There’s a brand-new poetry festival in Bristol this month called Lyra. Lucy English is one of the co-directors, so you know there’s got to be at least one poetry film screening. And sure enough, there is. Here’s the description from the full programme [PDF]:
UPROOTED POETRY FILM SCREENING
Filmmakers for these short poems include Ghayath Almadhoun and Marie Silkeberg, Jan Baeke, Alfred Marseille, Maciej Piatek and poet Hollie McNish.
ARNOLFINI FRONT ROOM
Time: 12:00 – 1:00pm
Price: FreeUprooted is a curated poetry film screening by Liberated Words co-directors, poet Lucy English and videopoet Sarah Tremlett, reflecting on the lives of refugees and migration, and how artists can illuminate and fulfill important roles. Three types of film will be shown: those centred on war zones, those in transit and the views from those both welcoming and ‘settling’ in a new country. The films show how artists can bring another view of the refugee crisis beyond how it is portrayed in the media.
These regional poetry festivals around the UK are really turning into a good venue for poetry films. If you’re able to get to Bristol in two weeks, the whole event sounds grand.
ZEBRA, the biannual poetry film festival, is expanding this year for the first time to include a Germany-only competition and screening in alternate years. I don’t know German, but it seems as if the main competition is for poetry films made in Germany — in any language — since 2016. There’s also a competition for films made from an official festival poem, and it’s not entirely clear, but it appears as if that film must be made in Germany also. Anyway, here’s the call for entries.
Back on February 22 I shared the call-out for Motionpoems‘ new Epiphany Awards, but that isn’t all that the Minneapolis-based arts organization has going on, as their latest newsletter makes clear. For one thing, their upcoming season sounds right up my alley:
Save the Dates for Motionpoems Season 9!
Our ninth season of motionpoems is nearly complete! This season, called “Future: Earth,” features work from brilliant emerging poets and filmmakers. Want to be one of the first to see the new motionpoems? Join us:
- In Minneapolis on May 3rd at the A-Mill for a special, donors-only sneak-preview!
- In Minneapolis on May 10th at Mia: Minneapolis Institute of Art
- LA and NYC: stay tuned for dates and locations TBA!
Then there’s this:
We’re launching a new program: The Motionpoems Hothouse. Our vision for Hothouse is simple: Taking a page from the 48-hour Film Project’s playbook, we’ll challenge filmmakers to capture the raw beauty of a poem and run with it.
For our pilot program, we have selected four dynamic poets and four teams of amazing filmmakers from our vibrant literary and film communities here in the Twin Cities. These filmmaker-poet teams will meet at our premiere on May 10, and the final films will be screened at the WordPlay festival at the Loft on May 12!
To help kick-off this one-of-a-kind event, we’ve launched a Kickstarter campaign. Support local artists and take advantage of our exciting rewards–including cameos, producer credits, and undying gratitude–here!
One thing I’ll say about Motionpoems director Todd Boss: he never seems to run out of new ideas. (Also, his own poetry is pretty great.)
Two very different but equally intriguing poets were interviewed recently in wide-ranging discussions that included questions about their film and video projects. The March 2019 issue of an Australian, bi-annual online literary journal called StylusLit featured Ian Gibbins in conversation with Rosanna Licari, and on March 5 the blog HeadStuff.org posted ‘It was an experiment and I didn’t really know how people would react’ | Interview With Lucy English. Taken together, they present an interesting range of possibilities for how to translate poetry into film/video, and the backgrounds of the poets are a study in contrasts: Ian from the world of science, and Lucy straddling the creative writing and slam/performance divide. It’s hard to select just a couple of quotes, but these should give you a taste:
Constructing the videopoems can happen in many different ways. Sometimes, I will have pre-existing text and then I get an idea for a video sequence which I will then go out and acquire. Sometimes I have some images I’ve collected for no special reason, and then I’ll match them to a pre-existing poem. Sometimes I’ll come up with a concept and then write some text and get the video more or less simultaneously.
The audio part of the video is an important element too. I’ve been putting some of my poems to my own music for a long time now either as performance or as part of art installations. So for some videos, I already have the complete soundtrack. Otherwise, I’ll compose music or soundscapes to suit the project at hand. In general, I prefer to have the soundtrack first and then fit the video to it. This allows me to closely match the visual and aural rhythms of the piece.
I’ve always enjoyed experimenting with animation and some of my early video poems were entirely based on animated text. More recently, I’ve been learning advanced video compositing techniques and 3D animation which allow me to create totally new visual environments from a mixture of pre-existing images and computer-generated scenes or effects. This process is 100% analogous to the way I use found or sampled text in my poems.
Ian Gibbins in conversation with Rosanna Licari
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What I have learned from making short films in collaboration is that there is a visual language which although I was aware of I hadn’t fully taken on board how this works. I was so used to looking at films I wasn’t analysing them. I have now got a deeper insight into how using images affects the viewer and how a film maker doesn’t need to ‘illustrate’ what is in the poem. The language of film isn’t necessarily narrative; we are shown a series of images and we ascribe ‘meaning’ to them. Obviously when writing a novel there is a narrative structure which I don’t need if I am writing a poem or making a poetry film. I have a visual imagination and I have really liked exploring the world of visual images in poetry film. It’s going to be interesting to see if any of this is transferred to my writing of fiction. Perhaps my prose will become more ‘poetic’ and less led by ‘story’!
‘It was an experiment and I didn’t really know how people would react’ | Interview With Lucy English
This week, Australian filmmaker Marie Craven launched Poetry + Video,
a new touring program of shorts from around the world. This hour-long collection surveys diverse contemporary expressions of poetry in video. A wide range of approaches includes: screen adaptations of page poetry, prose poetry, animations, poetry from found text and media, poetic cinema, text-on-screen, and spoken word.
The program is designed to be highly portable, and easily obtainable on request to screening spaces in any location. It is available for small to medium-sized venues in Australia and other places during 2019/2020.
The premiere screening will be on 4 May, 2019 at Garden Gallery, Murwillumbah, Australia. See the program itinerary for more details, including the outstanding live poets performing on the night. If you are in the vicinity of Murwillumbah, we hope to see you there to celebrate the launch!
The website is admirably complete, with bios of authors and filmmakers as well as descriptions of each film, all indexed in the right-hand sidebar. There’s even a trailer. Check it out.
Moving Poems was founded on February 23, 2009. The very first post featured a clay-on-glass animation of the Emily Dickinson poem “I heard a fly buzz when I died” by Lynn Tomlinson, which I’d found on YouTube. Tomlinson had made it back in 1989, so quite by chance in my very first post—in which my main intent was to honor and invoke the spirit of one of our greatest poets—I also gave a nod to the pre-digital era, which now seems terribly remote.
Meanwhile, Tomlinson has built up quite a reputation as an animator. I’m grateful that she eventually discovered my post, read my complaint about the low-resolution of the YouTube version, and took the time to upload a higher-res video to Vimeo, so I could swap that in. So many of the older videos I’ve shared on Moving Poems have simply vanished, victims of deleted video hosting accounts, copyright complaints, mad housecleaning impulses… you name it. For a while I was using a dead-links plugin to find and remove those posts. But at a certain point I realized that the historic value of keeping a record of who made what and when outweighed the annoyance to visitors from search engines landing on video-less posts.
It’s kind of an archaeological thing. A long-lived blog or website is just like an ancient city built over previous versions of itself—dead links, missing embeds and all. Moving Poems has its ruins, but they’re part of the attraction! Maybe. Anyway, the point is we all fall apart as we age.
At the moment, Moving Poems and its sister blog Moving Poems Magazine (founded in 2010 as Moving Poems Forum) are doing OK except for the fact that neither has HTTPS authentication (because the current webhost charges too much money for SSL certificates), so I probably only have a year or two to remedy that before some browsers will start refusing to follow links here. Meanwhile, some regular readers of the weekly emailed version of the feed probably forget about our web presence altogether, while other former visitors rarely leave the enclosed commons of social media any more, and forget that there used to be such a thing as the open web. Will any of us be here in ten years? Who knows? Sic transit gloria interneti.
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Here’s an interview I did with Quail Bell Magazine last month, all about videopoetry and poetry film. I talk about the relationship between videopoetry and the internet, how I curate videos for Moving Poems, and what the future might hold for the genre. Check it out.
Chelsea Werner-Jatzke recently contacted me to let us know about a videopoetry festival that she’s helping to organize in Seattle, and due to a snafu in communications, I’m a little late in getting this news out. But there’s still time: the deadline for submissions is March 1. Chelsea wrote:
Verse meets visuals in motion at Northwest Film Forum (NWFF) in April 2019. Cadence: Video Poetry Festival, presented by NWFF, programmed in collaboration with Seattle author Chelsea Werner-Jatzke, is a series of screenings, workshops, and discussions on the genre of video poetry, throughout National Poetry Month. Entering its second year, Cadence is growing considerably to fill a gap in the presentation of video poetry in the Pacific Northwest. Featuring four screenings, one each Thursday of the month, the festival’s inaugural Artist in Residence, generative workshops for youth and adults, and a juried selection of open submissions, Cadence fosters critical and creative growth around the oft overlooked medium of video poetry.
Cadence approaches video poetry as a literary genre presented as visual media that makes new meaning from the combination of text and moving image.
The website adds:
Video poetry is language as light. As an art form, video poetry is lucid and liminal—on the threshold of the literary and the moving image. It articulates the poetic image visually, rather than metaphorically—it shifts words from page to screen, from ink to light. A video poem makes meaning that would not exist if text was without image, image without text. It is language-based video work or a video-based poem. Video poetry is a literary genre presented as visual media.
Which is a damn good definition, I thought.
Cadence Call for Entries
NWFF is accepting video poetry submissions for inclusion in the April 18, 2019 screening of Cadence Video Poetry Festival. We are looking for works no longer than 5 minutes that fit within the following categories of video poetry:
- Adaptations/Ekphrasis: Videos created to bring new meaning and dimension to pre-existing poetry. Any poems used for this purpose must be in the public domain or else used with written consent of the author.
- Collaboration: Video poems created in collaboration between a videographer or video artist and poet.
- Video by Poets: Poets creating video from, or as, their writing.
- Poetry by Video Artists: Video artists using text visually or through audio intrinsic to the poetic meaning.
Cadence Video Poetry Festival proudly accepts entries via FilmFreeway.
Submission deadline: March 1Please direct questions regarding submissions to NWFF Artistic Director Rana San at rana@nwfilmforum.org.
The screening of selections from this open call for entries on April 18 is just one of four Cadence screenings, and the two workshops also sound very worthwhile, one on April 6th, and another on April 13 for teenagers. See the website for details about all those events.
This is actually the festival’s second year. In 2018 there was a call (which I missed) for entries from filmmakers in the northwest region.
A press release from Motionpoems.
Motionpoems is thrilled to announce the first ever Epiphany Awards: an annual awards program recognizing outstanding international contributions to the field of poetry filmmaking. As the world’s most robust poetry film producer, Motionpoems is thrilled to recognize and support poetry filmmakers with this exciting new series of awards.
A Motionpoems Epiphany Award—aka, an Eppy—is open to any poetry film not produced by Motionpoems, Inc., and will be awarded annually by a rotating jury of Motionpoems collaborators. Honors will be conferred to work deemed uniquely innovative or important in three categories: Adaptation, Production, and Innovation. The inaugural Epiphany Awards will be presented to six top-winning films during a Motionpoems screening, and winners will be invited to attend. Winning films will be awarded laurels, a $500 prize, and recognition across Motionpoems social media channels.
Entrants can submit up to three eligible films on Submittable by April 1, 2019, with an entry fee of $5 to cover administrative costs. We will accept films previously released or distributed online or elsewhere. Eligibility: Films of any length, based on a poem or poems, crediting all collaborators, and completed within two years of the entry deadline are eligible. By entering the contest, Motionpoems is granted the right to screen and share the work, and the entrant attests that relevant rights to show and distribute the work have been obtained.
The jury for 2019, selected to represent diversity and prestige, will be revealed after the awards are announced. For complete information, please visit us at motionpoems.org or our Submittable page.
Having begun as a collaboration between animator/producer Angella Kassube and award-winning poet Todd Boss in 2008, Minneapolis-based Motionpoems has grown into a 501c3 nonprofit arts organization with over 120 films in circulation with hundreds of cast and crew from around the world. Currently producing its ninth season of poetry films, Motionpoems has a longstanding record of partnering with top quality for-profit and nonprofit publishers, film companies, and literary organizations.
The deadline for submission of poetry films and other shorts to the 2019 Newlyn Film Festival, originally set for December 30, 2018, has been extended to February 28. Visit FilmFreeway for all the details.
I should also mention that there’s an excellent interview on the Liberated Words website with last year’s winner, Dave Richardson, conducted by Sarah Tremlett: “Unchartered Terrain: The Personal Within.” I was especially interested to learn that Richardson’s first poetry video gig was making Flash animations for the late, great online magazine Born. It’s an influence that persists in his videopoetry to this day:
DR: My journalism training in college told me to cut and cut to what matters. When I started to do that with the more poetic stuff, it felt more authentic, like my real voice. I try to keep it simple so that I am not trying to over-write. Many times I stop with the second draft of the text, just to not over-think.
ST: In relation to that, often you have different text on screen to the voice-over – is this something deliberate and is there a point behind this? It is difficult to get this right and quite an art.
DR: I did some experiments with Flash years ago, where I was randomly coding phrases to interact with randomly loaded images, and I was enthralled with the endless results and connections that were unexpected. That randomness, just a quality of unexpected relationships between image and text — I try to recreate that in my work for fun, for the pleasure of seeing what might surprise me. It makes new meaning for me. And then I edit.
Read the whole thing. A genuinely illuminating conversation.
I am often caught between Kant and Hegel: Am I more interested in the free play of the faculties of imagination and knowledge and the incomprehensible “aesthetic idea” of a work of art, which always gives more to think than can be understood, or is the conceptual content more important for making a work valuable than its form? In this debate I never wanted to bend in one direction. Apparently my favorite poetry films have both: they create a unique mood associated with questions that are relevant and thought-provoking, but at the same time, they also create pleasure in listening and watching, a revelry in visual stimuli, textures, surprises. The following films are not a top ten list in the sense of a canon. There are just 10 examples I would like to collect here to fill in the format. Or let’s say: they are ten invitations to watch poetry films. Please enjoy them!
Arte Poetica
Director: Neels Castillon
Text: Jorge Luis Borges
The Polish Language
Director: Alice Lyons with Orla Mc Hardy
Text: Alice Lyons
A Petty Morning Crime
Animation: Asparuh Petrov
Text: Georgi Gospodinov
Pipene / The Pipes
Director: Kristian Pedersen
Text and voiceover: Øyvind Rimbereid
What abou’ de Lô / What about the law
Director: Charles Badenhorst
Text and voiceover: Adam Small
The Desktop Metaphor
Director: Helmie Stil
Text: Caleb Parkin
Chamada Geral / Calling All
Director: Manuel Vilarinho
Text: Mário-Henrique Leiria
Hail the Bodhisattva of Collected Junk
Director: Ye Mimi
Text: Yin Ni
Spree
Director: Martin Kelly with Ian McBryde
Text: Ian McBryde
Steel and Air
Directors: Chris and Nick Libbey
Text: John Ashbery.
Atticus Review is one of a small number of poetry journals worldwide that regularly features videopoetry as part of its online presence. Edited by David Olimpio, it has been published from the USA since 2010, gathering a large readership. Videos are featured in the ‘mixed media‘ section, edited by Matt Mullins, a maker of outstanding videopoems himself. Many interesting hybrids of poetry and video have appeared there since this kind of work became part of Atticus in 2011. Towards the end of 2018, the announcement was made that the journal would for the first time stage a videopoetry contest, and calls for entries went out internationally. I was honoured to be invited to judge via the internet, from where I live in Queensland, Australia.
By the submissions deadline in early December, 115 poetry videos from different parts of the world had been sent to us. It was a pleasure to view all the work. I found quality in most of it. In fact, as a film-maker myself, the rich creativity of my peers was generally humbling (in a good way). The diversity and innovation of subjects and approaches inspired me. So it was a challenge to select only four awarded videos. These were published in Atticus Review on 11 January, along with some commentary on each of them from me, and further information about the film-makers and poets involved. They are best viewed on their respective pages on the Atticus site. Follow the links below to watch and learn more.
Things I Found in the Hedge (first prize)
Kathryn L. Darnell (director, animation)
Lucy English (writer, voice)
USA / UK
Qué Es El Amor (What Is Love) (second prize)
Eduardo Yagüe (director)
Lucy English (writer)
Spain / UK
The Whole Speaks (third prize)
Caroline Rumley (director)
Nelms Creekmur (writer, voice)
USA
The Cleanest Hands (honourable mention)
Amy Bailey (director, writer, voice)
USA
The Atticus contest will continue to happen yearly, a welcome addition to the international calendar of events surrounding videopoetry. To be among the first to find out when the next call for submissions goes out, and to receive regular news of ongoing publications in the journal, subscribe to email notifications.
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I’m taking the opportunity now to share some more of the videos sent in to us. While they were not awarded in the contest, I find each of them uniquely inspired. They are presented here in the sequence I think is most conducive to viewing and appreciating each of them.
https://youtu.be/KL4hh3_FQ1Y
Victor A. Guzman (director)
Rich Ferguson (writer, performer)
USA
https://vimeo.com/267531514
Tisha Deb Pillai (animator)
Fiona Tinwei Lam (writer)
Canada
https://vimeo.com/290947393
Jane Glennie (director, voice)
Lucy English (writer, voice)
UK
https://youtu.be/bOzf7SQXqMM
Brendan Bonsack (director)
Amy Bodossian (writer, performer)
Australia
https://vimeo.com/238368813
Ian Gibbins (writer, director, voice, music)
Australia
https://vimeo.com/312567950
Tommy Becker (writer, director, music, performer)
USA
https://youtu.be/lN0B2SEMTng
Mark Niehus (writer, director, music)
Australia
https://vimeo.com/306908806
Pam Falkenberg & Jack Cochran (directors)
Lucy English (writer, voice)
USA / UK
https://youtu.be/kTwRJ8kTUlk
Edward O’Donnelly (director)
Malcolm Ritchie (writer, performer)
Scotland
(turn on ‘closed captions’ for subtitles)
https://youtu.be/7i8A-uUV8rA
Yves Bommenel (writer, director, performer)
France
There are yet more videos I would happily share from the contest submissions, by artists whose work I admire. Alas, too many for one article.
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I’ve now related my enthusiasm for the journal, the contest, the work received, the process of viewing and the honour of judging. So it may seem strange when I say that, in general, I’m not the biggest fan of competitions in the arts.
The arts can never be judged in a truly objective way, in the manner of sporting achievements, for example, that can be decided on measurable microseconds in a race. As I see it, the best we can do when adjudicating the arts is to be as impartial as possible in applying our personal preferences. Our individual sensibilities will have been formed from a combination of direct experiences in life, what we have learned in formal and informal cultural and educational settings, our raw responses to other work as audience members over time, and possibly our experience of participating in the creation process itself, including philosophies and methods we have developed. We will likely be affected by how these influences come together at the particular time when we are making our decisions, which might be different in another month, year or decade. Other factors might feed into this process, whether we are judges in a competition, or simply making personal choices about what to watch and recommend as the ‘best’. There’s nothing absolute in the arts. In short, as I see it, the reception of work in this arena is essentially subjective.
As an artist, and as someone who has been a teacher, I am concerned with the psychological, emotional, and ego ramifications of ‘winning’ or ‘losing’ in relation to creativity (when I say ‘artist’ in this context, I mean film-maker and/or poet). Competitions by their nature focus most attention and reward on the winners. Although we might not want to admit it, the much greater number of participating artists can be left feeling disappointed and lacking to varying degrees. Depending on stage of experience as artists, along with levels of personal and creative development, this may have an impact on ability to function in our work. In some cases, it can lead to artistic growth and more satisfying outcomes. In others, it is simply discouraging of an artist’s practice. Perhaps my attitude is overly maternal in relation to adult people responsible for their own response to challenges. On the other hand, the arts are an area where personal vulnerabilities are often put on the line in a rather naked way, and so the person behind the work may well be more vulnerable in ability to process a perceived ‘failure’. In an era when mental illness has risen to epidemic proportions, coupled with higher rates of this long known to exist in the arts, I think giving some consideration to these issues is warranted.
Competitions in the arts might also be seen in some ways as another expression of competition in capitalism. This makes me wonder: do we really want to approach the arts as survival of the fittest, or else as a kind of lottery? If we are idealistic, there might be some discomfort in approaching the arts in this manner, especially if political resistance or advocacy form any part of the motivation for being involved.
Then there is the issue of entry fees for competitions. For some time I refused to enter any of my work in events that charged a fee to submit. Like so many artists, I have lived in relative poverty my whole life, and have already freely invested time, talent, passion, skill, and whatever limited resources I have available, to produce the work. Then again, I know that there are significant expenses involved in staging competitions as well, and that organisers are usually giving a great deal of their time for free, as well as their energy, dedication, passion and skills (but watch out for the profit-making motives of some events). Still, wherever possible, I think it would be best to avoid entry fees. My personal view is that competitions don’t need to offer cash prizes. Without these, entry fees may not be needed, or kept to a bare minimum. I believe the honour and attention focused on winning works is ultimately the most valuable and practical reward.
Having said all that, I’m not really ‘against’ competitions. The shades of ambivalence I feel are mostly about idealism versus practical realities on the ground. While I have some hesitations, I recognise the value of competitions for generating excitement in artists and audiences, and for focusing and growing an artistic culture. Ultimately, the more ways to highlight creative work we love, the better.
In the specific case of videopoetry competitions, my personal experience has been positive in almost all instances of submitting, and of having work celebrated or declined. Rejection letters have been respectful, sometimes even encouraging. I find the videopoetry community to be unusually supportive of artists on the whole. But from past experience on the broader film festival circuit, and what I know of other artists’ experiences, this is not always the case in the wider world of the arts, where personal creative work can be treated much more like pure commodity. So I’m offering what I’ve said here as food for thought about the staging of arts competitions in general, and to encourage ongoing care in the treatment of artists and their work.
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Videopoetry appears to be ever-growing, with artists from many nations now engaged in the practice, and a collective body of work increasingly exhibited and appreciated worldwide. This hybrid of poetry and cinema (including all its various generic labels), has roots going back a long way in film history, especially in the areas of the experimental and avant garde. As Helen Dewbery has suggested in a recent article, its roots may be more ancient still, if we think of the genre as simply one of the myriad contemporary expressions of poetry itself. In this line of thinking, it might be said that poetry began as an oral tradition and has adapted to new technologies and approaches throughout history. Long may this fine lineage continue, in any of the old and new forms the future promises.
The Art Visuals & Poetry Film Festival is a biennial, multi-day celebration of German-language poetry film held in Vienna. The next one will be 29 November to 1 December, 2019. The organizers issued a call for entries on 1 January. The main competition is only open to entries from German-speaking countries (residency or nationality), but there’s also an international award:
We know that there is a great interest from the international community to participate. Therefore we have created a second competition called “SPECIAL AWARD” after a given festival poem. This competition is open to film makers from all over the world. For the next Poetry Film Festival we have chosen a poem by the Viennese writer and composer Sophie Reyer. You can download the spoken version of Sophie Reyers’ “Zuerst/First” in German for free. We also provide you with a licensed English translation of the festival poem under creative commons. It’s very interesting, that this kind of competition attracts many professionals who like to experience different versions of films based on the same text. On the other hand, it offers people a easy chance to make their first poetry movie in their life.
Click through for more details, guidelines, and the FilmFreeway submission link. The deadline for the Special Award competition is August 30.