Posts By Dave Bonta
Jigsawed by Tania Hershman
This is I love it how conversations flow from family to brown bread, an elegant, black-and-white poetry film by Ana Levisky with an interesting directive:
From landscapes to pubs and stores, a sequence of spots where personal episodes occurred is presented in an attempt to capture the geographical power in the absence of events or characters.
Bristol-based writer Tania Hershman reads her poem in the soundtrack, accompanied by Christopher Kestell’s original score on piano.
A Noiseless Patient Spider by Walt Whitman
This is one of the best student poetry films I’ve seen. Ayesha Raees is from Lahore, Pakistan, a literature student at Bennington College in Vermont who is writing her thesis on videopoetry. She told me she’s been working on this piece for the past eight months, and it shows. The spot-on music is by Sarah Rasines.
Raees’ decision to use just the second stanza of Whitman’s poem gives the text, I think, that quality of incompleteness that Tom Konyves maintains is intrinsic to each element in a true videopoem. (Read the complete poem at the Poetry Foundation website.) Another filmmaker’s take on the poem was recently deleted from Vimeo, so I’m pleased that such a fine new interpretation has appeared to take its place in the Moving Poems archive.
Morbleu by Karen McCarthy Woolf
Dancer and choreographer Ella Mesma collaborated with poet Karen McCarthy Woolf for this dance-poetry film. Fiona Melville shot and directed the film and Andrea Allegra wrote the music. Nathalie Teitler was the producer and creative director for Dancing Words, “a project designed to explore what happens when you bring together the art forms of dance and poetry” (something I’ve been interested in here at Moving Poems for quite some time). The project website includes interviews with Woolf and Mesma about the making of the film. Here are three snippets from Woolf:
I’ve experimented with poetry film before, working with Morbleu director Fiona Melville, but I’d not thought about dance and choreography. What’s amazing to me is how suited it is to lyric poetry – the dancer’s movement is a visual shadow of the white space, the silence and the emotional arc of the poem. […]
For me a film or a collaboration is a way for a poem to take shape in a more three-dimensional format than the page offers – although of course the reader’s imagination is capable of projecting anything onto the screen of the mind! In this sense I see poetry film as an extension of form…
The film is not illustrative of the poem, it’s a new interpretation and that’s exciting. A new collaborative authorship has come to into existence. That to me is the transformative quality of art. Seeing a dancer interpret the words and movement of the piece that in turn responds to the text and soundtrack. Fiona also trained as a painter/fine artist, and I think that she brings that aesthetic to the work. Everyone has a level of expertise to bring to the table. In a sense a collaboration is also a visual ‘reading’ of a poem — you get to experience an audience’s understanding of the work and help shape a communal reinterpretation.
Do read the rest.
Call for poetry films: Festival Silêncio 2016
The Festival Silêncio is coming to Lisbon at the end of June, and they’ve issued a call for poetry films to be screened during the festival. You can download PDFs of the guidelines and submission form at this link. They’re looking for films in either Portuguese or English (or with subtitles in one of those languages), up to five minutes long. The deadline for submissions is June 19.
[Update 6/6] Festival organizer Alexandre Braga sent along a plain-text version of the guidelines. I’ll paste them in below.
Guidelines
Festival Silêncio will take place between June 30 and July 3 at Cais do Sodré, Lisbon.
Festival Silêncio is the word celebration! It is a popular and transdisciplinary event that celebrates the power of words to stimulate, inspire and enhance the artistic creation, cultural reflection and collective participation. In this context, the Festival holds a Poetry Film cycle which includes a competitive section and a non-competitive section.
Poetry-film is an artistic genre that combines words, sound and vision. As stated by Alastair Cook (2010), “it is an attempt to take a poem and present it through a medium that will create a new artwork, separate from the original poem”. The competing films must use cinematic language to convey a poetic narrative.
DATE AND LOCATION
Between June 30 and July 3, 2016, in Lisbon.
ADMISSION REQUIREMENTS
- Poetry films with a maximum 5-minute duration are eligible for selection.
- There are no restrictions regarding genre, theme or approach.
- The films may be inspired by canonical poems or original poems.
- Films with incorporated voice or text and whose original version is not Portuguese should have English or Portuguese subtitles.
- There is no age limit.
- Each participant can present an unlimited number of films.
- Registration is not admissible for commercially distributed films.
REGISTRATION
- Film registration is free of charge;
- Registrations end in June 19, 2016;
- To register a film, the following elements are to be sent:
- the link to the visioning copy (youtube, vimeo). Other platforms may be accepted only if a minimum visioning quality is ensured;
- the film’s synopsis (max. 400 characters);
- the author’s biography (max. 200 characters);
- other relevant materials, such as film posters;
- duly completed registration form.
Registration documents must be sent to poetryfilm@ctlisbon.com
TECHNICAL REQUIREMENTS FOR SELECTED FILMS
Film copy (MP4 format | H264 in 1080p or 720p HD), with a maximum 5-minute duration, with English or Portuguese subtitles or dialogues.
JURY / SELECTION PROCESS
The selection jury will be appointed by the organization and its task will be to select the works to be presented.
The selection of films will take into account three categories:
- Best National Poetry Film
- Best International Poetry Film
- Public’s Selection
COPYRIGHT
Intelectual property and copyrights of the films being submitted to competition are to remain with the director. By signing the registration form, the participant declares that he or she is the author of the films being submitted and copyright holder. The participant has full responsibility for any dispute on a work’s originality and/or the ownership of the aforementioned rights. For all legal intents, every author has full responsibility on the films that he or she registers. Festival Silêncio will decline any responsibility with regard to third parties.
FINAL PROVISIONS
By registering his or her name at the Competitive Exhibition of Festival Silêncio the participant agrees that it may be fully or partially reproduced in any further locale or event related with Festival Silêncio.
Bone Thinning by Beth McKinney
Xiaomiao Wang, a doctoral student at the School of Art at Texas Tech University, worked with poet Beth McKinney to make this film as part of an exemplary, interdisciplinary poetry-film initiative, JOINT: A Poetry/Video Collaboration.
In the fall of 2015, poet John Poch and video artist Alex Henery collaborated to make the video poem Sonnet on Time. This collaboration is one of the several catalysts that led to the JOINT collaboration at Texas Tech University.
Throughout the spring semester of 2016, JOINT: A Poetry/Video Collaboration engaged Texas Tech University (TTU) students of Professors John Poch and Jiawei Gong in creating collaborative works of poetry and video/film throughout the spring semester of 2016. The student pairs met individually to craft a collaborative vision and product, working collectively to study and critique the production of work by collaborating faculty, artists and students. We hope you enjoy our work.
The completed projects were screened on May 3rd at the Alamo Drafthouse Cinema to a packed house. Dr. Wyatt Phillips, assistant professor of Film & Media in the Department of English, served as juror of the videos. Having viewed all the work prior to the screening, the Juror’s award winners were announced before all the videos were screened. The Audience Choice Award, collected on ballots after the screenings, was announced the following day.
And Bone Thinning was the film the audience chose. View all the films on the TTU website or the JOINT channel on Vimeo. There’s also more information about the project and the visiting artists (who included the poet Todd Boss, director of Motionpoems).
Qué es el amor? / What is Love? by Lucy English
Eduardo Yagüe translated Lucy English’s poem into Spanish as well as into film here, and the result is, I think, an excellent fit for her Book of Hours project, casting the text into the imaginative space of temps perdu. The geographic/linguistic distance and change in the expected sex of the narrator create additional resonances. And actor Steffan Carlson’s silence is so eloquent as to supply almost a third voice to the mix. Qué es el amor? is a brilliant demonstration of how to use the narrative style of filmmaking to comment upon and transform a lyric poem.
