in One Sentence Poems, which Wisely co-edits with Robert Scotellaro.
Lori Lamothe is the latest poet to have work added to The Poetry Storehouse, which is where Australian multimedia artist Jutta Pryor found this poem (originally published in Third Coast) and the reading by Nic S.. Pryor is responsible not only for the cinematography and direction but also for the very effective soundtrack.
I’ll admit it: I’m a sucker for single-shot videopoems. The text (by Neil Flatman, from The Poetry Storehouse) could so easily have elicited something melodramatic. The above remix is by Charles Musser, with music by Youngest Daughter. Nic S. also did a remix of the poem:
Still fairly low-key. I like the use of text-on-screen. The soundtrack is more subdued, with a jazz piano ballad by Fabric.
Australian filmmaker Marie Craven demonstrates one way to get away with out-right illustration in a videopoem. Had she used footage of pinball games in a poem that references pinball, it would’ve seemed merely redundant, I think. But instead she hit upon the idea of using colorful still images (by Donald Bell) alternating with dark, silent-film-like title cards bearing the lines of the poem. Cut these images in time with up-tempo, pinball-esque music by CIRC, and rather than simply depicting a game of pinball, the video actually enacts or reproduces the effect of a highly kinetic ball careening around in an inert cabinet. “The whole thing / goes tilt.” And the poem is raised to a new level, I think.
Spanish director Eduardo Yagüe used a still image of Camille Claudel (“Camille Claudel à 20 ans” by César D.R.) as well as his own footage and music by Four Hands Project in this film of a poem by Kathleen Kirk from the Poetry Storehouse. The poem also appears in Kirk’s chapbook, Interior Sculpture: poems in the voice of Camille Claudel (Dancing Girl Press, 2014).
Yagüe has made not one, but two films based on this poem. They couldn’t be more different. Here’s the other one:
The translation is Yagüe’s own. The music this time is by archiv ev noise. Broken Figure was filmed in October 2014 in Stockholm, while Figura Rota was filmed the following month in Madrid. I wonder to what extent the different locations and languages may have helped produce such divergent results. But perhaps the real marvel is how the two films nevertheless exist in dialogue with each other in something approaching an apotheosis of translation.