~ Video Library ~
Four Attempts at Making a Human by Dylan Brennan
The full title of this videopoem is Four Attempts At Making A Human – (not) after the Popol Vuh. In recent days it was announced as the winner of the poetry film competition at the revived Drumshanbo Written Word Weekend in County Leitrim, Ireland.
Writer Dylan Brennan and film-maker Jonathan Brennan are the creative duo behind the piece. From their statement at Vimeo:
Popol Vuh is an ancient Guatemalan/Maya text. It is the origin story of the Maya people. In it, the Gods make several attempts at creating humans using a variety of materials: from mud or clay to wood and corn. However, each of these substances prove unsuccessful until they try to make humans out of corn. Finally they succeed.
The poem is in three parts, each with a different tone and pattern on the page. The video recreates this using three sections, each employing a different technique from handheld to stop motion animation to kaleidoscopic effects. Subtle sound effects feature in sections one and two.
Poet and film-maker Colm Scully adjudicated the competition. From his statement on the winning film:
Perhaps about fertility, perhaps a dystopian Frankenstein like horror with a twist at the end, it worked beautifully. Partly filmed in Leitrim Four attempts at making a Human deserves rewatching over and over again, and the visual impact forces rereading of the very powerful poem.
Congratulations to the winning artists and organisers of the event, a further development in the culture of poetry film in Ireland.
Cultural Submissions by Caroline Reid
Written in a free-associative Australian vernacular and littered with local references, Cultural Submissions is by Caroline Reid in Adelaide. It evokes episodes in places on either side of the continent and the endless drive between the west-east poles of Perth and Melbourne.
For the video, Caroline speaks the prose-poetic text in a downbeat drawl, layered in a call-and-response fashion by sound engineer Jeffrey Zhang. This heightens the sense of thoughts rolling over each other and subjects changing as if melting in mid-sentence. Film-maker Patrick Zoerner brings together a series of slowly dissolving images that provide a poetic visual space for the voice to take centre stage.
Cultural Submissions can be read on the page at Verita La. It is from Siarad, a collection of Caroline’s poetry and prose published by ES-PRESS in 2020. The video was part of an interesting program curated by Jacqui Malens for the 2021 Poetic City event in Canberra.
Moving Poems has previously featured three other videos from Caroline’s writing.
Here by Philip Larkin
Last week’s Larkin centenary surfaced this fine poetry film from 2010, directed by Dave Lee with voiceover by Sir Tom Courtney. David Stubbins was the cinematographer, Andrew Olsson the editor and Louise Bennett the composer. The YouTube description:
‘Here’ is a contemporary cinematic interpretation of Philip Larkin’s poem of the same name, which depicts a journey east “from rich industrial shadows” through an initially bleak but increasingly fecund rural landscape and on to a large and bustling town, whose inhabitants (and their lives) are brought into sharp focus in uncompromising but affectionately honest terms before the journey continues eastwards beyond the town, to where “Ends the land suddenly” in an ethereal and unattainable “unfenced existence”.
The film has been nominated for awards at:
RTS Awards 2010
Holmfirth Film Festival 2010
Hull Short Film Festival 2010
Cambridge Strawberry Shorts 2011
The Greatest Poem by Philippa Hughes
“The United States themselves are essentially the greatest poem.”
– Walt Whitman
The Greatest Poem is a project involving many collaborators. At the heart of it is a spirited and uplifting poem by Philippa Hughes. The film-making is a composite of many short animated pieces by different artists, brought together into a consistent whole by Elyse Kelly. A statement about the film:
“The Greatest Poem” is inspired by the words of Walt Whitman who believed that the power of poetry and democracy are derived from their capacity to make a unified whole from diverse and sometimes contradictory parts. In this spirit of diversity and unity, the film was made into a beautiful whole by a team of 20+ artists, from around the U.S. and world, posed around the question “What does it mean to be American?” – source
FULL CREDITS:
Writer: Philippa Hughes
Director: Elyse Kelly
Voice: Raechel Wong
Music & sound design: Cathead Noise & The Lunar Year
Sequence Directors (in order of appearance): Rohan McDonald, Nazli Cem, Zoë Soriano, Eric Larson, Catalina Matamoros, Cynthia Chu, Yoon Su Lee, Nijah Brown, Sofia Diaz, Mithra Krishnan, Jackson Ammenheuser, Megan Jedrysiak, Matea Losenegger, Angela Hsieh, Ana Mouyis, Sara Spink, Selina Donahue, Dena Springer, Dorca Musseb.
Additional design: Darren Enterline
The project was commissioned by Arena Stage in Washington D.C.
The More Loving One by W. H. Auden
Auden’s poem animated by Taiwanese filmmaker Liang-Hsin Huang for The Universe in Verse, “A project by Maria Popova in partnership with On Being“. Here’s Popova’s post introducing the new video. A snippet:
In what may be the single most poignant one-word alteration in the history of our species, [Auden] changed the final line of the penultimate stanza to reflect his war-annealed recognition that entropy dominates all. The original version read: “We must love one another or die” — an impassioned plea for compassion as a moral imperative, the withholding of which assures the destruction of life. But the plea had gone unanswered and eighty million lives had gone unsaved. Auden came to feel that his reach for poetic truth had been rendered “a damned lie,” later lamenting that however our ideals and idealisms may play out, “we must die anyway.”
A decade of disquiet after the end of the war, he changed the line to read: “We must love one another and die.”
The reading is by Janna Levin, and Garth Stevenson composed the music.
Աշնանացան / Autumn Sowing by Anahit Hayrapetyan
Let me turn into a song and spread in your wilderness
Let me turn into a ray of sun and by diffused in your light
Let me turn into a seed and sprout in your fields…
Moving Poems’ first film from Armenia is part videopoem, part documentary of an installation. Poet Anahit Hayrapetyan‘s lines are first shown on screen then incorporated line by line as white flags planted in a scarified landscape of furrowed fields and eroded pastureland, making a powerful statement about how land is claimed and occupied. Only in the final words is the poem’s political agenda revealed: “beloved Artsakh.”
Both installation and film are credited to Maïda Chavak and Naïri Khatchadourian, with Narek Harutyunyan as cinematographer, typography by Sargis Antonian and editing by Nina Khachatryan. The music was composed by Miqayel Voskanyan with Rafik Avagyan on blul (a type of flute). Together, they call themselves the AHA Collective. Autumn Sowing is the third part of a triptych called Hanging Garden, and is probably best seen in that context, as part of an exhibition including “objects of memory, traces of an act of emergency, historical sources of a heritage site with a status left hanging.”
[T]here is an urge to reinvent how mankind inhabits territory and heritage and what new forms can be taken by one’s sense of belonging to one’s land and language. The third space showcases such a short film and an educational program for all to practice the art of typography through wooden stamps, to write by hand to inscribe a permanent imprint.
What Day, from “West: A Translation” by Paisley Rekdal
Salt Lake City-based filmmaker Jennilyn Merten collaborated with Utah’s former poet laureate, Paisely Rekdal, on an online video installation for Rekdal’s cycle of poems West: A Translation,
a linked collection of poems that respond to a Chinese elegy carved into the walls of the Angel Island Immigration Station where Chinese migrants to the United States were detained. “West” translates this elegy character by character through the lens of Chinese and other transcontinental railroad workers’ histories, and through the railroad’s cultural impact on America.
West connects the completion of the transcontinental railroad with another significant American historical event: the Chinese Exclusion Act, which passed thirteen years after the first transcontinental’s completion.
This is What Day, which was also featured at Terrain.org. It’s the one that works best as a stand-alone film, in my opinion. Rekdal also has a 20-minute video on YouTube of her reading from the collection.
West: A Translation is slated for publication in book form by Copper Canyon Press in May 2023.
Every Word I Say to You by Paloma Sierra
Every Word I Say to You is a simple yet deeply touching piece by Paloma Sierra, a Puerto Rican writer, translator and film-maker. She describes the video:
The poem is inspired by my family’s experience living with Alzheimer’s. Since my grandmother’s diagnosis in 2015, my father and his siblings have dedicated themselves to ensuring my grandmother receives all the love and care she deserves. This poem is for them, my grandmother, and the many families who are living with Alzheimer’s.
Designer Supawat Vitoorapakorn, in Queensland, Australia, is credited with animation for the video. Music is by US composer, Andrew Abrahamsen.
It received funding from by City of Asylum in Pittsburgh and Carnegie Mellon University, Frank-Ratchye STUDIO for Creative Inquiry.
