I’ve written a book on Hollis Frampton’s film Gloria! and what it tells us about lyric poetry’s place in film. This research was done as part of a PhD at the Seamus Heaney Centre for Poetry in Belfast finished last spring. I’m doing some more work on it now on Frampton’s relationship with Ezra Pound and its impact on his filmmaking. This photo of Frampton was taken by his partner Marion Faller, who died at this time last year.
I gave the keynote talk at Oslopoesi Film, which is a fantastic critical and creative space for poetry and its intersection with film. My talk centred on the problem of voiceover, which I see as an overly used ‘go to’ method for putting poems into cinema. There were presentations by J.P. Sipila (Finland), Marie Silkeberg (Sweden), Steve Roggenbuck (US) among others.
The biannual Zebra Poetry Film Festival in Berlin takes place in a beautiful venue, The Babylon Cinema, and it’s always a fantastic collection of writers, filmmakers, producers, artists and all sorts. This year, I am serving on the jury. Really looking forward to seeing the programme
You can hear the interview here. (May 12, 2014 podcast) or click on the photo to be taken to the interview. Over 50 of Falkowska’s handwoven tapestries are on view at The Dock, Carrick-on-Shannon, County Leitrim through June 7, 2014.
still from ‘Developers’ (2014) by Alice Lyons & Orla Mc Hardy
November 16, 2013–January 12, 2014
Type as Image in Movement
ZKM (Zentrum fur Kunst und Medientechnologie)
Museum of Contemporary Art, Karlsruhe
Through multiple digital possibilities, script can go beyond its function in the mediation of information and gains an increasingly autonomous, aesthetic status. Analog or digitally based films or film fragments are referred to as script films, whereby moving, animated, graphically designed and, above all, script set to sound play the main role.
The exhibition SCHRIFTFILME leads to places in which we encounter moving script: artistic productions, but also feature films, advertising, music videos or media facades in cities. The project SCHRIFTFILME represents an attempt to compile, typologize and publically present classical popular as well as lesser noticed and frequently difficult to access script films from twenty countries dating from 1895 to the present.
I’ll be speaking, along with Sarah Browne, about our collaborative project on Eileen Gray in which my poem, ‘something permanent (for Eileen Gray)’ is being transmitted worldwide via Morse Code (above) from IMMA.