[Frameworks] video translation of poetry/prose

[Carlos Adriano]

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 <
frameworks at re-voir.com> 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 <jimmyschaus at gmail.com> 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?
>
>
> --
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>
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