The Poetics of Poetry Film : Film Poetry, Videopoetry, Lyric Voice, Reflection.

Front Cover -- Half Title -- Frontier spices -- Copyright information -- Dedication -- Epigraph -- Table of contents -- Illustrations -- Foreword -- Preface -- Introduction: Poetry, Song, Philosophy - The Combined Lyric Aesthetic -- Illuminated Verse -- The Figurative Visual Poem -- Philosophy through Poetry: China and the Lyric Aesthetic in Poetry and Painting -- Part One Form and Structure -- Terminology across Time -- Poetry Films, Film Poems and Video Poems / Videopoems -- Pioneer Works -- Cinematic Poems -- Vita Futurista -- Film Poems -- Cinépoème -- Poetry Film -- England and the Documentary with Spoken Verse -- The Video Poem and Videopoem -- The First Poetry Film Festival -- Festival Time -- Similar Genres -- The Music Video -- The Short Film -- Separatist Classifications -- A Coda to Terminology -- Notes -- Realization and Structure -- Maker Topology -- Auteur -- Tom Konyves: Notes from his Videopoetry Manifesto -- Collaborative -- Poet and Film-Maker -- Poet Interpreting Film-Maker -- More than One Poet (Beyond the Workshop) -- Film-Maker, Composer and Poet -- Editors -- Group Work -- Workshops -- More than One Film-Maker -- Production Teams -- Adaptation and Translation -- What Is Poetry Film - What Is Poetry? -- Visual and Concrete Poetry -- Types of Visual Metaphor in Film -- Renouncing Metaphor -- Let's Take Another Look -- Exposed Thought Processes -- Constructional Components within the Three Elements -- Naturalizing Construct: Eight Proposed Areas -- Reflexive Form and Content -- Examples of Handmade Techniques for Creating Images -- Pen, Crayon and Ink -- Cut-Out -- Notes -- Voice and Narrative -- Locating Voice -- Locating the Narrative Positionality of Voice in Poetry Films -- Register -- Voice as Speech Act -- Types of Voice: Inner (Intensional), Observational (Extensional) and Direct Address -- Voice Breaking Up.

The Protagonist: Pasolini and Free Indirect Discourse -- Sending a Message/Direct Address/Bearing Witness -- Voice and Place -- Dear Alison - A Climbing Film-Poem -- Vatic Voice -- Multiple Voices -- Dual Voices/The Message/The Radio, Tannoy/The Witness -- Dual Voices/Bilingual and Multilingual -- Translation to English: The Problems of Subtitling -- Translation and the Hard of Hearing -- A Child's Voice -- Voice and Text/Image as One -- Absent Voice -- Note -- Time and Mind -- Projected Author Time and Structural Tripartite Time -- A Binding of Poetic (Linguistic) and Filmic Accumulative Time -- Narrated Time: Poetry and Film -- Time on the Page -- A Scale for Projected Narrative Time in Poetry Films -- The Dramatic Poetry Film -- The Uncontrollable Present -- The Controlled Present -- The Past Alone -- Past Alongside Present -- The Pervious Poetry Film -- At and through, Pervious Time -- Pervious Subjective and Objective Time -- Non-Temporal Pervious Time and Reverie -- Time(s) and Geopoetics - Time and Place -- Constructing Dynamic Spatio-Temporality -- Place, the 'Real' and Framed and Unframed Space -- Rhythm and Movement -- Tension -- Split Screen: Creating Multiple Spatio-Temporality -- Multiple Screens/Layers: A Walk of the Eye -- Kinestasis and the Still and Moving Image -- Lens Eye: We Are Watching -- Lens Eye and Distorting Images -- The Free Gestural Lens -- Cyclical Rotation, Turning and Metronomic Motion -- Fast Transposition or Oscillation -- Medium Transposition -- Slow Transposition: Two Words from One -- Vertical Dynamic Effects -- Fragmentation, Blank or Blurred and Condensed Space -- The Dissolve (De/Rematerializing Prosody) and the Letter -- Note -- Tonality, Light and Colour -- Density and Tone -- The Horizontal Mask -- Light -- Light and Time Series -- Chromatic Prosody -- Black and White, Lighting and Spot Colour.

Black and White, Rhythm and Texture -- Colour -- Colour Following Music -- Simple Technical Effects, Maximum Painterliness -- Colour Synonymous with Peace or Pain -- The Politics of Colour -- Notes -- Sound Design -- Diegetic Soundscapes -- Music Marrying Time Frames -- Leitmotifs, Phrases and Repetition -- Repetition, Fragmentation and Voice -- Naturalism and Hyper-Naturalism -- Minimal and Ambient Music -- New Temporalities, Generative Strategies and Music Composition -- Sound Playing against the Image -- Silent and Partial Soundscape -- Pace: Visual and Aural Together -- Beat, No Voice and Text -- Music and Inner Dialogue -- Speaking and Singing -- Speaking/Singing to Music/Beat as Meter -- Fully Sung -- Poet on Screen: Persona and Subjectivity -- To Camera or Not to Camera -- Unmediated -- Direct to Camera: Hello Audience -- Performance, Subjectivity and Multiple Identities -- The Indefinite 'I' -- The Carnivalesque, Fabulous and Alien in Poetry Film -- Women's Roles -- The Mother -- Trauma and the Mythic Maternal -- The Diary Film: Between Lyric Subjectivity and Documentation -- Unseen Forces and the Protagonist's Point of View4 -- Notes -- Part Two Artists' Voices -- Contemporary Pioneers -- George Aguilar -- Q &amp -- A with Matt Mullins, Abridged from Atticus Review, 20132 -- Enzo Minarelli: No Cinderella - Sound (and Text) in Video Sound Poetry -- Polypoetry -- The Sound in Videopoetry -- Rhythm from Sound -- Polypoetry and Videopoetry -- Meditations on Time -- Video Sound Poetry -- Loss, Memory, Spectacle, Redemption: A Hermeneutic Approach to Dier's Videopoem Todos esos momentos se perderan (All Those Mome -- Tom Konyves -- VideoBardo -- Peter Todd: Screening the Experimental Poetry Film -- Example of Peter Todd's Curation and Notes for Film Poems 4, 'Messages'.

Valerie LeBlanc and Daniel H. Dugas: The Early Years - Text and the Cityscape -- The First Video Poetry Series -- Visible Verse6 -- Heather Haley -- ZEBRA and the View from Here -- Thomas Zandegiacomo del Bel -- ZEBRA -- Selected Entries from Asia, Australia, East Europe, France, Italy and Russia -- Australian Poetry Films -- Bulgarian Poetry Films -- Burmese Poetry Film -- Chinese Poetry Film -- Croatian Poetry Films -- Estonian Poetry Films -- French Poetry Films -- Hungarian Poetry Films -- Italian Poetry Films -- Lithuanian Poetry Films -- New Zealand Poetry Films -- Polish Poetry Films -- Russian Poetry Films -- Taiwanese Poetry Films -- Interview with Zata Banks: Poetry Film and the Experimental Logophile -- Gabriele Labanauskaite10 -- Why Combine Music and Poetry -- Influences -- Searching -- Interview with Dave Bonta: Talking Animals, Bridging Language Barriers -- Interview with Alastair Cook: Place and Haptic Making -- Your Voice: La Plage / Abachan / Scene / Amerika (The Man Who Disappeared) -- Early films: Use of the Cut -- Interview with Marc Neys: Resolving Time, Resolving Space -- Notes -- Making -- Notes on Nothing in the Garden -- Chaucer Cameron -- Notes on Poem for Rent Marie Craven -- The Book of Hours: A Collaborative Online Poetry Film Project between a Spoken Word Poet and Poetry Film-Makers -- General Notes on Practice Ian Gibbins -- The Flicker Film and the Videopoem3 -- Proem: To Brooklyn Bridge - Animating Poetry and Research-Led Creation4 -- Foley by Foley, Frame by Frame -- Kate Jessop -- Grab 'em by the Poiesis: The Jouissey Play of Vispoetics -- Adeena Karasick -- Some Notes on My Video Poems -- Martha McCollough -- The Rhythms of the Literal and Subtextual in Individual and Collaborative Poetry Films -- Matt Mullins -- Adele Myers: Two Contrasting Versions of a Dance-based Poetry Film -- Poetic Sound.

Two Poets and a Camera -- Poets on the Stage with Video -- Caleb Parkin and Helmie Stil: A Marriage of Poet and Film-Maker -- Filming -- Writing The Desktop Metaphor -- Caleb Parkin -- The Desktop Metaphor -- Live Cinema -- Interview with Dave Richardson: Unchartered Terrain - The Personal Within -- The Internet Archive -- Music First for Kali Exorcism -- Opening Up Imaginary Spaces -- Notes -- Poetry Film and Videopoetry in Portugal and Spain: Alive and Thriving -- Alexandre Braga -- Eduardo Yagüe -- Tarha Erena -- Alejandro Céspedes -- Celia Parra -- Jordan T. Caylor -- Belén Gache -- Santiago Parres -- Agustín Fernández Mallo -- David Argüelles Redondo -- Ángel Guinda and Sándor M. Salas -- Experimental Poetry in Argentina from the 1960s to the 1990s: Political Voice and Prefiguring the Turn to Digital Literature a -- Liberated Words: Developing a Poetry Film Festival and Workshops -- Butterflies Haven Workshop -- Ecopoet -- Digital Artist and Film-Maker -- Note -- Part Three Selected Narrative Forms -- Collections -- Interview with John D. Scott: How the Observer Sees - Elizabeth Bishop and the Art of Losing -- Time and Change: One Poet, One Theme, Several Voices -- One Poem, Many Translations -- One Poet (with Additional Poets), Many Film-Makers -- One Film-Maker, Many Poets -- Many Poets, Many Film-Makers -- Collection as Ancestral Life Writing -- Notes -- Text-on-Screen -- The Imaginative Leap -- Kinetic, Concrete or Pattern Poetry -- Text and Image no Voice: State of Mind -- Text Blocks Image as Aphoristic Statement -- Graffiti and Street Signs -- Notes -- Video Haiku and Video Haiga -- Haiku as Length of Shot -- Japanese Aesthetics in the Art of Poetry Film -- A Documentary Approach to Poetry Film -- War and Diaspora -- YouTube Footage -- Capturing Place -- Found Footage: Capturing a Nostalgia for the Past -- Dance and Movement.

Dance and Multiple Selves.

The first book of its kind, it classifies the different types of poetry film, shedding light on the fast-growing genre and citing works from poetry filmmakers worldwide. A ground-breaking industry bible for anyone interested in poetry, digital media, filmmaking, art and creative writing as well as poetry filmmakers. 60 col., 20 b/w illus.   Launch interview with Dr Rebecca Kosick Sarah Tremlett interview at VideoBardo Videopoetry Festival.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.