MIX 2019: Experiential Storytelling
Monday 1st July – Tuesday 2nd July 2019
Corsham Court Campus
www.mixconference.org
After the success of the last four MIX conferences, MIX 2019 returns to the beautiful surroundings of Bath Spa University’s Corsham Court Campus in Wiltshire. This year’s conference will be a more intimate, single strand version, curated for a smaller audience to give time and space to instigate conversations around digital writing with a focus on experiential storytelling, including immersive technologies and new forms of publishing, from transmedia and poetry film to virtual reality to AI in storytelling.
Corsham Court
A conference where creative writing and media creation intersect with and/or are dependent upon technology should be as interdisciplinary as possible, and that’s what we are aiming for with MIX 2019. The conference will host a vibrant mix of academic papers, practitioner presentations and keynotes. Confirmed speakers include publisher, Maja Thomas, Chief Innovation Officer, Hachette Innovation Program; Thomas Zandegiocomo, Artistic Director Zebra Poetry Film Festival, Berlin; and writer Nikesh Shukla.
Within the single-strand programme there will be four themed panels. We would like to encourage the submission of research papers, artist/practitioner presentations and papers on pedagogy on the following topics;
We are looking for proposals for 15 minute papers/ presentations or 60 minute panels (composed of three 15 minute papers with time for q&a). Please submit 300 word abstracts and a 100 word biography for each paper/presentation you are proposing by Monday 4th February 2019. We will let you know whether your submission has been successful by the end of February 2019.
For further information and to submit your abstract visit www.mixconference.org
For queries email mix@bathspa.ac.uk
We hope to see you at MIX 2019.
another view of Corsham Court
Proving once again that the world of videopoetry and poetry film is too large for one person to keep track of, here’s a somewhat specialized contest and festival I just found out about that appears to be in its 15th year: the Hombres Videopoetry Award.
PLEASE WE ACCEPT ONLY VIDEOPOETRY THAT FOLLOW THE THEME BELOW!
The award is in collaboration with the Italian Association “Borghi autentici d’Italia”, that put together small and medium communities, local authorities for local development. The shared objective is a sustainable local development model, respect of places and people and attention to the enhancement of local identities.
The videopoetry must develop the following theme:
“Images, perspectives and ideas about the suburb of the future. It can be also a part of an old village contest that has to maintain a well-defined identity. The concept of old village can go separately from historical, temporal and geographic aspects”.
The component of the jury are: Dimitri Ruggeri (poet, videopoet and performer ), Marco Di Gennaro (filmmaker), Alessandra Prospero (poet and publisher), M° Roberto Bisegna (musician) and Ilio Leonio (Professor and member of the organization).
The jury will select the best ten videos for the finals which will be presented in the final evening, scheduled in Carsoli (Italy) in the month of July 2019.
Awards & Prizes
The best ten videos will be screen in the “Hombres Videopoetry Festival” 2019 and the winner will be announced in the night of the festival.
BEST VIDEOPOETRY:
Hombres Videopoetry AwardSPECIAL AWARDS:
Best poem
Best Original Music
Best Photography
Best PerformancePRIZES:
Local craft productsRules & Terms
RULES
Only one videopoetry for author
Age of the author of the video: up 18 years old
Duration of the video: minimum 1 minute, maximum 15 minutes
Date of production : after 01/01/2016
Language: italian and english. Other languages must be subtitled into italian or english
Fee: no
Deadline: 1 April 2019
The text in the video can be read, performed or put as subtitle.
Please don’t sent slideshow of photos with subtitles.
I’ve been remiss in mentioning that Lucy English’s unique Book of Hours, an online calendar of poetry films made in collaboration with video artists and filmmakers from around the world, is at last complete — and worth many hours of exploration. Not only that, but there’s a printed version of the texts now out from Burning Eye Books, a terrific UK publisher specializing in spoken word poets. Many of the most effective poems in the book emerged during the process of collaboration, making this a unique milestone in the history of filmpoem innovation comparable in stature to the poetry films of Tony Harrison.
To whet your appetite further, there’s a new review of the book by poet and novelist Deborah Harvey over at Poetry Film Live.
It’s an ingenious idea – a calendar of poems that re-imagine the illustrated psalter of mediaeval literature for a secular, 21st century readership/audience. Lucy is supported in this endeavour by her extensive knowledge of the both fields, coupled with a poetic voice that is especially well suited to the demands of poetry film.
For all that there are mentions of stained glass, doom paintings, sun dials and psalmicly panting sheep, the subject-matter of the poems is resolutely secular. Churches are places to be visited in a spirit of curiosity rather than devotion, saints are grey and made of lead, and no miracles happen at wells that are simply oozy patches in stony holes. Similarly, the lives encapsulated in the poems are not ones of monastic contemplation. The poems accommodate a sizeable cast of friends, ex-lovers, family members, former inhabitants of holiday cottages, personifications of the seasons, and animals, and include arrivals from and departures for destinations far beyond an anchorite’s cell.
And yet the sacred is here, in the poet’s tender attention to moments snagged in the memory, rendering them dream-like, and magnified by their lifting up as an offering to the reader. This is the poetry of non sequiturs, missed opportunities, small losses that loom large, the lives we don’t lead […]
Read the rest. And if you see an announcement of a screening of the project in your area, don’t miss it!
Multi-author collaborations are relatively rare in modern poetry culture — one of the significant ways in which videopoetry and filmpoetry deviate from established norms. With poetry films, collaboration is if anything more common than one-person productions. And this collaborative angle is nowhere more evident than in the new website for the Wild Whispers Poetry Film Project (whose call-out we shared here two years ago). The result feels like the audiovisual equivalent of renga-meets-exquisite corpse.
Wild Whispers is an international film poetry project that started with one poem and led to 15 versions in 12 languages and 12 poetry films.
The films, in different languages, were all ‘whispered’ from the previous one. The project travelled from England to India, Australia, Taiwan, France, South Africa, the Netherlands, Sweden, Wales and the USA, creating poetry films in English, Malayalam, Chinese, French, Afrikaans, Dutch, American Sign Language, Navajo, Spanish, and Welsh.
Started by the UK poet Chaucer Cameron of Elephant’s Footprint Film Poetry and Poetry Film Live, the project drew inspiration from recent political events and more, as Cameron explains:
[…] My own desire to connect was both personal and political and certainly focused on the bigger picture. I am most passionate about film poetry, and consider it to be the perfect vehicle for exciting collaborations and for fostering strong, positive connections between countries and across the world.
One of the initial inspirations behind the Wild Whispers project was a single image of a Buryat Shaman performing a libation – a ritual pouring of liquid, milk or grains, as an offering to the gods or spirits in memory of the dead. When I discovered this image I was also in the process of writing a vision statement for Elephant’s Footprint and came across an article by visual artist Mary Russell and author Gerard Wozek, the collaborative duo of “Mercury in Motion”. I found we shared a belief that visual and literary art carry spiritual, political, and sociological messages and that visual poetry is a physical manifestation of what it means to be a human being engaged in seeking community, and that the medium of film poetry is intrinsically alchemic—magic.
The call-out to poets, translators and poetry filmmakers to be involved in Wild Whispers has resulted in just that: magic.
Read the rest, then watch the films. (Disclaimer: one of them is mine.)
Just a reminder for all my fellow procrastinators that the deadline for the Atticus Review‘s first annual videopoem contest is coming up on December 3. Atticus Review is one of the few major online literary magazines to make room for multimedia work over the years, and the judge for this first contest, the Australian experimental filmmaker Marie Craven, is one of the most original innovators in the genre, so you don’t want to miss this opportunity! Submit here.
The New York-based Visible Poetry Project will once again be releasing 30 poetry films—one a day—in April, and for the third year in a row, their original call somehow slipped under my radar. (This is what happens when sites don’t have a blog I can subscribe to.) But when I finally remembered to go look at their website just now, I noticed that the deadline for both poetry submissions and filmmaker applications are still open… for five more days! Here’s what they say about the latter:
UPDATE: The deadline for applications has been extended to November 10, 2018!
Applications for the Visible Poetry Project 2019 series open on September 10, 2018 and close on October 31, 2018.
The Visible Poetry Project strives to emphasize the diversity of the global film community, and so encourage you to apply regardless of background or circumstance. Whether filmmaking is your hobby, profession, private outlet, or public expression, your work is welcome.
Within your application, please provide a reel and/or links to previous films you’ve created. All work samples must be original, and you must be one of the main contributors. You may submit up to three links. We recommend submitting samples that you believe to be representative of the greater styles and themes in your work. If you are accepted, this will help inform which poet you may get paired with.
You may apply as part of a team (up to two filmmakers). If you are applying as part of a team, please submit only one application. Please include links to reels for both collaborators, and send an email to visiblepoetryproject@gmail.com, CC’ing your co-director.
If you are a producer, director of photography, or editor, and are interested in being involved in the 2019 series, please email visiblepoetryproject@gmail.com.
Click through for the application form. (Here’s the poetry submission form.)
This project has yielded some really high-quality work so far in a wide range of styles, so if you’re at all ambitious about making poetry films, why not throw your hat in the ring?
For the fourth year in a row, a major poetry-film contest and associated screenings will be held as part of a multi-day festival otherwise devoted to student films from around the world, in the delightful, culture-rich city of Weimar, Germany. From the Poetryfilmkanal website:
CALL FOR SUBMISSIONS
Through the new film award, backup_festival and Literarische Gesellschaft Thüringen e.V. (LGT) are looking for innovative poetry films. Filmmakers from any nation and of any age are welcome to participate with up to three short films of up to 8:00 mins, which should explore the relation between film and written poetry in an innovative, straightforward way. Films that are produced before 2016 will not be considered. From all submitted films selected for the festival competition three Jury members will choose the winner of the main prize (1000 € Best Animation, 1000,- € Best Video). Moreover, an audience award of 250 € will be awarded.
The competition »Weimar Poetry Film Award« is financed by Kulturstiftung des Freistaats Thüringen and the City of Weimar.
Deadline: March 31th, 2018
Form for submissions [pdf] by mail or e-mail.
Literarische Gesellschaft Thüringen e. V.
Marktstraße 2–4
99423 Weimar, Germany
Email: info@poetryfilm.deThe »Weimar Poetry Film Award« call for entries is international. For the submission send with the other informations a quotable text of the related poem in German or English.
Presentation of awards: June 1st, 2019.
September is coming to an end and the falling temperatures leave north-east England sharp but bright. I am on a train from my home town in Northumberland en route to Münster in the German province of Westphalia. The 2018 ZEBRA Poetry Film Festival awaits at the end of my long train ride: three days of poetry and film in a city reaching summer’s end. It is a good time of the year for poems, I think, and a good time of the year for films.
My excitement is tinged with the knowledge that this may be my last visit to the continent as a fully-fledged citizen of the EU. I’ve always wanted to visit ZEBRA. It seems to be an important place for poetry and film but when one of my films screened here four years ago, I couldn’t afford to come. I’m expecting an international affair: a reminder that, regardless of who is playing games with our borders and our nationhood, people will get together with others to write poems and make films. I am heartened by the fact that the very act of making a poetry film defies and challenges creative and political borders.
As I trundle my way through France and Belgium, I reflect on how the poetry film community is naturally collaborative. It needs more than the single artist in order to exist. That’s not to say that a person can’t make a poetry film on their own – I have done this and many of the films at the festival will surely be author made – but rather that if everyone worked in isolation, as much of the UK’s mainstream poetry world does, the world of poetry film would not be so rich and diverse. Part of this seems inherent in the medium: the juxtaposition gap often works best with two other-thinking minds. It sits at an intersection between several worlds: those of poetry, film-making, television, experimental art, music, sound art and artist’s moving image. Arguably, the poem is the only essential ingredient because without it, the form does not exist.
ZEBRA Festival runs from Thursday evening through to Sunday evening. My train pulls in late on Thursday evening so I miss the opening ceremony and head straight to my Airbnb in the city’s quiet, affluent and leafy suburbs. The next day I set out on foot to the festival venue, Münster’s Schloßtheater. I arrive there late on Friday afternoon after a walk into the city through the woodlands that skirt the Aasee, a picturesque lake and park full of cyclists and groups of chattering school children.
Schloßtheater is a friendly, 1950s art deco venue busy with locals and festival visitors. My first task is to pick up my accreditation lanyard from the festival desk in the foyer and then I settle down, nursing a coffee at a table in the theatre’s street café. On the train I had read Annelyse Gelman’s review of her first visit here and as I plot a path through the various screenings on offer I am aware of her advice not to overwhelm myself with too many films. I’ve experienced this before at literary festivals, where reading after reading tires the brain until it becomes difficult to engage with the work in any meaningful way. Poems demand a particular sort of attention.
The films are screening in blocks of around ten poetry films, which are either part of one of the festival’s prize competitions or part of the curated side programme. Some of this side programme revolves around the festival’s main themes (this year they are The USA and Spoken Word) and some of it is organised into five thematically-linked blocks under the title Prisma. There are other screenings, readings and discussions too: the results of a series of hip hop poetry film workshops made in collaboration with local young people, a panel discussion on the disadvantages for women in the poetry film and wider film worlds and the premiere of the poems submitted to this year’s festival poem competition. I pick out seven blocks on Friday and Saturday in the hope that this will give me a broad spectrum of the films at ZEBRA without burning me out before I catch a train back to the UK on Sunday.
As the time for my first screening of the festival approaches, the café begins to buzz with an interesting mix of film-makers and poets from all over the world. Thankfully, ZEBRA has neither the hard-sell atmosphere of a film festival nor the tribalistic feel of a poetry festival. People are approachable and friendly and before long I’ve met several poets and film-makers, some of whom are new to me and some of whom I have already met virtually through the online community. Poetry film is rare insofar as it affords much more prominence to the writer than other forms of film. At ZEBRA, poet and film-maker are given equal billing. My first impressions are a confirmation that the symbiosis at the medium’s heart cultivates a presumed harmony between these two separate worlds.
Animation was big at the festival with films ranging from the highly polished productions made for French TV as part of the En sortant de l’école series through Georges Schwizbegel’s stunning (and wordless) painted rendition of Goethe’s classic poem Erlkönig to Amhed Saleh’s moving stop-motion animation Ayny – My Second Eye, which dealt with the disturbing story of a family displaced by war. I think one of the reasons animation works so well when combined with poems is that it opens up the possibilities for the impossible: an essential attribute of a strong poem. Anna Eijsbout’s silhouette animation of Neil Gaiman’s Hate for Sale, which picked up the prize for ‘Best Film for Tolerance’, is a good example of animation’s ability to employ the impossible in a way that would be very difficult to achieve through other means.
Several of the animated films didn’t take full advantage of this aspect of the medium and merely visually represented the content of the poem on screen. For me the most successful films (animated or otherwise) were those that went beyond mere representation towards abstraction or a suggested narrative leading me into an unexpected reading of the poem. Noch am Leben from Anita Lester was a good example of how a film-maker can reach beneath the surface of the poem and enhance it through the use of moving images and sound.
Interestingly, in this example the film and the poem were both made by Lester and I wonder how I would have responded to the poem outside the context of the film. I also wonder whether this is at all relevant as the poetry film worked for me in its own right. With this film, like with many others that I found myself particularly lost in, it felt as if both poem and film needed each other to exist.
In the screening blocks I saw, the majority of the films were highly polished and had access to budgets that were way beyond my wildest dreams. I had expected to see more experimental, low budget films from film-makers and poets that I knew. This is not necessarily a criticism of the selection committee’s choices. Perhaps it is more a realisation on my part that up to now I have subconsciously sought out work that fits into the same niche as the poetry films I have been involved in making myself.
Of course, there were several films that I had seen before that were a delight to see screening at the festival (a good poetry film keeps on giving after all). I hadn’t seen Kate Sweeney and Anna Woodford’s Work (although I knew the poem on the page). The weaving of Sweeney’s Post-it animation with Woodford’s words reminded me how important it is to have a strong poem for a poetry film to be truly effective.
The Focus USA block deserves a mention for its political veracity alone. Caroline Rumley’s Shoes without Feet brought home the devastating chaos of Charlottesville.
Lisa Seidenberg’s America touched on Charlottesville too, remixing Gertrude Stein’s 1929 poem with collaged footage and drums to not make sense in a good way.
Many of the American films I saw across the festival came from the Motionpoems series. They are well produced and slick, sometimes to devastating effect as in How to Raise a Black Child, Seyi Peter-Thomas’ narrative adaptation of Courtney Lamar-Charleston’s thought-provoking poem.
My overwhelming memory of ZEBRA will be of a well run and friendly festival that showcases a diverse range of poetry films. I was exposed to films that I wouldn’t have seen otherwise, particularly the bigger budget films not available online or those films in languages that I don’t understand. The presenters for each block of films had done their homework, introducing each film by talking about techniques, the film-makers and the poems in a way that enhanced my viewing of the films. The little pauses in between each film for these introductions felt necessary in order to absorb what had come before. And if the film-maker or poet was present, we were also treated to a short Q&A after the film, which further enhanced the experience.
From my first block of films at the festival through to my last, I was struck by the magic of the cinema. I am used to viewing poetry films online, generally on my laptop through vimeo or youtube (and of course via movingpoems.com!). I often screen my own films in galleries or in little projector rooms at literary festivals. There’s something particularly exciting about the cinema though: the way it holds your attention through the lighting, the sound and the imposing presence of the screen. As David Lynch so eloquently puts it in ‘Curtains Up’: “It’s so magical, I don’t know why, to go into a theatre and have the lights go down, it’s very quiet and then the curtains start to open and you go into a world.”
It wouldn’t seem right not to acknowledge something raised in Marc Neys’ judges report on the 2016 festival. I couldn’t help but think that more poets and film-makers would have been there if they had been supported financially in order to attend. I know that it is difficult to raise funds for festivals such as this but I wonder if there is leeway for some of the prize funds to be redirected towards a travel grant distributed on the basis of financial need? It would have been great to have seen more of the film-makers and poets there. As a freelance artist with three little mouths to feed, I must choose carefully which unpaid flights of madness I indulge in. Having said that, there are plenty of cheap Airbnbs in Münster and according to the online guidebooks couchsurfing is big there. Free tickets for the screening for accredited poets and film-makers was an unexpected bonus too. For those of us in Europe at least, the cost of travel shouldn’t be too prohibitive and if you are at all interested in the genre of poetry film then there is a lot to be gained from a trip to ZEBRA. When the next festival is announced, I know that I will be counting my pennies and trying to find some way of making the journey back to Münster.
The power and importance of curation is once again demonstrated by the eclectic and compelling selections included in the 2018 Juteback Poetry Film Festival, which was held at the Wolverine Farm Publishing’s Letterpress and Publick House in Ft. Collins, CO on Friday, October 19, 2018. Organizers R.W. Perkins (poet, writer, and filmmaker from Loveland, CO) and Matt Mullins (writer, musician, experimental filmmaker, and multimedia artist who teaches creative writing at Ball State University and is the mixed media editor of Atticus Review) have put together a program that surveys the breadth and depth of film poetry rather than attempting to construct or validate some narrow canon. From animated calligraphy to found footage, from flicker film techniques to metamorphosing animation, from abstracting digital layering to Hollywood narrative techniques, from dreamlike transitions and juxtapositions to post-apocalyptic mise-en-scene, from beauty in a broken world to cultural and political critique, from digital image fracturing and recombination to stark, off-balance, black-and-white compositions harking back to Man Ray, from silent film techniques to spoken word poetry, from digital remixing to music video techniques, and from preschool poets to poetic giants from the past to unpublished poets who are also filmmakers, the selections survey the state of video poetry and yet reflect the tastes and inclinations of Perkins and Mullins, who hopefully will keep this festival going for years to come.
One interesting feature of Juteback 2018 was live poetry readings by the 2018 poet laureate of Ft. Collins, Natalie Giarratano, and 2013 Ft. Collins poet laureate, Jason Hardung. If you don’t know them, both of them are poets worth exploring.
Also worth mentioning is that both Perkins and Mullins each showed one of their own poetry films to open the festival, in order to demonstrate that they are poetry film practitioners as well as curators. Perkins’ film is Visions of Snow, and Mullins’ film is One/Another.
As Perkins noted in his closing comments, most of the films in the festival are available openly, and he encouraged the festival audience to share what they liked as widely as possible. With that in mind, here are links to the poetry films (where possible), and to trailers for the films or links to the filmmakers’ websites (where the films themselves could not be found).
Perkins and Mullins are seeking to expand the audience for the Juteback Poetry Film Festival. If anyone has any suggestions, you can contact them.
(Full disclosure: Pamela Falkenberg and Jack Cochran’s The Names of Trees was one of the poetry films included in the 2018 Juteback Poetry Film Festival.)
Carolyn Rumley
One Step Away
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Rita Mae Reese
Alphabet Conspiracy
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Jutta Pryor
Poet Matt Dennison
The Bird
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Cindy St. Onge
My Lover’s Pretty Mouth
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Ellen Hemphill and Jim Haverkamp
Poet Marc Zegans
The Danger Meditations
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Kate Sweeney
Poet Anna Woodford
Work
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Mohammad Enamul and Haque Kha
Poet Sadi Taif
A Vagabond Wind
(this is a 50-second trailer for the film poem)
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Pam Falkenberg and Jack Cochran
Poet Lucy English
The Names of Trees
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Marie Craven
Poet Matt Hetherington
Light Ghazal
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Dan Douglas
Poet Paul Summers
Bun Stop
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Vivek Jain
Poet Kirti Pherwani
I Don’t Know
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Mark Niehus
Shiver
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Eduardo Yagüe
Poet Samuel Beckett
Qué Palabra
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Eliot Michl
Don’t Tell Me I’m Beautiful
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Gilbert Sevigny
Poet Jean Coulombe
Au Jardin Bleu (In the Blue Garden)
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Lisa Seidenberg
Poet Gertrude Stein
America
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Merissa Victor
Poet Angelica Poversky
The Entropy of Forgiveness
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Kathryn Darnell
Poet Bertolt Brecht
Motto: A Poem by Bertolt Brecht
Visit her Vimeo page, where you can watch 14 videos using similar animated calligraphy techniques, though Motto is not among them.
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Kidst Ayalew Abebe
Poet Femi Bájúlayé
Bámidélé
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A. D. Cooper
Home to the Hangers
(this is a 48 second trailer for the 5-minute film, which is behind a password to protect its film festival qualifications)
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Luna Ontenegro, Ginés Olivares, and Adrian Fisher (mmmmmfilms collective)
Fatal When They Touch
Visit the collective’s webpage for the film (which does not include the film itself).
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Jane Glennie
Poet Brittani Sonnenberg
Coyote Wedding
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Nancy Kangas
Preschool Poets: An Animated Series
Visit the Vimeo page for the Preschool Poets project, which has the eight films compiled for Juteback, as well as some behind-the-scenes video.
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Steven Fox
Alone
There’s a Facebook page for the local actor and filmmaker, but there does not seem to be any online link to the film.
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Team BTSD
Perpetuum
(Special screening)
Atticus Review, one of the few major online literary magazines to consistently make room for poetry film and other mixed media work, this week announced a new videopoem contest.
Atticus Review is happy to announce our first annual Videopoem Contest judged by Marie Craven. You can submit up to 3 videopoems. The cost for entry is $15. You may submit video files or links to Vimeo or YouTube pages. Please no submissions from former students or close acquaintances of the Contest Judge. The videopoems can be previously published.
First Prize: $300
Second Prize: $75
Third Prize: $25Deadline: December 3rd, 2018 Winner Announced: January 7th, 2019
A note about gifting of contest fees: We know contests can get expensive for writers. That’s why we’ve added ways for friends, family, or any kind of generous benefactor (we won’t ask questions!) to gift you a contest entry. A sponsor can make a one-time gift to you for your submission fee, or they can become a Patreon Supporter at the “Sustainer” level or above and then get in touch with us to request a free contest entry for a friend and send us your name and email address. Also, while we’re talking about Patreon, you can become a Patreon Supporter at the “Sustainer” level or above and you will be able to submit to any current or future Atticus Review videopoem contest for free as long as you remain a supporter. Also, you’d be helping us publish great writing and art.
About the judge: Marie Craven began making experimental and narrative shorts in the mid 1980s, working with super 8, 16mm and 35mm film formats. During the 1990s and into the 2000s her work was widely screened and awarded at major international film festivals. Since 2007, she has been working in digital media, mostly via internet collaboration with artists and musicians around the world. A central focus on video poetry began in 2014, and since that time she has made more than 60 videos with many poets from different countries. Her video poetry has since been screened at most of the film poetry festivals internationally, and featured in online journals. Over the decades, she has also been involved in teaching, seminars, reviewing and festival programming. Her recent videos can be found at http://vimeo.com/mariecraven
I like the idea of gifting someone else’s entry fee. And of course I’m chuffed to see such a good poetry filmmaker acting as judge.
This Houston, Texas-based event sounds really exciting:
“REELpoetry/HoustonTX” 2019 is a curated poetry film event featuring documentaries, artist cinefilms and videos screened at multiple venues March 22-24, 2019. Participants – including featured poets, film makers and artists (local, national and international) – are invited to attend.
REELPoetry/HoustonTX 2019 seeks cinepoems by poets, artists, and filmmakers. Any style or theme of cinepoetry is welcomed. We accept submissions across a wide array of artistic practices: poetry films, word-art films, experimental films, and text and sound films such as the contemporary presentation of concrete poetry. The submission may include, but is not limited to, dance, music, and performance. Intentional settings and contexts may range from public art, architecture, sculpture, landscapes, or indoor theatrical setting. The cinepoem may include voice over, or text may be included on the screen itself. Provide a translation if the original poem is not in English. We welcome imaginative combinations of various artistic collaborations. An individual might work alone to produce all aspects of the cinepoem; or, there might be a collaboration among various artists. All contributors need to be listed in ending credits. By submitting the cinepoem to REELpoetry/Houston TX 2019 the submitter acknowledges that all work is original.
SUBMISSION ACCEPTED STARTING OCTOBER 15, 2018 HERE
NOTE: Public Poetry Members receive a 15% discount. on the entry fee. Memberships start at $8/mo.
To join Public Poetry as a member go to: http://www.publicpoetry.net/membership-here/