P,
Glad to hear my post was "full of energy" for you. Wonder if the film itself (less than 8 minutes) has a similar impact on you?
B
On Wed, 22 Nov 2017 09:03:37 +0000, Patrick McManus <[log in to unmask]> wrote:
>I enjoyed this full of energy -even if I do not know the film
>
>P
>
>
>On 21/11/2017 18:07, Barry Alpert wrote:
>> I appreciate your comments, Doug. Both an ekphrastic text and a cine-poem for me, and I would stress the expanded ekphrastic & self-conscious aspects. Unlike many of my cine-poems, words to "find" were absent from my source and as you'll see, it took a while for me to get going:
>>
>> https://www.youtube.com/watch?v=JOnRAHj_gf8
>>
>> Barry
>>
>> On Tue, 21 Nov 2017 08:41:46 -0700, Douglas Barbour <[log in to unmask]> wrote:
>>
>>> I like it a lot, Barry. Intriguing how ekphrasis has expanded in modernist times; all the other ways of making us see, & this is a fine example of response to what’s seen in a manner that seems to match what’s on the screen. So how the lines break to extend/expand meaning of the more than just seen.
>>>
>>> Doug
>>>> On Nov 20, 2017, at 6:37 PM, Barry Alpert <[log in to unmask]> wrote:
>>>>
>>>> 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.
>>>>
>>>>
>>>> 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?
>>> Douglas Barbour
>>> [log in to unmask]
>>> https://eclecticruckus.wordpress.com/
>>>
>>> Recent publications: (With Sheila E Murphy) Continuations & Continuations 2 (UofAPress).
>>> Recording Dates (Rubicon Press).
>>> Listen. If (UofAPress):
>>>
>>>
>>> Delicately,
>>> two hilltop deer
>>> nibble the sky.
>>>
>>> Denise Levertov
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