A new film-poem by Robert Peake and Valerie Kampmeier. “We live near the end of the Northern Line, and our evenings are pleasantly haunted by the sound of the train,” Robert notes in a blog post (which also includes the text).
A fascinating found-poem(ish) work in which a close match of image to word, rather than ruining the film altogether as would usually be the case with videopoetry, is instead the secret to its success:
This short film is based on an archival sound recording taken from the 1945 Linguaphone series ‘English Pronunciation – A practical handbook for the foreign learner.’
Thus the description at Vimeo.
Just to clarify: the artist himself — London-based illustrator and filmmaker Temujin Doran — does not claim that this is a videopoem or film-poem; that’s purely my contention. The fact that the words in the found text are arranged for maximum assonance has of course a lot to do with this impression. And on second viewing, one sees that at least a quarter of the word-image matches aren’t obvious at all, and that it is this element of regular surprise that makes it a videopoem. Tom Konyves‘ general observation on the importance of juxtaposition remains intact, I think.
It’s not often you see such roles as Key Grip, Script Supervisor and Gaffer in the credits of a poetry film! Even better, it still goes in the author-made videopoem category, as Iranian-American poet Shabnam Piryaei is credited as both writer and main director. According to the bio on her website, her print publication credits are as impressive as her film credits. It’s always heartening to see a poet working in film at such a high level of professional expertise.
“Profile is a stream of consciousness combination of poetry and prose. The visuals of the film were intended to represent the chaos of thought.” This would be a mesmerizing piece even without R.W. Perkins’ very interesting and detailed process notes on Vimeo and at his website (q.v.). Last Friday at VidPoFilm, Brenda Clews captured the essence of the excitement that many of us in the online videopoetry community feel about this film:
R.W. Perkins has it all in this video. When I saw it I felt it was a marker of our era. That surely many films of this type will follow, but his was the first. Identity in the twenty-first century is shaped by social media sites. Your life is not contained in your private diaries and photo albums anymore; it’s all on-line now. The notion of who we are has never been more global or more revealing.
One’s Facebook profile updates and photo albums provide many snapshots of a life. R.W. Perkins has captured that sense of a collided life, a life of snapshots and home videos and snatches of writing. It is a fast-paced life. We describe ourselves to each other. There are millions of us. Facebook is approaching 1/7th of the world’s population. It is a social media site that is creating a twenty-first sense of self.
Put it all together and you get, PROFILE. On his website, R.W. Perkins offers his essay on his videopoem, Profiles, as his Profile.
Read the rest (and if you have any interest in the videopoem/filmpoem genre, don’t miss a post at VidPoFilm).
Norway-based American poet Ren Powell writes,
I saw a website called fiverr. People will do/make things for 5 bucks. Nathan is making play doh stop motion animations with his kids: 15 seconds for 5.
The result is something of an exquisite corpse… with kids.
It Wasn’t the Flu (From Mercy Island. Phoenicia Publishing, 2011).
I find the result really delightful and satisfying — more so than many more sophisticated poetry animations I’ve seen.
http://vimeo.com/23682194
This is “Hawthorne Moon,” the one installment in John Siddique‘s Thirteen Moons video series which isn’t an animation. It was shot and directed by the poet himself with final editing by Walter Santucci.
Poet Robert Peake’s first venture into the genre arose spontaneously and in collaboration with his wife, Valerie Kampmeier, who provided the music and the idea, as she describes on her blog:
This afternoon was the last day of the Christmas holidays, unexpectedly sunny, crisp and breezy. After the departure of some visitors, Robert and I were about to go out for a walk and some tea and cake, when he suddenly pointed to a patch of light on the wall behind me. The reflections from the garden of waving branches and the wrought iron of a clothes post were casting flickering shadows onto the wall in an astonishing fashion, almost like a silent movie. Robert grabbed his iPhone and captured some video. “You could use that for a poem-film, “ I remarked, thinking about the beautiful short videos some friends had made recently.
When we got home from our walk, I began improvising to the footage on the piano, while Robert listened and wrote. Within twenty minutes we both had something. Remarkably, when Robert read his poem aloud, it was exactly the right length. He recorded it, synchronized it with the video, and then I recorded my part on top onto a different track so that we could experiment with individual volume and colour.
Read the rest (and visit Robert’s blog for the text). It’s always exciting to see a new poet entering the videopoem/film-poem genre, and the high quality and organic process here bodes well for Peake and Kampmeier’s future efforts.
Michelle Bitting‘s latest film was just featured at Cheek Teeth.
Texas-based poet Cynthia Cox drew on a couple of public-domain films for this piece, which she blogged about at mareymercy.
Finding the footage for this one was a bit of a bear, as it always is at the Internet Archives because their method of categorizing and organizing material doesn’t work with my brain. I found the video of Saunders dancing first, and “Romance Sentimentale” came along a few days later. Once I had those two pieces it was just a matter of splicing them together. Music was another matter, as I changed my mind twice when putting the visuals together, then two more times when I layered the poem audio over that.
Read the rest (includes the full text of the poem).
http://www.youtube.com/watch?v=OnKvSJRjQKA
This delightfully strange videopoem has “Monday” written all over it. Let me just paste in the credits and description from YouTube:
videopoem by Hansjörg Palm + Ruedi Bind
7:10 min, 2010, D + CH
Concept, camera, performers, speakers: Hansjörg Palm, Ruedi Bind
Editing, sound, music, costumes: Hansjörg Palm
Poem: Ruedi Bind
nominated:
2011 Internationales Kurzfilm Festival, Hamburg
2010 ZEBRA, poetry film festival, Berlin / La.Meko, kurzfilmfestival, LandauEin alter Mann taucht ab in eine Nachtfahrt.
Dort begegnet er überraschenden Gestalten und Landschaften.
Er taucht gänzlich verwandelt wieder auf, mit neuem Blick auf sein Leben.An old man dives into the night.
He meets surprising figures and landscapes.
Ascending he finds himself completely changed.
I should note that I found this via ZEBRA Poetry Festival’s Twitter account, @ZebraFestival, which is currently the most useful filmpoetry/videopoetry-related Twitter feed of which I’m aware.
Of all of Michell Bitting‘s “poem films” online so far, this is my favorite, I think. Her husband and collaborator Phil Abrams proves as good at reading as he is at editing.
This film offers more proof that Steven McCabe is one of the most accomplished videopoets out there. Here’s the description on Youtube:
outside my black hole (2011) is a visual poetry film juxtaposing urban traffic, ink drawings, and dance.
Screened at Propeller Centre for the Visual Arts (Toronto) in Oct./Nov. 2011 as the installation component of Steven McCabe’s exhibition A Cathartic Document showing 66 new ink drawings created during 2010-2011.
Video editing & technical support @ A Cathartic Document by Konrad Skręta
outside my black hole
A film by Steven McCabePoetry/drawings/narration
Steven McCabeDance
Paula SkiminMusic composed and performed by
William Beauvais & Barry ProphetDirector of Photography
Eric GerardEditing
Konrad Skręta