a kind of counterpoint... a forthcoming book: "The Poetry-Film Nexus in Latin America: Exploring Intermediality on Page and Screen"; edited by Ben Bollig and David M. J. Wood: http://www.mhra.org.uk/publications/Poetry-Film-Nexus-in-Latin-America
next tuesday, a talk about it: http://jlacs-travesia.online/en/2020/10/29/the-poetry-film-nexus-intermediality-and-indiscipline-in-latin-american-audiovisual-cultures/?fbclid=IwAR3L8CV21R4HtlXgYaW7V26OKNBEhEtp37U9kfDdpT8stTpjxSayKQB9f1o carlos adriano brazil Em dom., 10 de jan. de 2021 às 02:57, FrameWorks Admin < [email protected]> escreveu: > Hi Jimmy, > > There are some early examples such as *Manhatta* (1921) by Paul Strand > and Charles Sheeler, a film portrait of New York structured around a Walt > Whitman poem. > > P. Adams Sitney in his 2008 book "Eyes Upside Down" draws parallels > between the poetry of Ralph Waldo Emerson and traditions of American > experimental film. Emerson marks the transition from a puritan America of > religious severity towards a sensitivity of personal perception, nature, > expansion and beauty. Emerson’s disciples - Whitman, Thoreau, Gertrude > Stein - broadened these traditions towards sensuality, sexuality and > perception and introspection. Musicians like Charles Olson and John Cage > and filmmakers like Mekas and Brakhage took direct inspiration from these > poets. > Emerson’s poem “Nature" contains the famous phrase “I am a transparent > eyeball - I am nothing, I see all.” Sitney describes this as an > appreciation of the wonder and beauty of nature, and links it directly to > the cinema of pure visual experience and the ecstasy of natural phenomena > he sees in films such as Menken’s *Notebook*, Mekas’ *Rabbit Shit Haikus* > (*Lost Lost Lost* reel 5) and Brakhage’s *Mothlight*. > > Jonas’ *Walden* freely cites Thoreau of course and there are parallels in > his observations of nature, solitude, society and economy. If you compare > some of Jonas’ poems from Idylls of Seminiskiai you can identify the same > logic of glimpses and invented vocabulary to describe textures, colors and > visual impressions as can be found in the filming style he developed at the > time of shooting *Walden*. The title cards “Walden” and “I thought of > home” connect with the theme of exile and memory of childhood in the same > way as those poems about Lithuania written in the camps in Germany. Jonas’ > later short film *Imperfect Three Image Films* attempts to directly > impose the Haiku form onto filmmaking by using only three shots with at > least one of them indicating the season (the title includes the word > “imperfect” because he deviated from this form as well). > > More directly, Stan Brakhage quotes nearly literally from Gertrude Stein’s > "Stanzas in Meditation" in his film *Visions in Meditation #1*. Brakhage > writes extensively on Stein on page 196 of “Essential Brakhage.” On page > 330 of "Eyes Upside Down” Sitney quotes Brakhage’s full description of > *Visions > in Meditation #1* and his attempt to recreate in film Stein’s > demonstration of the slippage of language (for example in “A rose is a rose > is a rose”) to detach the image from its content to allow subjective and > multiple meanings for the viewer. Comparing Stein’s poem with this Brakhage > film can be useful for your students. > > You can also look at poets who became filmmakers, such as the Lettrists > Isidore Isou, Maurice Lemaitre and their followers. Their poetry was an > abstract sound performance linked to a polemic manifesto on the destruction > of poetry and you can see their attempts to destroy film, painting and > other forms as evolving from their poetry. More usefully for your students, > you could show Isou’s *On Venom and Eternity* chapter 3 when the > protagonists visit a Lettrist poetry recital, the film being scratched > accordingly. > > Hope this helps, > Pip Chodorov > > > On Jan 10, 2021, at 3:44 AM, jimmyschaus1 <[email protected]> wrote: > > I'm working on a class assignment where students write a short piece of > poetry or prose and then make a video where each shot corresponds to one > sentence or line in the text. > > Can anyone point me towards a prior example of this, or something else > that engages translation in a similar way? > > > -- > Frameworks mailing list > [email protected] > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >
-- Frameworks mailing list [email protected] http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
