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“Timeline” Bokeh Yeah Poem Film Showcase at HOME in Manchester (documentation)

Documentation from last night’s Timeline Bokeh Yeah Poem Film Showcase at HOME in Manchester (29 March 2016).



The event took place in a cinema at HOME in Manchester

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BFI LOVE highlights – featuring PoetryFilm Paradox

Many thanks to the BFI, Film London, and to Film Hub London for featuring PoetryFilm Paradox in the BFI LOVE highlights video! PoetryFilm presented 3 sold-out events in December 2015 at the Groucho Club and Hackney Picturehouse. Click to watch.


SEEING SOUND symposium, Bath Spa University: “The PoetryFilm Archive: Sounds of Poetry + Poetry of Sounds”

Screen Shot 2016-03-14 at 18.05.41

I’m delighted to be presenting a paper at the Seeing Sound symposium at Bath Spa University on 9-10 April 2016, featuring sound-informed artworks from the PoetryFilm Archive.

Seeing Sound is an informal practice-led symposium exploring multimedia work which foregrounds the relationship between sound and image. It explores areas such as visual music, abstract cinema, experimental animation, audiovisual performance and installation practice through paper sessions, screenings, performances and installations.

Bokeh Yeah! ‘Timeline Poem-Film Challenge’ screens at HOME Manchester, 29 March 2016

I am delighted to have been invited to judge this poem-film competition in Manchester on 29 March 2016. The press release is below.

Local filmmakers adapt poems to the big screen 

Manchester-based filmmaking group, Bokeh Yeah! has launched its third ‘Timeline Poem Film Challenge’ in collaboration with local publishers Carcanet Press, Flapjack Press and Commonword. The project helps Bokeh Yeah! members adapt poems provided by the publishers into short films using DSLR (digital single-lens reflex) cameras. Publishers and filmmakers from across the region were invited to take part in the 2016 challenge, widening the opportunity for creative collaboration. Previous associates include award-winning short story publisher, Comma Press.

The completed short films will be screened at HOME, Manchester’s premium arts centre, on 29 March with support from Manchester Literature Festival. An independent judging panel, including Zata Banks, poem-film maker and founder of the PoetryFilm project; poet and Senior Lecturer at the University of Manchester, Vona Groarke; and Michael Symmons Roberts, poet and Professor of Poetry at Manchester Metropolitan University, will choose their favourite film, with a £300 cash prize to be divided between the winning filmmaker and poet. The event will also include performances and live readings from an array of internationally-renowned poets, and a showcase of student film adaptations of Emeriti poets. The students were also given the challenge whist studying at Fujairah Women’s College Higher College of Technology. Cultural links are being made with Bokeh Yeah! and UAE, whilst Adele Myers is working out in Fujairah in the college.

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PoetryFilm Parallax: NES Skagastrond, Iceland, 17 March 2016

PoetryFilm Parallax, NES Iceland, 17 March 2016.JPG

PoetryFilm Parallax

17 March 2016, 7pm

NES, Skagastrond, Iceland

A curated selection of 14 short film artworks, chosen for their alignment with poetic structures and experiences, and with the visual, verbal and aural languages of poetry in various forms.

Parallax is the apparent displacement, or difference in the apparent position, of a visual object, when viewed along different lines of sight. In his book Transcritique, the Japanese philosopher Kojin Karatani uses the word ‘parallax’ to describe Kant’s shifting between contradictory perspectives. Kant’s Antinomies of Reason are contradictory propositions, which seem valid from their own perspectives, but which cannot be simultaneously true. Kant argues alternately from one perspective, then from the other, and Karatani describes Kant’s approach as establishing a parallax between philosophical positions. Karatani asserts that parallax does not equate with negativity, but it does not negate negativity either. The basis of parallax is the positivity of both positions.

Slavoj Žižek argues that in Karatani’s concept of the parallax view, the observed difference is not simply subjective, but that the viewer’s change in perspective reflects an ontological shift in the object itself; “the subject’s gaze is always-already inscribed into the perceived object itself, in the guise of its ‘blind spot’, that which is ‘in the object more than the object itself’, the point from which the object itself returns the gaze” (Žižek, The Parallax View, 2006). “Sure, the picture is in my eye, but me, I am also in the picture” (Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, 1979).

Spirit of Place, Oliver Harrison

Twelve Hours of Daylight, Bridget Sutherland

It Started With a Murder, Susan Young

Liberté, Maciej Piatek

The Lost Reels, Matthew Humphreys

Everything Makes Love with the Silence, Hernan Talavera

Breathing, Guy Sherwin

Eye, Guy Sherwin

Our Bodies, Matt Mullins

Talking Skull, David Asher Brook

Constellations, Julian Scordato

Barattolo di Sale, PNEUMA

Growing Up, Eugeny Tsymbalyuk

Faster than Birds, Liliane Lijn


I’m delighted to be featured in this month’s Visual Verse: Online Anthology of Art and Words. The image on the left is by Alejandro Carol and my response, Anosmia, is on the right.