Asesinato, directed by Javier Gómez Serrano for elegant mob films, is an adaptation of a poem from Poeta en Nueva York (Poet in New York), which may be read at Google Books in both Spanish and English (translation by Pablo Medina and Mark Statman).
A new videopoem by Belgian artist and composer Swoon. According to the notes at his blog, he first composed the music and found film images to match, then decided to add the poem:
I took some time working on a piece of music (first hunted, frightened. Melancholic other) with matching images.
Memories of what never was. The attraction between man and woman. A farewell. The impossibility of things undone.
A rabbit.Somehow the words of Atwood gave the necessary lightness (counterweight) and they added an extra layer.
(Thus, at any rate, Google Translate.) Who knew a pet rabbit could be capable of such gravitas?
This is the Sappho poem preserved because Longinus included it in his famous treatise On the Sublime. And indeed, film student and surfer Matt Ching says he made this “for my aesthetics class project on the Sublime.” He used the translation by Horace Gregory; you can browse through a huge number of other versions on this webpage.
I like the psychadelic approach here, though the abrupt ending is unfortunate.
http://www.vimeo.com/18203490
The wacky folks at Teleportal Readings say about this one:
We filmed esteemed poet Ed Hirsch during a shoot Teleportal did in collaboration with Rattapallax at the Bowery Poetry Club last summer. Though “trippy” isn’t a term we’d normally use to describe Hirsch’s work, the hand-painted, rotoscoped animation by Teleportal art director Scott Gelber makes the poet’s “Self Portrait” just that.
For more on Hirsch, see his page at the Poetry Foundation website.
This is “Harenberg,” by Klaus Hommerich and Daniel Gerken,
Shot on film and video; different gauges, resolutions and intentions show the pursuit of quiescene and ease of mind. […] Techniques: 8mm, 16mm, HD 1080P (EOS 5D, 550D), SD, Greenscreen with 8mm and 16mm,Feltpen on b/w film, Snorricam, Ikegami camera tube, GoPro HD, …
The reading is evidently by J. Milsome of the BBC.
Heather Haley wrote and directed this entertaining film about a very serious subject. Here’s her gloss from the video description on YouTube:
The audience is along for a wild ride in AURAL Heather’s “How To Remain” with a compulsive protagonist resolutely heading toward an elusive goal of perfection, perpetually struggling to stay *on* and, or to stay thin. *How to remain in control* is at the heart of anorexia and bulimia. Ubiquitous images of the ideal woman provide pressure and anxiety for us all. She turns to her trusty steed but instead of her body disintegrating, the horse’s body withers away. A symbol of intense desire and instinct, the horse’s ribs start to protrude as it becomes increasingly emaciated until finally disappearing with a *POOF! * Though eating disorders are a serious matter, the story is really about facing our all-too-human mortality. REMAIN is the key word and our secret desire, fueling our heroine’s quest for eternal youth and beauty, i.e., immortality. She is in a race. A horse race. A rat race? Or a labyrinth. Reel time accelerates as it does in real life; time seemingly flying by with advancing years as we move toward our inevitable departure. Of course HOW we live is what really matters.
A new filmpoem by Scottish artist Alastair Cook for a piece by the American poet Scott Edward Anderson. Alastair notes, “Naming was premiered at The Out of the Blue Drill Hall in Edinburgh in January 2011; it was shot entirely on Kodachrome Super8 in 2010 and contains no post production, after effects or erstwhile digital trickery.”
“Midwinter spring” is Peter Stephens‘ first foray into videopoetry, a film for the opening stanza of Eliot’s “Little Gidding.”