When a filmmaker approaches a poem or the work of a poet, how does he or she interpret the verbal images visually?
I raise this question because I think a literarian (poet trained in literature) who videos/films a poem will approach it differently to a filmmaker (lover of poetry trained in film).
A poet might envision the video/filmpoem as a writer creating a videopoem for an unknown audience - from the centre outwards, or from the words to an audio visual corollary; whereas, a filmmaker, familiar with traditional filmmaking techniques and a better grasp of audience, might approach from that position to the centre - the poem itself.
Let me illustrate with a found image on which I have mapped this process (click on image for a larger view):
In my viewing and making of video/filmpoems over the past few years, I have noted differences between poets with no or little film training who make video/filmpoems and filmmakers who approach a poem with considerable experience and background in the art of filmmaking.
Yet, despite the filmmaker seeming to have the advantage of knowledge and experience and a network of contacts in the film world, all video/filmpoems, by neophytes or professionals, seem to struggle to find a large audience. Video/filmpoetry is a fairly new genre and while there are many different styles one thing common almost across the board is the minuscule audience in comparison to, say, music videos or even trailers for full-length films.
When I see the viewcounts on the filmpoems we are looking at this week, I am saddened. John Scott is a strong filmmaker who has crafted superb filmpoems, and yet the view counts are in the hundreds rather than in the tens or hundreds of thousands as these films deserve.
Personally I think it is a matter of training the public to see and understand the art form of the video/filmpoem. Difficulties viewers have with video/filmpoems is an area of focus in VidPoFilm. John himself says, "I'm interested in expanding the audience for "poetry" to people who might not normally consider poems interesting because they seem old fashioned, dry and/or intellectual."
If we go by the general view counts on YouTube or Vimeo, likely an 'expanded audience' will occur only if the video/filmpoems are aired on national television and shown and analyzed in classrooms around the world. Perhaps John Scott is in a position to enable this to happen with his Elizabeth Bishop series.
Finding an audience is an interesting challenge. Initially I was focused on festivals and other screening events for both Sandpiper and One Art with pretty good success -- their shortness is actually an advantage. They only have a few hits on the web but, on the other hand, I haven't done much to promote them yet and they haven't been up too long. Who knows?
ReplyDeleteHow many people read poetry? Hardly anyone, except other poets, academics and students. In the 1850s, people memorized Tennyson poems as soon as they were published - reciting was normal after dinner entertainment in families.
ReplyDeleteThat's all gone now, of course. Songs have overtaken poetry, and television has overtaken family home entertainment.
I'm not sad about it; it's just the way it is. Different art forms, different focuses.
But I mention this because it is really hard to get people to watch video/film poems. Your Elizabeth Bishop film poems are doing quite well at YouTube in comparison to most of the video/filmpoems there.
What I think, truly, is that it is a new art form, a confluence of poet and filmmaker, and the public needs to be educated to 'see' and understand this art form.
Your two films, 'Sandpiper,' and 'One Art' are way up there, superlative productions in every aspect. They really deserve to 'go viral.' Likely they won't - only because people don't understand the genre.
Likely you are extremely busy, and couldn't, but seriously, developing a Film Poem course package for High School English, and working with a School Publisher on the materials, presentation, distribution, would be the very best thing for teaching and disseminating/selling your work.
Are the libraries buying DVDs of film poetry? How about collections?
These are some of the ideas I have that I think are the only way to substantially increase audiences -ie the audiences aren't out there already, they have to be created- in the long term.
I think you can do a lot as an independent filmmaker to promote your work, but getting it in the schools and libraries - like, wow.
Actually when the entire project is finished we have very ambitious educational goals -- all long term. Setting the groundwork for now. Thanks for all the kind words!
ReplyDeleteThat is wonderful to hear! Wishing you much success with everything.
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