Poetryfilms: when poetry and film have a flirt

This essay was originally published by PoetryFilm Kanal Weimar in 2015. It is my personal view on filmpoems and videopoetry.

Many think that poetry and film do not belong together, that they are two different breeds that cannot truly hybridise. I believe films and poems can court each other, with or without serious intentions, and some of them can even give rise to new, beautiful, offspring.

Before I describe my fascination with poetryfilms, it is important to define the term ‘poetryfilm’, as there are several examples on youtube and vimeo, showing an eclectic mix of interpretations.  There is no officially agreed nomenclature but there is an implicit consensus that poetryfilms are some kind of hybrid between poems and films.  However, is it a film based on poetry or rather poetry based on a film? And what distinguishes a filmpoem from a videopoem or even a cine-poem?

Beyond Borders and Brexit: Slovak Poetry in Translation

There is no doubt that the advent of portable, affordable and wifi-enabled screens, has changed the ways in which we think, feel and love. The questions I contemplate through my poetry are not whether these changes are good or bad, but rather, I seek to consider the origins and motives when searching for the core truths. The value of expansive questions couldn’t be greater than now, in a post-Brexit Britain and divided Europe.

In praise of rain (especially in opening chapters)

Cusk points out that motherhood is not always a fulfilling and pleasant experience and that often, women choose it in hope of a better material life. The novel charts five intertwined lives of 30-something-year-old mothers who live in the Arlington Park. Haunted by their unfulfilled dreams and elusive goals, these five mothers have lost their personal freedom the day they had become mothers and wives.