Hello, What you describe is the exact description of the "cinéprose" that Isidore Isou invented. Second wave lettrist filmmaker Pierre Jouvet made a few films according to cineprose (replacement of words by images), which he describes on his website : https://pierrejouvet.wixsite.com/site/l-autre?lang=fr (you can easily understand it with automatic translation)
Best, Théo Deliyannis Le dim. 10 janv. 2021 à 19:00, <[email protected]> a écrit : > Send Frameworks mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Frameworks digest..." > 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) > > > > ---------- Forwarded message ---------- > From: jimmyschaus1 <[email protected]> > To: [email protected] > Cc: > Bcc: > Date: Sat, 9 Jan 2021 19:44:17 +0100 > Subject: [Frameworks] video translation of poetry/prose > 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 > > > > ---------- Forwarded message ---------- > From: jaime cleeland <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Sat, 9 Jan 2021 23:10:08 +0000 (UTC) > Subject: Re: [Frameworks] video translation of poetry/prose > Jimmy, > 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 <https://overview.mail.yahoo.com/?.src=iOS> > > 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 > > > > > ---------- Forwarded message ---------- > From: Santiago Fernandez <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Sat, 9 Jan 2021 21:03:44 -0600 > Subject: Re: [Frameworks] video translation of poetry/prose > 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 > > > > > > > ---------- Forwarded message ---------- > From: FrameWorks Admin <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Sun, 10 Jan 2021 13:56:32 +0900 > Subject: Re: [Frameworks] video translation of poetry/prose > 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? > > > > > > ---------- Forwarded message ---------- > From: Carlos Adriano <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Sun, 10 Jan 2021 08:08:19 -0200 > Subject: Re: [Frameworks] video translation of poetry/prose > 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 >> > > > > ---------- Forwarded message ---------- > From: jimmyschaus1 <[email protected]> > To: Experimental Film Discussion List <[email protected]> > Cc: > Bcc: > Date: Sun, 10 Jan 2021 15:52:10 +0100 > Subject: Re: [Frameworks] video translation of poetry/prose > 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 >> > Frameworks mailing list > [email protected] > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >
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