Hello -
Brakhage's I Dreaming would be a productive
model-https://www.youtube.com/watch?v=lkJK01toHwwAnastasia
On Sunday, January 10, 2021, 1:00:43 PM EST,
[email protected] <[email protected]>
wrote:
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Today's Topics:
1. video translation of poetry/prose (jimmyschaus1)
2. Re: video translation of poetry/prose (jaime cleeland)
3. Re: video translation of poetry/prose (Santiago Fernandez)
4. Re: video translation of poetry/prose (FrameWorks Admin)
5. Re: video translation of poetry/prose (Carlos Adriano)
6. Re: video translation of poetry/prose (jimmyschaus1)
Hello,
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? Thinking of things along the line of
James Broughton's "Water Circle", like one or a limited number of shots
expressing a text, but beyond that drawing a blank.
thanks,JimmyJimmy,I made this https://www.youtube.com/watch?v=HY0mwzDnc4k
while studying undergraduate film at Bilgi University, Istanbul.Maybe along the
lines of what you are looking for.
Stay safe and healthy,Jaime
Sent from Yahoo Mail for iPad
On Saturday, January 9, 2021, 7:45 pm, jimmyschaus1 <[email protected]>
wrote:
Hello,
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? Thinking of things along the line of
James Broughton's "Water Circle", like one or a limited number of shots
expressing a text, but beyond that drawing a blank.
thanks,Jimmy--
Frameworks mailing list
[email protected]
http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
Sergei Eisenstein’s The Film Sense has lots of examples.
Enviado desde mi iPhone
> El 9 ene 2021, a la(s) 12:45, jimmyschaus1 <[email protected]> escribió:
>
>
> Hello,
>
> 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? Thinking of things along the line of
> James Broughton's "Water Circle", like one or a limited number of shots
> expressing a text, but beyond that drawing a blank.
>
> thanks,
> Jimmy
> --
> Frameworks mailing list
> [email protected]
> http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
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?
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 adrianobrazil
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
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 adrianobrazil
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
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
