Thank you very much for passing along these great suggestions and being so generous with your knowledge, it's all very helpful.
best, Jimmy On Sun, Jan 10, 2021 at 12:10 PM Carlos Adriano <[email protected]> wrote: > 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 >
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