Intriguing comment, Doug. None of the words were found, objectively.
There's no wherever. So the process and the eventual result felt a lot
different to me. Glad to learn the text is within range of my other cine-
poems.
Barry
On Wed, 8 Aug 2007 Douglas Barbour wrote:
ah, well, wherever from, they're no more aimless than the film, I
imagine, Barry. But, yes, tonally a bit different...
Doug
Thanks, P. I assume you're referring to the overt photographic diction?
Barry
On Wed, 8 Aug 2007 16:31:39 +0100, Patrick McManus
<[log in to unmask]> wrote:
>Barry very snappish !!
>Cheers P
>
>-----Original Message-----
>From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
>Behalf Of Barry Alpert
>Sent: 08 August 2007 15:45
>To: [log in to unmask]
>Subject: Snap That Walk
>
>AIMLESS WALK (1930)
>
> via Alexandr Hackenschmied
>
>
>Focus: feet (not fetishized as in L'Age d'Or).
>Elevated,
>finally, the standing observer
>on train and then off, running
>where to
>disappear down stairs.
>Camera down / stares
>overhead. Bank/water.
>Stops to lean on bridge over exotic pattern
>imposed on body
>of water.
>Then, fishing, solo/joined.
>Shot lying alone in field, smoking. Joined.
>Walking on water as if ceiling suspended.
>
>
>Barry Alpert / Silver Spring, MD US / 8-8-07 (10:43 AM)
>
>
>Written during my first viewing of this silent film without
>intertitles, billed as the "first Czech avant-garde film", but
>not as the first work by a filmmaker now best known for
>his collaboration with Maya Deren on "Meshes of the Afternoon"
>(under the name she wished him to assume, "Sasha Hammid").
>After four revisions I counted the number of lines and was surprised
>to discover a sonnet, of the 6/8 variety. I certainly didn't revise
>towards such a final result. Nor was I able to place the director in film
>history until writing this note; I went to the screening and trusted my
>instincts/memory. The writing process felt different as well: where did
>the words come from?
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