~ Videopoems ~
Videopoetry, filmpoetry, cinepoetry, poetry-film… the label doesn’t matter. What matters is that text and images enter into dialogue, creating a new, poetic whole.
Amorosa Anticipación / Anticipation of Love by Jorge Luis Borges
This nearly 14-minute videopoem was conceived, shot and edited by Sva Li Levy, AKA syncopath. Initially I wondered how it was going to hold my attention for so long, especially considering that Borges’ original poem is fairly short, but I needn’t have worried: I found it mesmerizing, a brilliant concept beautifully executed. How better, indeed, to anticipate love than by going through a soapy car-wash, Coltrane’s “Love Supreme” playing on the radio? And then playing around with the radio dial and finding Borges’ poem mysteriously transmitted in different languages: Hebrew (read by Yitzhak Hyzkia), Spanish (Julio Martinez Mezansa), English (Yonatan Kunda, reading the Alastair Reid translation), Portuguese (Martha Rieger) and French (Ravit Hanan).
Including the text of a poem in the soundtrack of a poetry film or videopoem has by now become so standard a move that I think I’ve been hungry for a new twist. And Levy’s treatment feels right in part because the poem could so easily be made to seem sententious, and instead he brings out the undercurrent of humor and the provisional quality found in so much of Borges’ writing.
Lilies of the Field by Laura M Kaminski
Australian artist Marie Craven‘s video remix of a poem from The Poetry Storehouse by Missouri-based poet Laura M Kaminski. Craven recently blogged some process notes on three films she’s made with Kaminski’s poems, including this one:
I met Laura on social media after the first video, and our mutual membership of the Pool creative group put us in more contact after that. I sent her a message about making something new with her writing, and asked if she would be interested in responding in poetry to four pieces of royalty-free video footage I had found at VideoBlocks. She was interested in a continued collaboration and willing to write a new poem. But her first response to the images I sent was that they reminded her of a poem she had already written, ‘Lilies of the Field’. I loved the poem, agreed there was a fit, and so went to work. I decided text on screen might be the way to go for this video. To that end, I rearranged the line breaks in the poem to better suit the screen, which Laura welcomed in the final result. In response to the poem, I also found additional video images to go with the original ones I had sent Laura. One of these – the road at night shot – is by videographer, Gene Cornelius in Alaska, whose fantastic videography is featured in some of my previous videopoems. The music in the video is Slow Blizzard by Clutter (aka Shaun Blezard in Cumbria, UK). Shaun and I have been in online contact on and off for several years and this is a track I’ve loved since I first heard it in about 2010. Once the video was completed, I contacted Nic S. at The Poetry Storehouse to ask if she might be interested in publishing the poem and video at the site. They are both now there.
The Art of Poetry Film with Cheryl Gross: “Hurricane”
https://www.youtube.com/watch?v=Bo3nurjgADY
Hurricane
Poem and video by Doctor Buckles aka Tattooedloverman
This video is about a dream I had this year that impacted my life immensely. It is experimental. It took me weeks to get it made using iMovie and is quite a bit different from how it started and I envisioned.
Doctor Buckles aka Tattooedloverman is quite the artist and poet. His drawings are spectacular and are a welcome addition to the video. I also love the combination of the little bits of video he incorporates.
The problem I have with Hurricane is the software used. iMovie is O.K. for fooling around and quick editing, but as the main base of movement, doesn’t do the rest of the project justice. The use of fades, ripples and whatnot is a bit cheesy. Using these effects at times makes the words hard to read. In some cases they fly by too fast and it doesn’t give the reader enough time to read the text. The timing could be better as well.
At first I couldn’t see the value of the mixed media. Then after watching it a few times I started to get into the actual video/drawing mix. As I said before I do love the videos. They give the viewer a nice break from the seriousness of the poem.
Just because something is available, keep in mind that throwing in everything but the kitchen sink doesn’t necessarily make for good art. It’s fun to fool around and watch the your images spin, but I would rather focus on the drawings and video with no or limited effects. I think the transitions could match up better as well. Also, I’m not too keen on filters on the photos either. If the photos were sketched out, it would give the piece a whole different feel. I would rather see the drawings and words done in a simple fashion.
In my humble opinion, leave the bells and whistles at home and get back to your core. I know it’s fun to play around, but decent art is the key. If one is seriously going to expose their soul to the world, why not make it a more worthy piece. I look forward to the next one with more drawings and less iMovie clutter.
Dictionary Illustrations by Sarah Sloat
Sarah Sloat is an American poet who works as journalist in Germany, and whose poems appear widely in print and online journals—including at The Poetry Storehouse, where Marc Neys A.K.A. Swoon found the text for this film. As he notes in a recent blog post, it’s the first in a series of at least five films based on Poetry Storehouse poems that he has in the works.
I really loved the poem (the visuals) and the reading (so good) by DM.
Making a track for this reading was fun;
[listen on SoundCloud]
Broken rhythms crashing in a fleeting piano. Not much more was needed for this.
For the visuals I wanted to go back to my childhood.
As a kid I loved hanging ’round the local market. The colours, the noise, the shouting, the smell,…
I thought it might be a good idea to match this poem/soundtrack with images and footage from IICADOM.Combining images from different market places with shots from local animals filmed at several travels. It gives the video the right amount of colour and naïve amazement I was looking for.
A reminder, for any poets who might be reading this: the deadline for submissions to The Poetry Storehouse is coming up on February 28. After that it will transition to archive mode, adding new remixes (including videos) only up through September.
Gentlemen by Marcus Slease
Like contemporary lyric poetry itself, poetry film these days is overwhelmingly serious in tone. Here’s an exception. Bristol-based filmmaker Graeme Maguire and poet Marcus Slease have produced “an experiment in letting go of perfection and critical thinking” that’s also highly entertaining in a Rabelaisian sort of way. Let me reproduce Maguire’s Vimeo description in full:
DIRECTOR: Graeme Maguire
ASSISTANT DIRECTOR: Sarah Maguire
POETRY: Marcus Slease
SOUNDS: Annie Gardiner of Hysterical Injury
STARRING: Rick Hambleton, Natalie Brown, Mo, Jamie Lindsay
THANKS TO: The Cube, Scubaboy Inc, Floating Harbour Studios, Geneva StopGentlemen is a poetry film project in collaboration with poet Marcus Slease. The film was created for an event called Uptight in Bristol, the name of which was the inspiration for the theme of the film. Inspired by Robert Frank’s ‘Pull My Daisy’, a silent film overlaid with jazz music and poetry by Jack Kerouac, Gentlemen is shot on super-8 and contains no dialogue. It is accompanied by a poetic narration by Marcus and an interpretive bass guitar sound track by Annie Gardiner.
The film is also an experiment in letting go of perfection and critical thinking. It was shot on one 3 minute roll of super-8 with all editing done in-camera. This meant planning and timing out all the shots before the shoot and then shooting each one in sequence using a stop watch. After processing the film the result is a fully edited film. This also meant that we could only do one take of each shot so the actors HAD to get it right first time!
Sarah Maguire is also a poet, and with Slease is the co-founder of Uptight, which has an interesting mission:
[I]nstead of moaning about not being able to connect with other British poets, we want to join forces with artists in other mediums and create a united front against the thugs that control the literary, political and social world of this country. Just as the Beats were influenced by Bop Jazz, and the New York school poets inspired by painters, we feel more at home with Bristol’s DIY artists/musicians/activists.
We are two poets, Sarah Maguire (Bristol) and Marcus Slease (London) that to put it mildly are sick of traditional intellectual, stiff, PHD driven British poetry and feel obligated to do something …anything ….to make a change.
We have created Uptight for our own mental health and general punk fuck you activism! We will hold regular events that will bring together poetry, music and film. Our events will be queer friendly, woman friendly and we will make every effort to be inclusive and engage with artists of various ethnic and cultural backgrounds.
Uptight is working on the first publication of a print (YES real recycled paper) and online magaZINE that will show case all that is truly modern in art and poetry.
Red Kites at Uffington by Martin Malone
A wonderful poem and film from Martin Malone (text) and Helen Dewbery (film and production), with music by Colin Heaney.
Memoires / Memoirs by Paul Snoek
A highly inventive videopoem from the indefatigable Swoon (Marc Neys), who described how it came about in a blog post last month:
Note to self: make more ‘Belgian’ videopoems…
So I made one to start with. One I wanted to make for a long time, but never had the right idea for.Now I did.
The poem ‘Memoires / Memoirs’ is by Belgian poet / painter Paul Snoek.[…]
First I created a soundtrack so I had a time frame to work with once I would start filming. I used the recording of the poem that I found on Lyrikline. [listen on Soundcloud]
My idea for the visual was simple, but effective I believe.
‘Cut up flowers and create a house in the most simplistic manner and then destroy the house’
I filmed the whole process from different angles and with different lenses. Editing came naturally once I had the music and the visuals. I adapted the pace and feel of the soundtrack until there was a sense of unity. A translation by James S. Holmes (from ‘A quarter century of poetry from Belgium’, 1970) was used as subtitles.
Memoires is currently a featured film at The Continental Review.
شاعروں سے ڈرو / Be afraid of poets by Zeeshan Sahil
Be afraid of poets –
they have a hand-grenade
made of dreams…
The late Pakistani poet Zeeshan Sahil “has often been praised for writing in a simple yet profound manner”—a simplicity admirably captured in this short film from Umang, directed by Fahad Naveed and narrated by Mahvash Faruqi with a performance by dancer Suhaee Abro.
Be sure to click on the CC icon for the English subtitles, translated by Nauman Naqvi, or click through to the Umang website to read the full text in English and Urdu.
I Too Come From by Luisa A. Igloria
This new poetry film by the always interesting Lori H. Ersolmaz is an adaptation of a poem from The Poetry Storehouse by Luisa A. Igloria, and includes the author’s own reading in the soundtrack. Ersolmaz incorporated archival footage from the newly available Pond5 Public Domain Project and sound effects from Freesound.org.
Read Lori’s process notes, “Beginning with the End in Mind,” at Moving Poems Magazine.
