[Frameworks] video translation of poetry/prose

Mon Jan 11 10:18:41 UTC 2021

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, <frameworks-request at film-gallery.org> a
écrit :

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>    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 <jimmyschaus at gmail.com>
> To: frameworks at film-gallery.org
> 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 <ethnomite at yahoo.co.uk>
> To: Experimental Film Discussion List <frameworks at film-gallery.org>
> 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 <jimmyschaus at gmail.com>
> 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
> Frameworks at film-gallery.org
> http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>
>
>
>
> ---------- Forwarded message ----------
> From: Santiago Fernandez <nicolopolo77 at yahoo.com>
> To: Experimental Film Discussion List <frameworks at film-gallery.org>
> 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 <jimmyschaus at gmail.com>
> 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
> > Frameworks at film-gallery.org
> > http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>
>
>
>
>
>
> ---------- Forwarded message ----------
> From: FrameWorks Admin <frameworks at re-voir.com>
> To: Experimental Film Discussion List <frameworks at film-gallery.org>
> 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 <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?
>
>
>
>
>
> ---------- Forwarded message ----------
> From: Carlos Adriano <adriano.carlos.ca at gmail.com>
> To: Experimental Film Discussion List <frameworks at film-gallery.org>
> 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 <
> 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?
>>
>>
>> --
>> Frameworks mailing list
>> Frameworks at film-gallery.org
>> http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>
>
>
>
> ---------- Forwarded message ----------
> From: jimmyschaus1 <jimmyschaus at gmail.com>
> To: Experimental Film Discussion List <frameworks at film-gallery.org>
> 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 <
> adriano.carlos.ca at gmail.com> 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 <
>> 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?
>>>
>>>
>>> --
>>> Frameworks mailing list
>>> Frameworks at film-gallery.org
>>> http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>
>> --
>> Frameworks mailing list
>> Frameworks at film-gallery.org
>> http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>
> Frameworks mailing list
> Frameworks at film-gallery.org
> http://film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>
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