This is The Gardener’s Dream, a terrific poetry film by the Moscow-based animator Valeriy Kozhin. It was recently featured in a post by Alison Pezanoski-Browne at Tin House Reels. As Pezanoski-Browne writes,
Kozhin’s film transforms Lewis Carroll’s poem “The Mad Gardener’s Song” into a surrealist adventure that maintains the spirit of the poet’s work and incorporates a wildness that is all Kozhin’s.
The film conveys an abstracted conceit of a logic game. Using paper cut-outs and puppets, porcelain dolls, and minuscule objects, Kozhin draws on images of childhood. Using a color palate rich in natural pigments, his work also feels like more classic animation–a mixture of Marc Davis era Disney and Jan Svankmajer, one of Valeriy’s favorite filmmakers.
“I see a new world with my eyes when I am inside a film,” Kozhin said. “I think that cinema is a young art. We have the great opportunity to make more than we can imagine in animation.”
That imagination, which seems to be equally enamored with the romantic and grotesque, has created an alluring lullaby for those boys and girls who still read under the covers after the lights have been turned off.
Click through for a bio of the filmmaker. Kozhin has also uploaded a version in Russian, Сон Садовника.
https://vimeo.com/93042677
A Nic S. video based on a poem at the Poetry Storehouse. Eric Burke is based in Columbus, Ohio and blogs at Anomalocrinus Incurvus. The music is from Soundcloud user Elan Hickler.
The poem originally appeared in qarrtsiluni.
Pakistani poet Abrar Ahmad reads his poem in this video from Umang, directed by Ammar Aziz. Press the CC (closed captioning) icon for the English translation by Zahra Sabri, and visit the video’s page on the Umang site for the complete original Urdu text as well as the translation.
This video based on a poem by Sherry O’Keefe uses public-domain footage shot in South Dakota in the late 1930s, as Marc Neys (Swoon) explains:
Promises are there to be broken (the ones I make to myself, that is)
I’ve said never to use the footage of Ivan Besse again. I didn’t.
Not until I came across ‘Two Miles After the Gravel Road Ends’ by Sherry O’Keefe in The Poetry Storehouse.
Sherry was one of the poets I did a video for in ‘my early days’. A videopoem and a collab that is still dear to my heart.
It was a pleasure to find her words on the shelves of the warehouse. Such beautiful words.A lot of her poems tell stories. Great chunks of life wrapped in words and images. And these were just a perfect match for the storytelling images of Ivan Besse.
I’ve just learned that the 2nd Ó Bhéal International Poetry-Film Competition 2014 is open for submissions. I’m sure they won’t mind if I reproduce their call.
Ó Bhéal is pleased to continue its association with the IndieCork festival of independent cinema (www.indiecork.com). This is Ó Bhéal’s fifth year of screening poetry-films (or video-poems), and the second year featuring an International competition.
Thirty films will be shortlisted and screened during the festival from 12th-19th October 2014. One winner will be selected by the Ó Bhéal jury.
Deadline for submissions is the 15th of September 2014.
Guidelines
Entry is free to anyone, and should be made via email (after May 12th 2014) to poetryfilm [at] obheal.ie – including the following in an attached word document:
- Name and duration of Film
- Name of director
- Country of origin
- Contact details
- Name of Poet
- Name of Poem
- Synopsis
- Filmmaker biography
- and a Link to download a high-resolution version of the film.
Films must interpret or be based on a poem, and have been completed no earlier than the 1st August 2012. They may not exceed 10 minutes in duration. Non-English language films will require subtitles.
The final programme (shortlist) will be available via both the Ó Bhéal and IndieCork websites as of the 30th of September 2014.
Hope to see you there!
OLE.01 International Festival of Electronic Literature organizer Roberta Iadevaia wrote to inform me of two major changes in their call for submissions: “deadline is now July 15 (instead of May) and the limit of age is 40 (instead of 35).”
Thanks to the BluePrintReview book+lit blog for a kind feature on a project I’m tangentially involved with, The Poetry Storehouse. Moving Poems regulars would be forgiven for assuming that all Storehouse poetry videos eventually get re-posted here, since I try to share at least one of them a week. But even if I posted one a day, I’d still have trouble keeping up. So as the BluePrintReview post suggests, the Poetry Storehouse Vimeo group is the best page to bookmark if you don’t want to miss anything. (Poetry Storehouse videos on Moving Poems do have their own archive, too.)
All the work exhibited at the Poems, Places & Soundscapes audiopoetry and videopoetry exhibition is now on their website, for the benefit of anyone who couldn’t make it to Leicester in April. It would be great if more poetry-film screening events followed their lead. They’re even promising to post feedback and appreciation from the comments book and audio recording from an informal panel discussion held in conjunction with the exhibition.
As an exhibition rather than a festival, though, this may be something of a special case. Off-hand I can only think of three poetry film festivals whose websites archive a significant percentage of the films they’ve screened: Liberated Words (Bristol, UK), Co-Kisser (Minneapolis, US) and The Body Electric (Fort Collins, US). A more common approach is to share a list of the winning films, sometimes accompanied by screenshots. A few festivals have let their websites lapse altogether… and of course some never had a website to begin with, which is puzzling, to say the least.
It’s interesting to think about the different mind-sets that people bring to the poetry film genre(s). My own background as an online magazine editor and a poet for the page leads me to prioritize viewing videopoems/filmpoems on the web, because in part it’s so strongly parallel to the reader’s experience: it’s generally solitary, and one can go back and re-watch (re-read) as often as one likes. By contrast, people with a background in film tend to think in terms of festivals, theater runs and TV broadcasts: one-time or serial events, in connection with which the creators’ rights must be scrupulously protected. It’s to be expected, therefore, that to festival organizers, sharing screened works online must seem like a decidedly secondary affair, and potentially a bit of a hassle. But I would suggest that:
There is a third, major stream of influence on videopoetry, however: video art, which strikes me as uniquely well-adapted to the web since the emphasis has always been on multiple plays for a maximum number of visitors. The difference I think lies in the quality of attention we bring to exhibitions in a physical as opposed to an online gallery. But in any case, the appeal of this approach is reflected in its near ubiquity now. Video screens have spread out of the art galleries and into all kinds of other museums and exhibition spaces, even leading to hybrid festival/exhibitions where multiple screens display suites of films in continuous loops. There are of course trade-offs involved in every decision on how to present filmic work, but given that videopoetry/filmpoetry is itself a hybrid genre, doesn’t it make sense to think in terms of multiple approaches to presentation, with no single outlet—web, festival, TV broadcast, art gallery—becoming the standard?
***
Returning to the Poems, Places & Soundscapes exhibition, I was interested to hear that it may have succeeded in doing something that a lot of poets claim as motivation for making videos of their work: reaching a broader audience than the usual poetry scenesters and academics. In an email, co-organizer Mark Goodwin wrote:
Overall the exhibition was received very well. There is a very positive and attentive review here: http://siobhanlogan.blogspot.co.uk/2014/05/word-cubes-in-wild-place.html
The final exhibition gate-count was 1026. The Phoenix said that such a count was average to good for an exhibition in the Cube Gallery in April – they had estimated that the count would be around 700. So, considering this was essentially a poetry exhibition, I feel very pleased, and would suggest that for the presentation of poetry this is a long way above the average. […]
I saw quite a few folks who otherwise wouldn’t usually take time to engage with poetry, simply become poetically sucked into elsewhere via headphones! It really doesn’t get much better than that!
Another great film adaptation from Mariam Ferjani of a poem by Youssef Rakha, whose blog post of the video includes an English translation by Robin Moger:
My thinnest girlfriends always complain
Of gaining weight, which confuses me
When I think of fat girls.
But then I remember
That I’ve never suffered from loving my lover,
Except when it provides a good excuse to leave her,
And I reflect that things are less important
Than they seem, if we look at them
Long-term,
Which eases my terror a little.
So I say to myself that the world is really like this:
The thin fear fat,
The fat love food,
Lovers never suffer for the right reasons
And everything does not ride
On everything.
The Vimeo description includes a full list of credits in English:
Text: Youssef Rakha
Screen Adaptation: Mariam Alferjani
Actors: Alaeddine Slim – Mariam Alferjani
Photography: Alaeddine Slim – Mariam Alferjani
Producers: Kamel Laaridhi – Alaeddine Slim
Editing: Mariam Alferjani
British actor and poet Jade Anouka stars in this film of her poem directed by Michael Dickes, publisher of Awkword Paper Cut. Here’s the description on Vimeo:
Jade Anouka: Poem and Narration
Michael Dickes: Camera & Concept
Audio/Video Editing
Filmed on location at 59E59 Theater in
NYC using one camera and 1 lightbulb
on a wire. Kind thanks to theater staff.
Jades voice-over recorded at 48k using an AKG
large diaphram microphone.
Original soundscapes by Erokia (CC) Re-edited