“An e.e. cummings poem I interpreted for my film production class. Shot on a dvx100b. Cut on Final Cut Pro,” says Jean-Paul Huang. Somewhat melodramatic, but so’s the poem. (An animation of the same poem by a different filmmaker that I posted a couple months ago has been removed from Vimeo.)
http://www.vimeo.com/8540818
Filmmaker TJ ODonnell says, “I added some effects to the soundtrack (whales) to further the feeling that one was slipping slowly under water.” I like the classical piano here, too, which is unusual — many times I’ve decided not to post an otherwise pretty good videopoem because of just such a soundtrack.
Though I’ve seen online documentaries about erasure poetry, this is the first videopoem I’ve seen that actually uses the technique as part of a stop-motion animation. It’s the result of a collaboration between the poet, Lauren Eddy and the animator and sound editor, Anne Duquennois, which Eddy clarified via email:
We came up with the concept and various visual aspects of the film together, and the animation was a collaborative process, so we credited the film with both of us as “co-creators.” The idea was to use film as a medium for commentary on the processual nature of erasure poetry and collage. We were inspired by the ways that one medium can re-interpret and re-invent another.
Anne’s production company is Broken Bike Productions — no website yet, but the address is brokenbikeproductions [at] gmail [dot] com.
Another film by Alastair Cook for the This Collection project of 100 videopoems about Edinburgh. I found the soundtrack particularly effective.
Emma Burghardt is the animator; the voice is the poet’s. Another fine production from MotionPoems.com.
A charming interpretation, directed and produced by Mike Movido and Hannah Kultgen in the fullest sense: Kultgen also did the translation, Movido did the music, and it’s their voices reading the poem in the soundtrack. Molvido says,
This is quite possibly my favorite video project that I did in college. The assignment was to choose a poem to interpret visually, but not literally. BREC 4275 – Advanced Production and Direction class at Marquette University.
A nicely non-literal animation of the poem by Latvian filmaker Signe Baumane, from 1999. It won Silver at Worldfest – Houston Film Festival 2000, the Robbie Burns Award at Cin(e) Poetry Festival 2000, and a Jury Award at the 34th New York Exposition of Short Film and Video 2000, according to Baumane’s website. Here’s the Spanish text.
Produced by The Center for International Education. I’m assuming it’s by this Robert Fones, a Canadian visual artist. The poem is from Sirowitz’ best-selling book Mother Said, which I reviewed three weeks ago.
The last two stanzas of Goethe’s poem get the silent movie treatment from some guy named Dave at Apeiron Films. The complete text, and an English translation by Emily Ezust, may be read at The Leid and Arts Songs Text Page. Here’s the portion that appears in the video:
If I were all that,
I would not begrudge you;
with princely gifts,
you should have me.
If I were all that,
I would not begrudge you.But I am just as I am;
and take me for that!
If you want something better,
then let them carve it out of you.
For I am just as I am;
and take me for that.
I like the gritty take on Oliver’s most famous poem. I’m sure this won’t be the last filmic word on it, but there are so many ways this could’ve been done wrong — I’m glad Justin DeWaard steered clear of them.
Shot with a Canon 7D and edited on Final Cut. HD was lost in the compression. Filmed on location in Holland MI and at Gyxo Studio.
A short entitled “Schoolboy” by Charlotte Herriman, who says,
Experimental film scratching/drawing piece for my Frame by Frame animation class. I started out with a found strip of film and manipulated it with a knife and permanent markers. I sent the film through a Steinbeck film projector and recorded it with a digital camera.
The piece is about a William Blake poem called ‘School Boy’ where he questions the need for schools. Blake implies that the ways in which children are taught routinely in schools is not the best way for them to flourish. At the time, I was terribly frustrated with school myself! ;)
Here’s the complete poem:
I love to rise in a summer morn,
When the birds sing on every tree;
The distant huntsman winds his horn,
And the sky-lark sings with me.
O! what sweet company.But to go to school in a summer morn,
O! it drives all joy away;
Under a cruel eye outworn.
The little ones spend the day,
In sighing and dismay.Ah! then at times I drooping sit,
And spend many an anxious hour,
Nor in my book can I take delight,
Nor sit in learnings bower,
Worn thro’ with the dreary shower.How can the bird that is born for joy,
Sit in a cage and sing.
How can a child when fears annoy.
But droop his tender wing.
And forget his youthful spring.O! father & mother. if buds are nip’d,
And blossoms blown away,
And if the tender plants are strip’d
Of their joy in the springing day,
By sorrow and care’s dismay.How shall the summer arise in joy.
Or the summer fruits appear.
Or how shall we gather what griefs destroy
Or bless the mellowing year.
When the blasts of winter appear.
Lindsey Butler directed, with narration by Nicholas Chichirda. Nice to see such a fine videopoem of Collins’ work that isn’t one of the canonical (and authorized) animations.