A brilliant text animation of Plath’s 1961 poem with images from vintage print advertisements. It’s the work of the New Zealand-based designer Kylie May, née Kylie Hibbert — the name under which she made this film and another in 2005, part of a “postgraduate study exploring the visual language of poetry” she called the Belles Lettres project.
By transforming the written words of poetry into choreographed kinetic performance the project seeks to expand typographical conventions of traditional published poetry. The research project utilises the poetry of Emily Dickinson’s (1862) I died for beauty and Sylvia Plath’s (1961) Mirror, to explore the potential of paralinguistics and poetry as emotive narrative. These two poetic voices are fused by intimate revelations of anxiety, which have relevance in today’s society.
Both films were shortlisted for the 2006 Berlin ZEBRA Poetry Film Awards, Mirror attracting a finalist placing.
PLEASE NOTE: Music used under the AUT screenrights license. For academic research purposes only.
How is it I’d never heard of Free Music Archive before? It’s the newest addition to the Free and Creative Commons-licensed sounds and music section of our Web resources for videopoem makers page. According to FMA’s FAQ page,
The Free Music Archive … is an interactive library of legal audio downloads directed by legendary freeform radio station WFMU.
The Archive revolves around our Curators, who select and upload all the music you’ll find here. Curators come from all over the world and have a wide range of experience with good music. They include freeform radio stations, netlabels, artist collectives, performance spaces, and concert organizers. If FMA were a radio station, the curators would be our awesomely obsessive DJs.
In addition to enjoying and downloading free music, site visitors can set up their own accounts on the Archive, make profiles, become friends with other listeners, create and share mixes of FMA music, and write posts on a their personal blogs. Listeners can also show their appreciation to FMA artists by adding them as Favorites or even “tipping” them directly through the site.
Together, our Curator-driven library and our distinctly social architecture create a platform that both guides and is guided by listeners.
I’ve had good luck finding Creative Commons-licenced music for videopoem soundtracks at SoundCloud, Jamendo, ccMixter and the Internet Archive, but it’d great to have one more option — especially one so tightly curated. I’m also impressed by how well the above-linked FAQ page explains the different Creative Commons licenses. If you’re still unclear on that, check it out.
After all my web hosting woes of late, I think it’s safe to say that this site, at least, is back on an even keel. To celebrate, I made a video for one of my favorite poems, and Nic S. was gracious enough to upload a reading I could use to Pizzicati of Hosanna. I found the music on SoundCloud: “The Foggy Dew” on tin whistle by Chris Kent. I blogged a bit more about this at Via Negativa just now.
http://vimeo.com/31104514
O.K., this is something different for Moving Poems — a videopoem made to embody the mission of a university. Marquette University is a Jesuit school whose motto is “Be the Difference.” (Gotta love Jesuits!) The filmmaker is James P. O’Malley of Carnaval Pictures. Here’s what he says in the description at Vimeo:
Using Mary Oliver’s inspirational poem as a script, I created this Poem-Videoclip for the inauguration ceremony of Marquette University’s new president.
I shot all the images solo with my Canon 5D Mark2, using Nikkor and Canon lenses and available light. The sync sound day included John Egan, of Egan Audio Services, and Patrick O’Malley as assistant. Patrick composed, recorded and mastered the piano solo, and John Egan created the sound design and audio master.
The readers are Marquette University students, and all on-camera performers are “non-pro” or “real-people”.
I edited and mastered on FCP, except for the simple graphic call to action I exported from After Effects.
The result is lightly branded enough, I think, to engage Oliver fans unconnected with Marquette. I know I enjoyed it.
My apologies for the outage over the past 24 hours. Moving Poems is now on a new server, where I hope things will be a little faster and more dependable than on the old server (where the rest of my sites still reside, for now).
Moving Poems’ latest production takes advantage of a new free-audio site that other filmmakers might be interested in, too: pizzicati of hosanna: dead poets’ poems read by Nic S. in English & other languages. The footage is from Blackwater Falls State Park, West Virginia. I blogged all about it at Via Negativa.
This new film from Bloodaxe Books, one of Tranströmer’s English-language publishers, incorporates footage of the Nobel Prize announcement and the Tranströmers’ reaction, as well as footage of Tranströmer playing the piano which Pamela Robertson-Pearce had just shot in August. Robin Fulton’s translations appear as subtitles for the Swedish-language readings, which include “The Nightingale in Badelunda,” “Allegro,” “From the Thaw on 1966,” “The Half-Finished Heaven,” “April and Silence,” “From March 1979,” and “Tracks.” This is of course something that the film/video medium is particularly well suited for: it’s wonderful to hear the poet reading in Swedish and know (more or less) what he is saying.
Do read the extensive notes on the Vimeo page. The detail that “Swedish composers have written several left-hand piano pieces especially for him to play” speaks volumes about his status in his homeland. (Hat-tip: Teju Cole on Twitter)
http://vimeo.com/29969928
Another text-only videopoem, but today with a soundtrack. I’m not crazy about the font-choice — for some reason, I have trouble seeing a Cummings poem in anything but a typewriter font — but otherwise this strikes me as a highly successful re-imagining of the text.
Nic S. blogged about “using text vs voice in videopoems” the other day, and it’s sparked an interesting discussion in the comments, with videopoetry pioneer Tom Konyves weighing in.
http://vimeo.com/26089551
A visually arresting, silent watercolor animation by Lilli Carré. The poem has its own Wikipedia page. (Hat-tip: Hannah Stephenson)