Posts By Dave Bonta
July 1, 1916: With The Ulster Division by Paul Muldoon
Director George Belfield of Somesuch production company writes (in the Vimeo description):
My great grandfather Wilbye survived the Somme. His brother Harry was killed in Belgium. My dad still has Wilbye’s signet ring on his finger. WW1 – and the Battle of the Somme – have always loomed large in my mind. The history. The poetry. My own family connection. The horror and carnage of it. The pointlessness. This film was my way of trying to connect with those experiences, and Paul Muldoon’s insightful and compassionate poem left us with the relatively simple task of creating space for it to sink in. These days, the Somme area is a banal agricultural backwater, but the landscapes still feel haunted by the atmosphere of what happened there. I recce-ed the locations with my dad, and my sister produced the film, so it’s really been a family affair, and I’m very proud of it.
The voiceover is by Lloyd Hutchinson and the sound by Jake Ashwell; click through for the full credits. The film was commissioned by 14-18 NOW, Norfolk and Norwich Festival and Writers Centre Norwich as part of the Fierce Light project.
Set by Nasim Łuczaj
Glasgow-based directors Douglas Tyrrell Bunge and Malen Montabes and poet Nasim Łuczaj are all credited as co-writers of this film, and all three appear as actors along with Harvey Dimond. It was made for the 48-hour filmpoem challenge sponsored by Cinepoems on December 2-4. The words are a little difficult to make out over the music, but the shots are too inventive not to share.
The Love Song of J. Alfred Prufrock by T. S. Eliot (3)
https://vimeo.com/191084099
Eliot’s enduring poem of male mid-life crisis gets a proper film treatment from Laura Scrivano and actor Daniel Henshall in A Lovesong, the third interpretation of Prufrock I’ve shared here over the years. The description from Vimeo:
‘Do I dare disturb the universe?’
A solitary man wanders the streets of a city, restless with indecision. As he tumbles down a rabbit hole of seedy dive bars, half deserted streets and shots of whiskey, time fractures – and it seems he might be destined to walk these streets forever.
Shot in New York by director Laura Scrivano, A LOVESONG the first film of THE PASSION series and features actor Daniel Henshall, star of AMC’s TURN: WASHINGTON SPIES and SNOWTOWN. thepassionfilms.com
Exploring Daniel’s fascination with poetry and text and the actor’s relationship to the both script and camera, his film takes as its starting point TS Eliot’s poem The Love Song of J. Alfred Prufrock, considered to be one of the founding texts of modernist poetry.
As for the series which it is initiating:
THE PASSION is an ongoing series of intimate short films, capturing some of the world’s most exciting actors in exclusive, commissioned performances, exploring and re-imagining key texts and modes of performance in contemporary settings.
Each edition of THE PASSION is crafted through a creative conversation with the featured actor, with a script being developed based on a classic text or mode of performance of the actor’s choosing.
Pushing the boundaries between cinema, storytelling, poetry, contemporary art and performance, the films will be as original, dazzling and individual as the talents that create them.
The stories THE PASSION will tell, the talents involved, the dramatic themes illuminated and the strength of each individual performance will make THE PASSION a unique and inspirational digital experience.
Usually in poetry film the most relevant collaboration is between a poet and a filmmaker, so this approach of developing scripts in conversation with actors is intriguing (though it doesn’t sound as if all the texts will be poems). A reply to a comment on Vimeo gives additional detail about the process here:
Director Laura and star Dan spent weeks talking about the poem’s possible interpretations, and on adapting the text, before our DOP was brought in to discuss how to render it on film. We were dreaming in Prufrock by the end of it.
Ghazi Hussein: four poems and an interview
This is I came from the unknown to sing,
a short film about the Palestinian / Scottish Poet Ghazi Hussein
directed by Roxana Vilk camera Ian Dodds, Edited by Maryam Ghorbankarimi and Sound Design and composition by Peter Vilk
Executive produced by Scottish Poetry Library and United Creations Collective
Camera Ian Dodds
Editing Maryam Ghorbankarimi
Sound design and composition Peter Vilk
additional music by GOL
Hussein recites four poems in the film, two in English and two in Arabic: “Next visit,” “I came from the unknown to sing,” “I am an interesting file” and “To Edinburgh,” all from the book Taking it Like a Man: Torture and Survival a Journey in Poetry.
How to follow Moving Poems in the WordPress.com Reader
WordPress.com is the largest WordPress multi-site installation in the world, and for many people, it’s synonymous with WordPress itself — an understandable mistake. As an online publishing platform it’s hard to beat for reliability, security, and an idealistic corporate ethos focused squarely on creative self-expression and user empowerment (including data portability) that puts the likes of Facebook and Google to shame. One of the coolest features of the site is that, for logged-in users, the home page — WordPress.com — is a feed reader. The latest posts from all the WordPress.com blogs you subscribe to appear there in excerpt form, and if you click on a title, you’ll instantly get the whole post, and can even comment on it without clicking through to the site if you don’t want to. And it’s just had a re-design to make it easier to use and better looking than ever.
The feed reader is pretty hard to avoid for WordPress.com users, and therefore has gotten a high level of adoption as the site continues to evolve and take on some of the features of a social network. What a lot of users don’t realize, I think, is that they can subscribe to any site with a working feed — Blogspot blogs, sites on Squarespace, Weebly, you name it. That naturally includes Moving Poems and Moving Poems Magazine. Here’s how.
Go to WordPress.com and log in if you’re a member, or follow the instructions to sign up for a free membership if you’re not. Once you’re in the Reader, you’ll notice a left sidebar where the top item should say Followed Sites (if you’re using a mobile device, you may have that text appearing at the top, above the content: click on it to go to the sidebar items). Click on the button that says Manage, and you’ll go to a page with a listing of all the sites you’re following (if any) with a search bar at the top that says “enter a site URL to follow.” Try it! Go to any site on the web with regularly updating content, copy the home page URL out of your browser, and paste it in. If it has a feed, the site title will appear as an option immediately below with a link to click that says “Follow.” Voilà!
Moving Poems and Moving Poems Magazine are actually two separate, interlinked sites, but I’ve created a combined feed using a service called Feed Informer, so you could just copy and paste in that URL if you want: http://feed.informer.com/digests/GVVXE6OY6V/feeder.rss. This will give the full content of the posts, including videos that will play right within the Reader. But if you subscribe to each site separately by pasting in the respective URLs, movingpoems.com and movingpoems.com, that will not only give full content but also the ability to comment on posts without leaving the Reader — comments that will then show up on Moving Poems itself!* Whichever way you subscribe, as of the latest re-design you should now even be able to watch the daily videos without even expanding the excerpts to read the whole posts (though if you’re in that much of a hurry, you should really probably re-examine your priorities in life).
Lots of people already subscribe to Moving Poems (including the magazine content) through the weekly MailChimp newsletter, and if you’re an email-oriented person and you don’t follow very many other blogs, magazines and online newspapers, that will probably continue to be your most convenient option. But if you do follow a bunch of different sites, it might make more sense to use WordPress.com — or another feed reader such as Feedly. But for sheer ease of use and social network-like features (comments, likes, re-blogging) you’re unlikely to beat WordPress.com at this point.
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*For the tech-minded who are wondering how that’s possible, it’s because these are self-hosted WordPress sites and I use the Jetpack plugin from WordPress.com on both of them, in part because it’s the best “related posts” plugin out there.
Leaving at Day Break by Catherine Ayres
This is one of a new series of videopoems by Anglo-Breton poet Claire Trévien — Day Six of the first videopoetry advent calendar of which I’m aware. As with most of the others in the series so far, it presents the poem (this one by Northumbrian poet Catherine Ayres) as text-on-screen accompanying a deft remix of video and audio from the web:
Components:
Two videos, one from Beachfront B rolls: http://beachfrontbroll.com, the other from Justin Jason: https://vimeo.com/57236261
Music is ‘Grass’ by Silent Partner
Sound effects from http://soundbible.com by Mike Koenig and stephan
Collaged together by Claire Trévien
Subscribe to CTrevien on YouTube to follow along as the advent calendar unfolds.
How Do You Raise A Black Child? by Cortney Lamar Charleston
Cortney Lamar Charleston’s searing poem, from his forthcoming collection Telepathologies (Saturnalia Books, 2017), is brought to the screen by director Seyi Peter-Thomas, Motionpoems and Station Film:
“This poem is about the precarious balance black parents have to strike in order to raise their kids ‘right,’ ” director Seyi Peter-Thomas says of Lamar Charleston’s piece. “It’s wrenching and thought-provoking.” Seyi’s film perfectly communicates this balance as it follows young Malik and his mother navigating life’s highs and lows. The moments of levity and those of unsolicited sobriety explore the complexity of Malik’s experiences as a part of a larger conversation on race and community within today’s uneasy social and political climate.
Seyi says, “Maybe what’s really being asked is how do we save a black child? And, what are the elements we must save them from? It’s a uniquely American conversation, one we’re all having on some level right now.” He hopes viewers will connect with the humanity in the film and also be prompted to ask and answer some questions of their own.
Motionpoems’ newest season of films are based on poems by black American poets, and presented in association with Cave Canem, a home for black poetry.
View more of Seyi’s work HERE.
For Gasoline by James Brush
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Earlier this week, Spanish filmmakers Javi Zurrón (Myblue Audiovisual) and Eduardo Yagüe simultaneously released these two films based on the same poem by the Texas-based writer James Brush, from his collection of road poetry, Highway Sky. In the Myblue Audiovisual version, Brush’s recitation is in the soundtrack, with Yagüe’s Spanish translation in titling; in his own film, Yagüe reads the translation and the original appears on the screen. In their footage and soundtracks, the two films are completely different but complementary, interpreting the text in a similar manner. Aida Riesgo of Myblue Audiovisual stars in both, and Javi Zurrón is the male actor in Yagüe’s Gasolina.
The romance of the automobile is as old as pop music, but usually it’s some specific hot car or motorcycle, not gasoline itself, that is depicted as an object of desire. These videopoems feel simultaneously new and deeply indebted to the music video tradition, not in the soundtrack but in the iconography (a scene of a rock concert, a Ramones t-shirt, a tattoo, etc.).
