http://www.youtube.com/watch?v=yBBHVwyzmdc
If I haven’t shared more videos by the prolific and innovative Thylias Moss, A.K.A. forkergirl, it’s mostly because they were uploaded at a time when YouTube didn’t support very high-resolution films, and you kind of need that to make out the text in her videos. This more recent upload has none of those problems. There’s a lengthy gloss on the video at YouTube; I’ll just quote the opening paragraphs:
A Limited Fork Theory video poam (product of an acts of making) that investigates simultaneity through video convergence of multiple tines of information that exist in multiple forms: printed text, video, sound. The video poam reveals the moment of collision of the multiple tines, explores some of the warping and upheavals of colliding as a form of convergence.
Poam instead of poem, by the way, so as to not limit form with prescriptions of inclusion and exclusion long associated with poetry. Learn more about Limited Fork Theory at the Institute for 4orkological Studies (http://www.4orkology.com).
An homage to the Gray Lady of American poetry magazines.
This video captures the nightmarish aura of the poem, but at the same time becomes a separate work of art. It does more than interpret the poem; it reinvents the poem in a new medium. Its propulsive imagery, editing, and soundtrack create an unnerving sense of urgency that the original never attained, but that it greatly profits from in its second life as a video.
This video gives precedence to the poem’s words, but without sacrificing or marginalizing visuals. In fact, the dense, gloomy background visuals and monotone music heighten the tragic sense of the poem, punctuating its doomsday storyline and elegiac atmosphere.
The most visually crisp of the videos submitted, it also uses some of the most unexpected imagery, as when the word “cornfield” is blackened out in the text. And how can you not love that ukele being plinked in the background.
*
Thanks again to all the entrants, congratulations to the winners, and thanks to Howie for acting as judge. (Those are his blurbs for each of the prize winners.) I’m very pleased with how this contest turned out: the goal was to showcase a diversity of approaches to the poetry-film or videopoetry genre, and I think we succeeded in doing that.
I am very open to suggestions for future contests. I don’t want to sponsor contests so often that they become a chore, but I’m not sure I want to wait a whole year before doing another one, either, so maybe in three to six months… I also don’t want to do the exact same thing next time with a different poem, unless perhaps it’s a radically different kind of poem; I’d rather come up with a novel challenge. Feel free to email me or leave comments with your ideas.
http://www.youtube.com/watch?v=XGCgRcBZ4xU
Thanks to everyone who entered Moving Poems’ first contest! Howie Good and I were extremely impressed by the high quality and variety of the submissions. The judging worked as follows: we decided jointly which videos qualified as finalists and Howie ranked them, soliciting my opinion in a couple of cases, but ultimately making the final decisions. Tomorrow: the 1st, 2nd and 3rd place winners, and thoughts about the next contest.
Marly reads a poem from The Throne of Psyche, just out from Mercer University Press. Film and music by Paul Digby.
Update July 2012: Now with a new translation by Annmarie Sauer.
The second of the two Marleen de Crée poems translated and voiced by Arlekeno Anselmo for a film by Swoon (see yesterday’s post for background on the poet).
Update, July 2012: Now with a new translation by Annmarie Sauer and credit for voice and concept to Katrijn Clemer.
This is the first of two new videopoems I’ll be sharing for work by a prominent Belgian poet. Marleen de Crée has published 15 poetry collections to date, garnering various prizes (the Maurice Gilliam Award, the August Beernaert Prize of the Royal Academy of Dutch Language and Literature, and the prize of the Flemish Poetry Day). She’s also a visual artist who works in various media, and has had many individual and group exhibitions in Belgium and the Netherlands from 1964 to the present.
This information came via email from Swoon, the filmmaker here in collaboration with Arlekeno Anselmo, whom he credits with “Voice, idea & face” — and, critically, the translation. Those who know Dutch and prefer it without subtitles can watch the original version on Vimeo. As Swoon explained in his email: “For her last book ‘Het is niet de lava’ (It’s not the lava) I made 2 videopoems with a dutchspeaking voice. For a video-festival (FAFF 2011) I made 2 versions with subtitles (I don’t know if our translations do the poem any justice, but the festival prefered subtitles, so…)”
Another sign-language “reading” by poet and filmmaker Raymond Luczak. He notes at YouTube that the music was composed especially for the video by John Stutte. The book is available from Sibling Rivalry Press.
A new film by Alastair Cook “developed around a narrative commissioned by Alastair, written and read by Gérard Rudolf,” with cinematography by James Norton.
The project takes its lead from the Victorian street gang, of women and their children, who plagued the Elephant and Castle; it draws in the current landscape and it’s deteriorating edge, a farewell to the Heygate and Aylesbury estates; this is a dark trawl through threat and desire, driven by Gérard’s incredible words.
The Forty Elephants premiered on 8th April at Alastair’s fine art photography show at The Howden.
Howie Good and I have decided to extend the deadline for Moving Poem’s first videopoem contest by one week, to April 22. Here are the guidelines. We’ve gotten some fantastic submissions already, and if we ended the contest tomorrow as originally planned, it would still be a success. But now all of you with poor memories or a tendency to procrastinate — my people! — have one more chance to participate as well.