The ICA Cinema, London
I enjoyed judging the Apples & Snakes poetry film competition entries last week. Congratulations to the winners:
Looking forward to the Alchemy Film & Moving Image Festival 2015, featuring the Transmutations poetry film programme co-curated by PoetryFilm and Alchemy.
“The PoetryFilm Archive 2002-2015″ presentation at the AHRC Pararchive conference at The University of Leeds
I was delighted to give a paper called “The PoetryFilm Archive 2002-2015” at the AHRC’s Pararchive conference at The University of Leeds last week. It was a very interesting two days, including a fascinating discussion about heutagogy – many thanks to the Pararchive team for the invitation. Some tweets from the day are below, and a photograph of the main lecture theatre (featuring wifi-enabled chairs) is above.
Roland Barthes and Poetry
Last week I was at The University of Leeds presenting a paper called The PoetryFilm Archive 2002-2015 at the AHRC’s Pararchive conference. Whilst in Leeds, I was invited to another conference, also taking place at the university campus, on the topic of Roland Barthes and Poetry. I was able to attend one of the sessions and I heard two very interesting papers about Barthes and Mourning (Neil Badmington), and about Barthes and Haiku (Marcio Renato Pinheiro da Silva), followed by a stimulating discussion. The above photograph was taken during a technical moment and was coincidentally appropriate in the context of Barthes. Copy from the press release is below*.
*The purpose of this conference marking the centenary of the birth of the French literary critic Roland Barthes is to consider a theme in his writing and his subsequent influence that is not normally highlighted, but which could be considered, paradoxically, to be central to his oeuvre. Very little of Barthes’s literary criticism nor his own reading habits generally are, ostensibly, concerned with poets or poetry; and yet his very first book-length essay, on the degree zero of writing (1953), attempts, in one chapter, a definition of ‘poetic writing’.
Indeed, Barthes’s university specialism at the Sorbonne, in the late 1930s, was in Ancient Greek incantations, his reading diet at the time being Michaux, Valéry, Baudelaire and Whitman. Later he worked closely for periods of time with a number of important French post-war poets (Jean Cayrol, Francis Ponge, Marcelin Pleynet), and with the Moroccan poets Abdelkébir Khatibi and Zaghloul Morsy. More widely, Barthes’s writing is peppered with references to the ‘poetic’, from ‘Myth, today’, through an analysis of the Encyclopedia, the bodily pleasures of poetry (rhythm, sound, performance), the erotics of the text rather than a hermeneutics, to his writing on Haïku.
This conference sets out to complement others taking place in the UK next year (at Cardiff and at the British Academy), by focussing on poetics as a general theory of communication and of human signifying practices in and beyond language as a central Barthesian concern, be it in the work of the Hellenist George Thomson, or the poetic theory of Roman Jakobson. Indeed, poetry – especially in the work of German Romantics, and in the Romantic ‘Lieder’ too – becomes a crucial support for Barthes in the last years of his life following the death of his mother.
Poetry and poetics, the conference hopes to suggest then, are so important in Barthes’s theories and writing that we could even see a Pan-poetics in his work, so fundamental that it is not usually named as such. One of the main aims of the conference is therefore to suggest the place of poetry in Barthes’s work. A second aim of the conference is to look at the ways in which poets have responded to Barthesian poetic theory, especially in the case of American avant-garde poetry of the 1950s-1970s. Here the influence is marked, especially in the L-A-N-G-U-A-G-E grouping based in San Francisco, but it can also be traced in the ‘Sound poetry’ revolution of the 1950s and 1960s.
I am delighted to have been invited to judge the Carbon Culture Review‘s poetry film competition.
Carbon Culture is the new American literary journal celebrating the intersection of technology + literature + art.
Press release from CCR:
“We want to integrate film and literary culture. Carbon Culture will award a $1,000 prize for the best poetry film using the complete text of John Gosslee’s poem “Portrait of an Inner Life.” Zata Kitowski, director of PoetryFilm, will pick the grand prize winner and finalists. The winning entry will receive $1,000. The top five entries will receive high-profile placements across a number of networks, and a one page ad alongside honorable mentions in our newsstand, print, and device editions. All entries are considered for sponsored entry to our list of film festivals and poetry film festivals.”
Deadline for submissions is January 1, 2016.
Prize Announcements will be made in April 2016.
I am delighted to announce a series of forthcoming PoetryFilm projects – both in the UK and overseas.
Transmutations poetry film event at Alchemy Film & Moving Image Festival, Hawick, Scotland (UK), 15-18 April 2015 [co-curated by PoetryFilm and Alchemy]
PoetryFilm at Wenlock Poetry Festival, Wenlock (UK), 23-26 April 2015
PoetryFilm at sound acts festival, Athens (Greece), 23-26 April 2015
PoetryFilm at The Groucho Club, London (UK)
PoetryFilm at Cannes Film Festival
PoetryFilm in Denmark
PoetryFilm at Penzance Literature Festival, Cornwall (UK), 9 July 2015
PoetryFilm in Reykjavik (Iceland), 16 July 2015
PoetryFilm returns to The ICA Cinema, London (UK), 16 August 2015
PoetryFilm in Denmark
Call For Submissions
Work welcome: poetry films, art films, text films, sound films, silent films, collaborations, auteur films, films based on poems, poems based on films, and other experimental text/image/sound screening and performance material. All submissions will be catalogued in the PoetryFilm Archive and will be considered for all future PoetryFilm projects.
Please send hard copies of material / proposals in the post (e.g. DVD, USB stick).
All themes and topics are welcome.
Please click here to download the PoetryFilm Submission Form 2015.
Please send your work together with the form to: PoetryFilm, First Floor, 85 Harwood Road, Fulham, London SW6 4QL.
– A fully completed Submission Form must accompany all submissions
– Please print out and include hard copies of all the additional material you would like to have considered as part of your submission
– Please do not write website links or “see website” on the form
– Please do not submit links by e-mail or through social media
There is no deadline; submissions are ongoing and continuous throughout the year.
Please email firstname.lastname@example.org if you have any questions. Thanks.