Anyone seen Edward Norton's recent flick *Leaves of Grass*?
Worth a look.
Hal Serving the tri-state area.
Halvard Johnson
================
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*Obras Públicas<https://sites.google.com/site/vidalocabooks/halvard-johnson-obras-publicas>
; **The Perfection of Mozart's Third Eye and Other
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***G(e)nome <http://xpressed.wippiespace.com/fall03/genome.pdf>; **Winter
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**Eclipse<http://capa.conncoll.edu/johnson.eclipse.html>
; **The Dance of the Red Swan <http://capa.conncoll.edu/johnson.dance.html>;
*
*Transparencies & Projections <http://capa.conncoll.edu/johnson.transp.html>
*
On Fri, Oct 8, 2010 at 12:01 PM, Douglas Barbour
<[log in to unmask]>wrote:
> on poetry into film(TV):
>
> A poem that proves to be a bit of a mouthful
>
> No question that the BBC's decision to dramatise Christopher Reid's poem
> "The Song of Lunch" is admirable. It flies in the teeth of demographic
> caution and trusts that an audience will be patient with a drama that obeys
> few of the rules of TV narrative. Though it unfolds in something very close
> to real time it moves slowly, and it doesn't offer the kind of neat
> resolutions that TV audiences have grown accustomed to. And as a two-hander
> it allows for real attention to the performances of Alan Rickman and Emma
> Thompson. So it is a good thing for TV. Whether it's a good thing for
> Christopher Reid's poem I'm less sure. The thing is that real images are
> generally poorer than poetic ones, and since the verse has essentially been
> used as a shooting-script there are a lot of occasions when description and
> things overlap. "The lift yawns emptily", writes Reid at one point. And we
> see a lift yawning emptily. Except, of course, that what we see is just a
> lift and the banal familiarity of the sight tends to block out the unfixable
> amalgam of feeling and function that Reid achieved. The picture takes a
> two-tone line and flattens it into a kind of literalism. Where it still
> works, significantly, is where no literal depiction of the words would be
> conceivable. "For a moment he halts, mouth full of pause/ Which he can
> either spit out or swallow", writes Reid, about a moment of mental
> hesitation. You can't show that on a screen, so it adds to the picture
> rather than simply subtitling it, as does Reid's fine description of his
> character's retreat to the restaurant toilet, where he inhales "the jabbing
> kidney reek that proclaims all men brothers". Again, impossible to film and
> impossible to reduce to a mere stage direction.
>
>
>
> I have to agree, even if I dont know the poet or his work. Almost every
> attempt at filming a poem Ive seen has been so ham-handed in its literalism
> as to be inadvertent comic kitsch.
>
> Doug
>
> Douglas Barbour
> [log in to unmask]
>
> http://www.ualberta.ca/~dbarbour/
>
> Latest books:
> Continuations (with Sheila E Murphy)
> http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
> Wednesdays'
>
> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html
>
> There is much to be said in favor of modern journalism. By giving us the
> opinions of the uneducated, it keeps us in touch with the ignorance of the
> community.
>
> Oscar Wilde
>
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