~ ZEBRA Poetry Film Festival ~
Call for submissions: 7th biannual ZEBRA Poetry Film Festival in Berlin
I’m a little late in sharing this announcement, but the 2014 ZEBRA Poetry Film Festival is open for submissions:
For the seventh time, the ZEBRA Poetry Film Festival is calling for entries to find the best poetry film. Entries may be short films made on the basis of poems. The total value of the prizes in the competition is € 13,000. From among the films submitted, a Programme Committee will nominate the films to be entered for the Competition and select the films for the various sections of the festival programme. The winners will be chose by an international jury.
The Festival is also inviting entries of films based on this year’s »Festival poem«, Love in the Age of the EU by Björn Kuhligk. The directors of the three best films will be invited to Berlin to meet the poet and have the opportunity to present and discuss their films. You can find the poem with a sound recording and various translations here.
Closing date for entries for all the competitions is 25 April 2014
See the complete call for entries [PDF].
Poetry film festivals: upcoming deadlines and more
First, a reminder that at least FIVE festivals devoted to poetry films are currently open for submission: Trevigliopoesia Festival (deadline: March 1), The Body Electric Poetry Film Festival (deadline: March 21), Filmpoem Festival (deadline: May 1), DOCtorCLIP Roma Poetry Film Festival (deadline: May 15) and Visible Verse Festival (deadline: August 1).
In addition, for those who missed the ZEBRA Poetry Film Festival in Berlin last fall, there will be a reprise showing of some of the best films at the Kosmopolis International Literature Fest, March 14-16 in Barcelona. The blog post announcing this includes a good thumbnail history of ZEBRA and of poetry-film generally. Here’s a snippet:
In the early 20th century poets were as much inspired by the cinema as filmmakers by poetry. The first film adaptation of the poem ‘Twas the Night before Christmas’ (1822) by Clement Clark Moore was made in 1905 in the studios of Thomas Alva Edison. Another very early testimony to the influence of poetry on the great directors is the film The Unchanging Sea (1910) by D. W. Griffith after the poem of the same title by Charles Kingsley. Charles Sheeler and Paul Strand, with their futuristic adaptation of Walt Whitman’s city melancholia in their film Manhatta (1921), set standards which still apply today. L’invitation au voyage (F 1927) by Germaine Dulac is a timeless interpretation of Charles Baudelaire’s ‘Les Fleurs du Mal’ or Combat de Boxe (B 1927) by Charles Dekeukeleire after a poem by Paul Werrie. In L’Etoile de Mer (F 1928) by Man Ray lines from Robert Desnos’ 1928 poem »La place de l’etoile« are faded in on boards. And of course Un chien andalou (1929) by Luis Buñuel and Salvador Dalí with its poetic system. These are only some examples of the early poetry adaptations.
The constantly rising number of entries demonstrates the growing worldwide popularity of the genre and the necessity of this festival. Of all the programmes organised by the Literaturwerkstatt Berlin, the ZEBRA Poetry Film Festival is the most-booked, receiving invitations from throughout the world. It is regularly invited to take part in festivals from Buenos Aires to Taipei. In 2010–2012 alone it has been a guest in many countries including Algeria, Dubai, Morocco, Portugal, Spain, Lithuania, Malta, India, Australia, New Zealand, Italy, Colombia, Ireland, Norway and Ukraine.
It’s definitely an exciting time for directors and fans of videopoetry/filmpoetry. Needless to say, there are a myriad other film festivals held annually around the world, and many if not most may be open to submissions of at least some types of poetry films.
Two new essays on videopoetry
I have been doing much thinking about Visual Text in a videopoem. Unfortunately, at the rate that my fingers touch the keyboard, I haven’t had much to show for it. But Litlive just posted my essay, Visual Text/2 Case Studies, in which I comment on two of my favourites from the finalists for their VidLit Contest, both in the Visual Text category: “24” by Susan Cormier and “Profile” by R.W. Perkins.
This past year I was also invited to participate in the Zebra Poetry Film Festival Colloquium in Berlin, but had to cancel the visit due a family emergency. A few days before the event, it was suggested I write something to contribute to the discussion. My good friend and former Vehicule poet, Endre Farkas, read it aloud at the Colloquium. It’s now been posted at http://www.academia.edu/3474487/Address_to_the_Colloquium_Berlin_Zebra_Poetry_Film_Festival_2012. In it, I argue that, among other things,
A good videopoem is not predetermined from a script juxtaposed with illustrative elements – it is produced during the editing stage, when the elements are brought together, positioning and duration of text are determined, images and their duration are selected, and sound is chosen, the work is constructed segment by segment, as if they were raw materials in a cauldron. The role of “chance” in this process should not be underestimated or absent.
Editor’s note: For more on Tom and his work, go to TomKonyves.com.
Homenaxe ao mineral do repolo (Homage to the Mineral of Cabbage) by Erín Moure
This is Little Theatres, a jaw-droppingly good stop-motion short directed and animated by Stephanie Dudley. It’s based on a poem in Galician, the language of northwest Spain, by the Canadian poet Erín Moure, from her book, Little Theatres (Teatriños).
The film has its own website. According to the About page,
The poem is the second in a series of six by Erín in her award-winning book, Little Theatres. Each poem is an homage to a simple, humble food, such as potatoes, onions, and cabbage. The poems examine our relationship to food, and draw new insights to how these basic foods relate to life, as well as how we relate to each other. In looking more closely at the simple, everyday elements of life, we learn to appreciate their beauty.
The film Little Theatres is an interpretation of what Little Theatres are. It is an exploration of layers: layers of space, and layers of words, both spoken and written. The exploration begins and ends with a simple cabbage.
The film is also available with subtitles in French. (Moure’s multilingual abilities were a source of confusion for me at first, since the Wikipedia article about her mentions that her mother is from the part of western Ukraine known as Galicia — unrelated to the Galicia in the Iberian peninsula except inasmuch as both regions were originally settled by Celts. To compound the confusion, I’ve filed this film under both Canada and Galicia in the index, since the poem, if not the poet, is clearly Galician.)
An Anna Blume (To Anna Flower) by Kurt Schwitters
“An Anna Blume,” says the Wikipedia, is “a poem written by the German artist Kurt Schwitters in 1919. It has been described as a parody of a love poem, an emblem of the chaos and madness of the era, and as a harbinger of a new poetic language.” This film adaptation, a German-Bulgarian production, won the the Ritter-Sport Prize at the 5th ZEBRA Poetry Film Festival in 2010. Here’s the description at Vimeo:
Anna Blume is a visual poetry about the lust of a man chasing a woman. The story takes on surreal journey dictated by the mind of the poet. Lust and ingestion, disguised in love, drive the two characters to an end where love turns to be a very lonesome and strange place. The film is based on and inspired by the emblematic love poem from 1919 “An Anna Blume” by Kurt Schwitters.
CREDITS:
director Vessela Dantcheva
art director Ivan Bogdanov
screenplay Vessela Dantcheva & Ebele Okoye
main animator Ebele Okoye
music composer Petar Dundakov
sound designer Emil Iliev
compositing & edit Ivan Bogdanov
storyboard & layouts Vessela Dantcheva
produced by Ebele Okoye & FINFILM
supported by Robert Bosch Stiftung & National Film Center
Poem About Big BIGMOUSE by Ludmila Ulanova
I’m spotlighting children’s poetry films and videos this week, a diverse collection of works by children as well as film-poems made by adults for children. This is an outstanding example of the latter. About BIGMOUSE (Про Мыху), animated by Constantin Arephyeff (or Arefiev, in a more standard Romanization) won the award of the children’s jury at the 5th ZEBRA Poetry Film Festival in 2010. This is the English version narrated by Stephen Coates, who collaborated with the author and a couple of other people on the translation. There’s also a Russian version.
As in many Eastern European poetry animations, the text is used as a jumping-off point for a different, more elaborate story-line. However, this also feels very familiar in the context of children’s literature, where the artwork in illustrated books often does much more than just illustrate.
Syrinx by Norbert Hummelt
A very successful example of a poem used as dialogue between characters in a familiar movie set-up — a surprisingly uncommon tactic for videopoem makers. This was uploaded to YouTube by the ZEBRA Poetry Film Festival folks, who solicited it for this year’s festival:
For the 6th ZEBRA Poetry Film Festival Polish film makers Maciek Majewski, Łukasz Twarkowski and Wiola Sowa have collaborated with German poets Norbert Hummelt, Nico Bleutge and Christian Filips to make film versions of poems of theirs. Together they chose the poems and worked on turning them into scripts. In the run-up to the festival the pairs of artists were meeting up in Berlin to turn their ideas into films within six days. The short films that have been created in this way were premièred in the fesival. This is Maciek Majewski’s film-version of Norbert Hummelt’s poem “Syrinx”.
The translation is by Christina Hales and the poet, who is also known for his translations.
New reviews of recent poetry film festivals
Shannon Raye at reviewVancouver shared some impressions of the Visible Verse Festival of Video Poetry, which was held on October 13 in Vancouver, British Columbia.
I have attended the last five years of the video poem festival, and this was my favorite year because of the diversity and quality of the work presented. Curator Heather Haley did a remarkable job bringing a full roster of culturally and artistically diverse video poems to the festival, which made for a fun and eclectic evening. Videos ranged from quirky anime and sci-fi fantasy to beautifully filmed short films with a narrative structure. I enjoyed the way the 38 video poems were presented, with funnier work following sentimental pieces, and experimental images following work that had more of a short-film feel.
One of the highlights for me was the number of international video poems. This year had a very global feel, with many European countries represented. In addition, there was a sizable selection of video poems exchanged from Argentina’s Video Bardo Festival.
Erica Goss travelled to Berlin for the ZEBRA Poetry Film Festival held October 18-21, and this month in her Third Form column at Connotation Press offers the first of a two-part review of the event.
Watching poetry films as part of an audience is a new experience for me. Before the festival, I had only watched them at home on my computer, and usually alone. Sitting with other people in a dark theater while a series of intense, image-rich films rolled by on the big screen allowed me to examine them critically; for every film, I asked myself these questions: was it interesting? Did it create an alternative world? Was there a social, cultural, emotional, or intellectual message? Did the video enhance or detract from the poem? Was I startled, amazed, frightened or bored?
Swoon interview and the upcoming ZEBRA festival
Erica Goss’ Third Form column for October features an interview with the amazing Marc Neys (a.k.a. Swoon) and a look ahead to the ZEBRA Poetry Film Festival this month in Berlin.
I enjoyed getting a bit more of Marc’s backstory than I knew before:
Although his work has the look of a seasoned professional, Swoon started making his distinctive videos only two years ago. “I watched a lot of movies when I was a kid,” he told me when we talked in August. “When I was fourteen, I told myself I would make a film someday. I watch movies with an eye to the way they’re made. It drives my wife crazy, but I’m always pointing things out to her when we watch films together, especially if the film isn’t very good.” Swoon’s experience – from running “the smallest theater company in Belgium” – just he and his wife – to playing in a band and singing in English when he was sixteen – come together in his poetry videos.
His remarks on craft and technique were also interesting:
Craft is very important in Swoon’s work. “I spend a lot of time looking at footage, but I have an eye for what I want. A bad film can make a great video poem – it’s in the editing.”
He’s made most of his videos with “a cheap DV camera and some cheap German editing software. I need to upgrade my equipment, but I’m worried that better equipment will make me lazy. With my old equipment, I’m forced to be a better filmmaker. I want people to be impressed with my eye, not the camera’s.”
As far as what the video shows, Swoon advises, “Videos should not just show what’s going on in the poem – as in, the poem mentions a leaf falling and sure enough, you see a leaf falling. I want something that takes more imagination.”
Be sure to read the whole thing and watch the embedded videos.
