Swoon‘s video for a micro-chapbook [PDF] by David Tomaloff uses public-domain footage from the Ivan Besse Collection at the Prelinger Archives, shot in Britton, South Dakota in the late 1930s. Tomaloff contributed the reading, while the concept, editing and music were all Swoon’s work. He posted some process notes at his blog:
Origami Poems Project is fun. You get all these great poems in a highly original form.
But in this case it was not only the form.‘Seafarer’ struck me immediately as a piece that I wanted to do something with.
[…]
For the images I wanted to use the superb footage of Ivan Besse again.
I wanted to tell a story with the footage. A story that touches some parts of ‘Seafarer’ but could also open up completely different interpretations of the work as a whole or some of its details.
Another Josep Porcar videopoem. If I understand the credits correctly, the filming is by Brenno Castro. Susanne Abbuehl contributed the entire soundtrack, music and voice. The Catalan translation in the subtitles is by Isabel Robles Gómez and Jaume Pérez Montaner. I particularly like the decision to have a female reader — it gives an already great poem a new dimension.
A four-year-old video montage by Josep Porcar, using Plath’s own reading, with subtitles in Catalan by Montserrat Abelló.
The September offering from Motionpoems is an animation by the co-director herself, Angella Kassube. Visit their website for the text. This is another selction from Best American Poetry 2011. Bridget Lowe is a young poet from Kansas City with a first book due out next year from Carnegie Mellon University Press.
Motionpoems’ free email newsletter quoted Kassube on the making of the film:
“From the beginning I knew I had to use the correct face and the correct eyes. But the line ‘World, there are two baskets / on my back’ – I didn’t know what to do with that. I built the section several times. I knew I didn’t want to use images of two baskets and fill them with something. I had already thought about how many definitions there are for the word ‘WORLD,’ and I had decided that World should be inside her head. There are the city and other images that represent outside influences on her world, but it is how she reacts to those things that creates her World. I realized she could look in two different directions and that could be a way to interpret the two baskets.”
The use of those eyes also stood out to Bridget: “The beautiful illustrations Angella used to tell the story (the eyes–so perfect!) balance explanation and mystery impeccably. Her timing as a director is likewise inarguably impeccable. Angella’s vision has compelled me to rethink how I read, and therefore present, my own work. What a gift.”
Here at Motionpoems, we’re always excited when we learn one of our films has inspired a poet to consider her work in a new light. Bridget continued, “The thing that most surprised and excited me about Angella’s interpretation was her ability to illuminate a playfulness in the poem that I hadn’t previously noticed fully. I knew the poem was one of pleading and desperation, but Angella’s version cut through some of that heaviness and landed in a place more like wondrous awe, which is what the poem announces itself to be from the beginning. I thought that was brilliant.”
I watched this when it was first uploaded to Vimeo two years ago, but for whatever reason didn’t share it then. Perhaps I felt it was too far from the spirit of the poem as I understood it. Be that as it may, however, I think it’s important as an international and pop-cultural interpretation of Dickinson, and also may help clarify some of the differences between the related genres of music video and videopoetry.
Michal Jaskulski directs. The music is by Polish composer Andrzej Bonarek, who specializes in music for theater and film. The video garnered several awards, according to the description in Vimeo:
Los Angeles Movie Awards 2010 – Best Visual Effects in a music video, Award of Excellence
Canada International Film Festival 2010 – Royal Reel Award VSM 2010 festival – Special Recognition
Yach Film 2008 – Grand Prix nominee
A new interpretation of the Bukowski poem by German artist Clemens Wilhelm. The decision to make it a silent film was especially interesting for a poet so associated with oral delivery, I thought.
http://vimeo.com/45367747
The poems are “Archeology,” “Wheels,” and “Love the Distant Roar,” expertly knit together by Sky Hopinka into one of the best poetry book trailers I’ve seen. Most unusual for the genre is the choice of a reader (Trevino Brings Plenty) other than the poet, but this really works to put the focus squarely on the poems and — with the addition of two listeners — the communal reality they appear to reflect.
Adrian C. Louis is no stranger to film; his novel Skins was made into a feature-length film starring Graham Greene and directed by Chris Eyre. Savage Sunsets, his tenth book of poems, is forthcoming in September from West End Press. For more, visit his website.
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Housekeeping note: I’ve just started a Book trailers category here, thinking it might be useful to compare and contrast different approaches to the genre. I’ve retroactively added the few videos that came up when I seached the site for “book trailers,” but I know I’ve missed some. Please let me know if you can think of any more trailers I’ve posted.
Actor Bill Murray reads two poems by Wallace Stevens at Bubby’s Brooklyn, as part of Poets House’s 17th Annual Poetry Walk Across the Brooklyn Bridge, Monday June 11, 2012
Poets, take note. This is how a proper poetry reading is done.
A fun animation and text from filmmaker Daniel Lichtenberg and poet Melissa Broder. “Steak Night” appears in her widely reviewed new book, Meat Heart. The soundtrack includes original music by Diana Salier and Rob Justesen, and the poem is read by Edward Carden. Both music and animation were produced at Photon SF.
“Steak Night” originally appeared online at The Awl.