HYPATIA TRUST SEEKING POETRY FILMS BY WOMEN CONNECTED TO CORNWALL
To celebrate the Women in Word Festival in Penzance in June, Hypatia Trust is requesting short poetry films by women who have a connection to Cornwall i.e. who live or have lived in Cornwall or have another strong connection. The poetry film itself can have any theme.
The Hypatia Trust is an organisation I have admired for some time, not least in their resilience and longevity, having been formed in 1996. As the website states they were created in order to: ‘ collect, and make available, published and personal documentation about the achievements of women in every aspect of their lives. Central to activities has been the care, development and re-distribution of the Hypatia Collection, a unique set of sub-collections of books, artefacts, and archives, by and about women.’
CALL DETAILS
‘Women in Word’ Literary Festival
We are looking for short poetry films, ideally 5 mins or less but a few longer films can be considered, made by Cornwall-related female creatives, whether as originator of the poetry content or as director, for our Women in Word festival in June. *All material must have permissions/copyright.
Please send an email of interest in the first instance (do not attach your film we shall send you a submission form) to: linda@hypatia-trust.org.uk
Submission deadline: 5pm Friday 12th May
FILMS WILL BE SELECTED FOR INCLUSION BY:
Linda Cleary, Growth & Expansion Lead at Hypatia Trust and writer, literary consultant. https://linktr.ee/freewriterscentre
Lally MacBeth, Events Lead at Hypatia Trust and writer, artist, and founder of The Folk Archive and Stone Club.
Sarah Tremlett, award-winning poetry filmmaker, www.sarahtremlett.com a director of Liberated Words poetry film events www.liberatedwords.com and author of the ‘groundbreaking industry bible The Poetics of Poetry Film (Intellect Books, 2021).
Frame to Frames: Your Eyes Follow at FOTOGENIA 23 call for ekphrastic poetry films
Frame to Frames at Mexico City! Following on from the in-depth overview of FOTOGENIA festival, Mexico City, 2022 by Janet Lees with director Dr Chris Patch aka Christian Pacheco-Cámara I am really pleased to announce that ‘Frame to Frames: Your Eyes Follow’ will be screened as part of FOTOGENIA festival in 2023. Submissions are requested for poetry films under 10 minutes but ideally around 5 minutes based on paintings or other works of art. DEADLINE: 10 September 2023. All submission to myself at sftremlett@gmail.com. Works that are subtitled in Spanish will be looked favourably upon. More soon!
See THIS LINK for more about the festival and Spanish and English entry forms.
Open your Gaze: a review of Festival Fotogenia 2022 and interview with festival director Christian O. Pacheco Cámara, by Janet Lees
I decided to attend the fourth annual edition of Festival Fotogenia in Mexico City in late 2022 partly because I was lucky enough to have three films in the programme, but mainly because this festival is so broad and diverse in scope, encompassing poetry film, video art, experimental cinema and avant-garde films. I’m interested in all kinds of ‘divergent narratives’ (what a great term Fotogenia has coined!) and wanted to take a closer look at some of the films that are out there. This festival offers an unparalleled opportunity to do this, with its invitation to ‘abre tu mirada’ – open your gaze.
Meticulously organised and hosted, Fotogenia took place over nine days at five cultural venues across the city – one of the world’s biggest, with a population of nearly 21 million. The festival opened at UNAM (National Autonomous University of Mexico), an iconic city of learning, then moved to the cultural centre at the Instituto Politécnico Nacional – a slightly smaller but still vast campus. The other venues were the film centre Faro Aragon, the cultural hub El Rule in the city’s Centro Historico, and Terminal Coyoacán, a wonderfully intimate arts space in Coyoacán, a beautiful, tree-filled traditional district which is home to Frida Kahlo’s famous blue house, Casa Azul.
Fotogenia UNAM
The festival
The programme was opened by Festival Director Christian O. Pacheco Cámara, supported by Festival Coordinator Gabriela Román Mérida. There were addresses from Sara Matos, representing IMCINE (Mexican Institute of Cinematography), Jorge D. Martínez Micher, representing the UNAM Film Archive, François Bellerive, First Counselor, representing the Délégation Générale du Québec à Mexico as part of Le FIFA.
The programme began with ‘Dance Night’, a curation of dance-based films from Le FIFA. By turns savage, surreal, beautiful and powerful, they featured stunningly inventive choreography and premium production values. The bulk of the festival was made up of two-hour screening blocks of selected films, Mexican and International, over the eight days that followed. There were upwards of 120 films in total, with other events including a sold out dialogue table session with special guests filmmaker and YouTuber Luis Eduardo Rodriguez Farjeat and Sebastián Ortega, and workshops that took place both during and in advance of the festival. There was also an international Facebook forum in which filmmakers from different countries exchanged views, and an opportunity for people around the world to view the festival films online via the Fotogenia website.
The festival was a heady mix of realism and Surrealism, text and voice, live action and animation – including hand drawn, computer animated and AI-generated. The films ranged in length from the typical poetry film at a few minutes to full-length features, and there were way too many highlights to mention them all. But among the films I’d not seen before, just a few of the works that stood out for me were the momentous ‘If I go out walking with my dead friends’ (poem by Rita Boumi-Pappas, direction by Aleksandra Ćorović & Alkistis Kafetzi), the beautifully realised ‘Once I passed’ by Martin Gerigk, based on a poem by Walt Whitman, and Antonio Huerta’s ‘Rampage’, which draws attention to the plight of migrants with energy and wit. I was captivated by the visual beauty of ‘Lost Images’ by Cesar Bedogné, and moved by Arturo Zepeda’s ‘Bajo Teirra (Hola Mama, Hola Papa)’, a simple yet powerfully poignant film based around Mexico City’s metro system, written in the form of a letter home. Andrew Demirjian’s ‘Recalibrating’ was a brilliantly pitched and paced look at a post-human world through the eyes of a drone, while Helene Moltke-Leth’s ‘I c’ grabbed me by the throat with its breath-taking narrative that questions everything, including the medium of film itself.
In several cases the filmmakers had produced video introductions to their films, a great feature which brought added insight into the artists’ intentions. Fotogenia gave all selected filmmakers the opportunity to do this, as well as to have their films subtitled in Spanish for a small fee. Everyone was also invited to record a short ¡Hola Fotogenia! piece to camera, which made for entertaining viewing – as shared on Facebook as part of the festival team’s impressive rolling social media coverage.
Andrea Grain Hayton
The winners
The three main prizes were the Delluc Avant-garde Award, the Amero Revelation Award, and the Epstein Special Mention Award.
The Delluc Avant-garde Award went to ‘Changing Skin’, directed by Maxime Coton of Belgium and described by the jury as “A mysterious film with very original footage that still makes you think, even after you’ve seen it multiple times…. His narrative utilises every semantic medium within the reach of the creator – landscape, sound, visual, and voice – with a coherent force.”
Winner of the Delluc Avant-Garde Award
Winner of the Amero Revelation Award was Andrea Grain Hayton from Mexico for ‘Cartilla (In)Moral: Ética para perder el rumbo’ (Im(moral) Code: An ethics to lose one’s way). This film layers archival imagery with live action footage and overdrawing, complemented by a similarly layered soundscape, with a mix of languages, shapeshifting music, and a consistent heartbeat that acts both as an engine and a reminder of power – the text is a playful rewriting of the ‘Moral Primer’ issued by the Mexican presidency in 1952 and characterised by an utter lack of inclusivity for women and non-masculine groups. [note from Dr Patch: ‘the presidency of Mexico republished it in the 21st Century, which is totally absurd and ridiculous in these times, because of the outdated vision of the author, and moreover, a serious problem if the actual Mexican government thinks like that.’]
The jury commented, “What really impacts from this work is the feeling that it is unfolding in real time: the bursts of statements, the political energy… An important film with social relevance and power; the work of a director who has an original vision and who the system hasn’t frustrated or ‘professionalised’.”
Jules van Hulst from the Netherlands took the Epstein Special Mention Award, with ‘Faorlpich Lan’ (Provisional Country), of which the jury said, “A film with great originality in the juxtaposition of image, text and sound. With several moments of surprise and a narrator who manages to endure the tension between everything presented on screen.”
Winner of the Epstein Special Mention Award
The finalists
The 12 finalists were:
- flint, michigan ‘skinny’ – Jim Hall, US, 2022
- Borrodurra – Camila Estrella, Bárbara Oettinger, Carlos Soto Román, Chile, 2021
- Once I passed – Martin Gerigk, Germany, 2022
- Ashen Glow – Eta Dahlia, UK, 2022
- Astillas – Kissel Bravo, Mexico, 2022
- El Albareque de los Sueños – Roberto Belmont, Mexico, 2020
- What I fear most is becoming ‘a poet’ – Janet Lees, Isle of Man, 2020
- Un Día en Pantalla – Jorge Santana, Mexico, 2022
- Today I Wrote Nothing – Keith Sargent, UK, 2022
- Concertina – Gabriel González, Mexico, 2022
- Panta Rhei – KWA, US, 2021
- Un Toro Tuvo Una Pesadilla – Andrés Pulido, Mexico, 2022
Un Dia en Pantalla, Jorge Santana
The jury
Each member of the jury deserves an Outstanding Stamina Award. The job of narrowing down such an incredibly diverse range of films must have been difficult to the point of being painful. The three valiant souls who rose to the challenge were…
Guido Naschert – Director of the Thuringian Literary Society in Weimar, which organises and moderates readings and debates on contemporary literature and poetry. With an academic background in philosophy and literary studies, Guido taught for many years at universities in Germany. He has been committed to the genre of poetic cinema since 2014 and, with the artist Aline Helmcke, has edited the magazine Poetryfilmkanal / Poetryfilm. Since 2016 he has been curator of the Weimar International Film Poetry Prize, and since 2020 director of the Thuringia International Poetry Film Festival. He was a member of the jury of the ZEBRA Poetry Film Festival in Berlin and of the Central German project on the production of poetry films “lab / p-poetry in motion”.
Sarah Tremlett – Poet, theorist, award-winning poetry filmmaker and a director and editor of Liberated Words. Sarah is a well-known festival curator and judge, and her book The Poetics of Poetry Film, described as ‘a pioneering, encyclopedic work, and essential reading’, has rapidly established itself as the bible of the genre.
Fernanda Río Armesilla – A programmer for film exhibition projects in Mexico City, Fernanda published ‘How to set up a cinema: manual for exhibitors’ in 2018, and took part in the exploration ‘Seats, platforms and asphalt, new looks at Mexican cinema’. A widely published film critic, she is also Director of Operations at the distributor Manticora, having previously been Director of Promotion of Mexican Cinema at the Mexican Institute of Cinematography.
Sarah Tremlett one of the judges
A special mention must also go to the brilliant volunteers – Yanin, Frida, Martha, Victor, Osmar, Rafael and Jose Juan – whose sterling efforts and warm welcome made the festival run like clockwork and a joy to be part of.
Interview with Christian O. Pacheco Cámara, Fotogenia Director and principal curator
Christian is studying for a PhD in Arts & Design at the Postgraduate School of Arts & Design at UNAM, with a focus on Moving Art, Animation, and Filmmaking. His research on avant-garde cinema and Surrealism led him to create the Fotogenia Festival four years ago. I asked him some questions about Fotogenia, past, present and future.
How did Fotogenia come into being?
I first began studying avant-garde, early cinema, and Surrealism as part of my Master’s in 2015, when I had the opportunity to travel to London and study for the autumn term at Goldsmiths University. Through my tutor Michael Richardson, an expert on Surrealism and Cinema, I met active surrealists including Guy Giraud in Paris, and Kathleen Fox in Hastings, and became involved with the movement which takes its name from Lautreamont: ‘a poetry made by all’. At the same time, I was making a short film – more like a film essay – trying to encapsulate all the theories I was learning at the time – for example, Bresson’s ‘the encounter’, Tarkovski’s ‘poetic logic’, and Pelechian’s ‘counterpoint montage’, in search of both the ‘marvellous’ and the everyday. My degree culminated in an initial model of a cinematic installation and an early draft of a surrealist manifesto of cinema.
Festival Director Christian Pacheco Cámara : credit Fotogenia
Following this line of investigation, I started my PhD with the desire to connect with artists from Mexico and around the world who were making films outside the box – not only to continue my research but also to make a small show with this kind of cinema. But I didn’t know how to find them, so I came up with the idea of curating a first collection of films addressing the theme of memory. It was important that these films would be non-narrative stories, a type of poetic narration in the mood of Tarkovski’s poetic logic. With the help of some colleagues and mentors such as Dr. Iliana del Carmen, Dr. Tereza Stehliková, and Itzel Pedroso, I felt confident to share these first ‘rules’ with the world and see what happened, expecting maybe one or two people to respond to the call.
I was greatly surprised to receive work from China, and then from the USA, Canada, Spain, and so on. I realised I couldn’t just host a small screening; suddenly I felt a great responsibility with all these artists responding to the call. And so Fotogenia was born! The first edition in 2019 comprised 43 works split into three programmes, dedicated to how filmmakers translate and explore ‘memory’ into and through the film. In 2019 I was supported by Gabriela Román Mérida, Director of Cinéfilo CDMX, a film agenda that promotes festivals, call for submissions, and projections in Mexico City. In 2020, I hesitated to hold another festival in view of the pandemic, but fortunately went ahead and did it online with the support of Gabriela and Thania Ochoa Armenta, Coordinator of Cinefolio.
The online edition brought us closer to an international community that interacted with love and a shared passion for film during those times of uncertainty. Thania works on PR and communications, and also helps with the venues. For our fourth edition, Gabriela took on more responsibilities as Festival Coordinator and was the main curator of the Mexican Section. The three of us have been working together since 2020 on developing and strengthening the festival.
At the Awards Ceremony
You have support from a wide range of cultural bodies. Could you say a little about this, and in particular your partnership with Le FIFA?
Because I started the Festival from the Postgraduate School of Arts & Design, I had the opportunity to make contact with different cultural bodies both inside and outside the University. UNAM is the largest university in Latin America and one of the best-ranked in the region. While being there helped me to open some doors, it wasn’t an easy task, and not all the doors that I knocked on opened. But one that did was the right one: the UNAM Film Archive, where Director Hugo Villa Smythe was interested in a film festival proposal from a school of arts rather than from a film school.
Year on year we are adding more cultural partners, such as PROCINE, a public organisation dedicated to film production in Mexico City – and last year we had financial support from IMCINE, among others institutes and partners. The cultural bodies we work with have mainly supported the festival with venues, diffusion, and managing the projection spaces; securing public or private funding to work with is the hardest thing festivals face.
Regarding Le FIFA, Isabelle Huiban, who in 2020 was the Director of Communication, Marketing, and Partnerships of Le FIFA, approached me following our online edition during the pandemic; she was looking for festivals to connect to Le FIFA. In 2021 they gave us Carte Blanche au Festival Fotogenia, which involved presenting a Special Mexican Program comprised of some of the best Mexican short films from our past two editions.
At Terminal Coyoacan : credit Fotogenia
Le FIFA is one of the biggest festivals dedicated to film and the arts, having been running for more than 40 years. They continually look to partner with premium festivals and cultural institutions. We felt very honoured by this invitation, especially because at that time Fotogenia was a small festival that had only been running for two years. This outreach by Le FIFA is notable because it gives exposure to smaller projects that resonate with its work. Last year, for the first time, we invited Le FIFA to screen two special programmes, one to open our festival and one at the closing ceremony. It will now be part of our remit to present special programmes from invited festivals or institutions. It’s important to add that Le FIFA is gathering selected film festivals together in a project called Films on Art Network, where we will work to develop a network of festivals to distribute films among our countries.
I have especially enjoyed the combination of experimental/avant-garde cinema and poetry films. How did you approach curating such a diverse and broad-ranging selection of films?
It’s been a work of experimentation itself, looking at the ways in which such diverse films can be connected. For instance, in 2019 I started the festival with a theme, ‘the memory’, in order to try and unify the works. While all the selected works spoke to this theme in some way, I then looked for distinct elements to split them into programmes. For example, some of the works were about loss, while others approached the subject in an abstract way, so I worked with this in terms of telling a ‘story’ by way of a dreamlike state. The same thing happened in 2020 and 2021 when our themes were ‘present’ and ‘future’. Experimenting with the role of curator, I sub-categorised the programmes based on aesthetic contemplation. Some of them were linked by colour, black and white, sounds, or landscapes – I think I was interpreting some of the editing techniques explored by Eisenstein.
On Tour
Last year, I decided there would be no theme, in order to judge films purely on their own merit. I wanted to widen the programming to see what we would get without this ‘rule’. We ended up receiving films that address themes such as climate change, identity, feminism, political issues, racial issues, and some with a more intimate approaches to loss, grief, life, and death. Since we know that experimental cinema has a broad range of viewpoints – the very foundation of experimentation – I don’t think about techniques so much as subjects. In this way, we can create programmes with the same motif but very different ways of making.
In the end, the programmes are a celebration of life and an observation of the diversity of thought and solutions to put poetry into film. The principal idea while curating such a diverse selection of films is to play with them, to be amazed, and to try to take the audience into an odyssey of transcendent and vital issues that are part of our human nature.
What, in your opinion, are the key ingredients of the perfect poetry film?
That is a hard question and I think there is no single answer. My path to poetry in film was informed by other thinkers, scholars and artists – as I said, I came across the concept through Surrealism. I believe that film is a simply a vessel for poetry; perhaps, the supreme question for me is what poetry itself is. The common answer is that it is writing made in verse, but for me, as for the surrealists, poetry is a way of seeing and sensing life. I remember that Jan Švankmajer – a member of the Czech surrealist group – once said at a conference in Mexico City that he considers himself a poet, and uses as many mediums as possible to transmute poetry into life. This could be through theatre, film, writing, acting, animation, design, painting … Of course, this conception comes from Surrealism, and I agree not only with Švankmajer but also with Octavio Paz when he said that anyone can be a poet without writing a single verse.
Borrodurra, Estrella, Oettinger & Roman
With this in mind, a poetry film is a film that captures a moment of life and puts it on screen with the aid of light, sound, space, time, text, voice, animation, and any medium the filmmakers can use when they understand the screen as a canvas, as Sarah Tremlett states in her book The Poetics of Poetry Film. Having said that, probably for me, the key ingredient of the perfect poetry film is that, whatever means the filmmaker uses, the film has to be true to a moment of life, the way in which it is felt by the artist, the way in which it is captured and the way in which it is presented on the screen. It might or might not be ‘narrative’ or logic, but it should be truthful, meaningful and organic, like our thought. The ultimate task is to find the balance between all these elements, deciding whether they are all needed, or some can be dispensed with altogether.
This is at the heart of Fotogenia’s quest. When I started the festival, I decided to use this concept – inspired by the theories and wonders of Delluc and Epstein – for the name, referring to that elusive quality that makes cinema different from other arts. Is it the way in which it captures light, space, sound, text, time, or life? Many artists have tried to answer this question, and I consider this to be the main concern for poetry itself. Therefore, a poetry film is a way of seeing and sensing life through the screen, it is open to evolution, new rules, and avant-garde methods of capturing life, and even gives us the possibility of unfolding creative systems for a film to be exposed, not only via the screen but also across the space. To paraphrase Sarah Tremlett, we can call it poetry film, film poetry, video poetry, or cinepoesía, but in the end, the artists – and the festivals – that explore the genre are the ones creating innovative paths to bring poetry into life. Film poetry is revolutionary film in all aspects.
Today I Wrote Nothing, Keith Sargent
Why do you think poetry film is experiencing a surge in popularity now, with new festivals and screenings popping up all over the world?
I can think of two reasons, although, of course, there are more. One is the accessibility of technology in the 21st century. In the days of early cinema, it was too difficult to work as an artist in filmmaking because of, for example, the cost, the huge cameras, the creation process. So even though some of the avant-garde artists considered the camera as an instrument for creating art, making cinema wasn’t accessible for all. At the same time, some of the ideas for scripts created by the avant-garde movements were, back in those days, too difficult to shoot, so many films never got produced.
However, the notion of film as an instrument for research, exploration, imagination – and the only instrument capable of reconstructing life through its capture of time, space, light, and possibilities for juxtaposing these elements – spoke strongly to artists. During the sixties, the revolution in video, smaller cameras, TV and technology made it possible and affordable to work with audio-visual art. Now, we can film on a mobile phone, edit on our personal computer and share the results with the world via the Internet. Consequently, any artist who wants to use film as a medium of expression, can. Being a filmmaker is nowadays as accessible as being a painter, photographer, writer, with no need for a big studio behind the production.
The second reason, and I believe this is crucial, is that poetry is inherent to human feeling and expression. Luis Buñuel called cinema ‘an instrument for poetry’, and that is what it is, an instrument of revolution, freedom, subversion of reality, beauty. When you have access to this instrument, you can connect with others because you are conveying your emotional states and concerns, by playing with all of the elements we talked about above. And we need festivals that show this work.
It’s interesting and significant that in the first two decades of this century we are celebrating 100 years of some of the avant-garde movements and cinema, with the same spirit and curiosity that the artists of that time approached the new medium: not simply an instrument determined by narrative, an apparatus only to tell stories, but a vehicle for emotions, sensations, feelings, experimentation, astonishment – an embodiment of the extraordinary in life that we can capture with a camera. In a way, we’re renewing the vows of those experimental filmmakers of the 1920s who were interested in cinema as a form of art.
What are your plans for Fotogenia?
Well, I have plenty of ideas for the festival, but at this moment I can sum up three tasks that serve our vision. The first is to collaborate with other festivals, blogs, and institutes to join the dots around the globe and bring together people who share common interests in film poetry and experimental cinema. From now on we want to present special programmes dedicated to partners including The Festival of Thuringia, Liberated Words, and The Institute for Experimental Arts – and of course, we’ll continue our involvement with Le FIFA’s Films on Art Network. There is a lot to work to do. I believe that linking festivals, artists and audiences, even virtually, shows that cooperation and collaboration can open minds through art. Everyone is invited, so if you’re reading this article and have a project, blog or festival, please feel free to contact us to create something together
The second one is expanding Fotogenia, not only in our territory but also abroad. Last year, with the support of IMCINE, we took the festival on a small tour to Quintana Roo, a southern state in Mexico. I really want to take the festival on tour across Mexico and to the UK, Europe, and other Latin American festivals. As well as geographical expansion, we are exploring expanding the festival in scope. As I said, poetry can be embodied in every form, so we’re looking at expanded poetry cinema with performances, mingling music, theatre, dance – whatever the imagination of the artist can create – in order to touch all the senses.
The final task, as already mentioned, is to shape a community that can work together online and in person here in Mexico and abroad. A sense of community is at the heart of Fotogenia; instead of isolated people exploring the possibilities of film poetry alone, it is so important to work on projects together that can really impact people and communities. We opened our eyes to this notion last year with our tour in Quintana Roo: as well as screening two Mexican programmes from our first and second editions, we hosted two workshops to inspire people about the possibilities of expression using cinema. The most profound aspect of film poetry is that people can use it to understand their surroundings and their emotions, and to communicate this to the world. In this way, we’re building on Lautreamont’s dream of ‘a poetry made by all’.
Once I Passed, Martin Gerigk
What is your view on the experimental and poetry film scene in Mexico?
Regarding recognition from our cultural institutions, we have gained ground in recent years. For instance, this year our Mexican Film Institute (IMCINE) has launched an open submission to obtain funding for works in experimental cinema. This is a big step forward, being the first time the Institute has considered filmmaking that doesn’t follow the rules of the industry – i.e. the stages of pre-production, production, and post-production.
In our country, there has been public funding support for feature films and short films for many years, but the rules have always been very clear about the classical manner of making a film and presenting a pitch, taking into account these stages of production as a key evaluation element. It seems that this has changed now, and we like to believe that Fotogenia was part of this transformation.
Nonetheless, the most difficult aspect of the experimental and poetry film scene in Mexico is finding venues interested in showing this other cinema. This is probably a challenge partly because of audiences: the Mexican public is more attuned to the classical cinema narrative model, not to mention the big blockbusters that every year hit the big screen. Therefore our commercial circuit doesn’t have many spaces to show cinema outside the box. While there are, of course, some small theatres dedicated to it, it has been hard to find physical space for experimental cinema. So, bijou Mexican film festivals dedicated to ‘the other cinema’ find it really tough, and as you can imagine it is twice as hard to find resources, whether private or public, to work on these things on a continuous basis, as these types of cinema do not guarantee a return on investment.
In the case of Fotogenia, all the future plans I’ve talked about will only be possible through cooperation but also with funding, and as the festival is growing so fast, we need to look for different funding opportunities in order to maintain the work of the people who make this possible. So in a creative way, we’re thriving, but we need investors and the government to see this type of festival not in terms of capital revenue but social revenue that will make better human beings by virtue of art. This is where the real return of investment is: in changing points of views and communities for a better tomorrow. We also need artists and the public to understand that submission and entrance fees are part of this synergy, indispensable to support all the work that makes a festival happen, and bringing together people and social action.
Having caught some of the official Mexican selections in person and watched others online, I’m so impressed by the quality and energy of the films coming out of this country. Has the scene here always been this fertile, or is it a recent development?
The scene for Mexican experimental cinema has suffered at the hands of the regulated circuits of creation and exhibition, as in the USA, mainly because of the Hollywood industry and its power to attract the attention of the masses. The period that we know as the Golden Age of Mexican Cinema, although rich in cinematography, reflected the Hollywood storytelling model while being adapted to our own stories and nationalism. Looking back at our own film history, we don’t have a significant tradition of experimental filmmakers; perhaps the best known experimental film is ‘La fórmula secreta’ (The secret formula) made by Ruben Gamez in 1965. This won the first and only Mexican Experimental Film Contest, in response to the decadent Golden Age, and then this kind of work seemed to disappear from our national filmography.
Of course, during the years that followed, there were people working in this field – Pola Weiss for example – but in the main, isolated artists with no significant public recognition. It is only in the 21st century that like-minded individuals have gathered in a formal way to show experimental cinema. Bruno Varela and Elena Pardo, for example, have a dedicated body of experimental audio-visual work, and it’s also worth mentioning ULTRAcinema Festival and LEC–Laboratorio Experimental de Cine (Experimental Cinema Laboratory) – projects that have built the foundations for showcasing experimental film in Mexico.
The teaching of experimental filmmaking in Mexico has been limited to film history and has not enjoyed the status of an actual artistic practice – sure there are some workshops and related subjects in the University, but in filmmaking schools the norm is to learn movie-making in the industry format of telling a story, and so in the Art School video art is a lonely practice.
The Fotogenia Team : credit Fotogenia
So, one of our tasks as Fotogenia is to work on the recognition of experimental cinema and poetry film as a form of art, investigation, practice and delight, with the aim of growing audiences that appreciate this divergent cinema. For instance, in 2020, we inaugurated a prize called ‘Amero Revelación’ which is dedicated to Emilio Amero, a Mexican artist barely known for his work in cinema. This is mainly because we don’t have copies of his films, but there are notes about a film called ‘777’ which he made in the tradition of the Ballet Mécanique. What is curious about this is that he was the first Mexican who wanted to teach cinema in Mexico, from our San Carlos Academy of Arts – a fine arts academy that is part of the history of our actual Faculty of Arts and Postgraduate School of Arts at UNAM. His vision was to use the camera as a tool for the artist, not as a tool for narrative, but unfortunately he wasn’t able to teach this and for years afterwards the teaching and making of cinema in Mexico followed another path. What would’ve happened if cinema in Mexico was taught through the lens of art?
So, it has taken many years to feel that the Mexican experimental scene is fertile. In the case of poetry film, we can proudly say that Fotogenia is the first Mexican festival dedicated to this genre – an unknown genre for the majority of our population – and we could say that probably La fórmula secreta was the first Mexican poetry film. The genre has been developing in recent years among new Mexican artists – for the first three editions of Fotogenia we received about 20 Mexican works, whereas last year it was around 60 – and gaining in popularity among people who are open to watching ‘divergent narratives’. This was a term proposed by us to cover all those narratives that sit outside the classic, mainstream Hollywood narratives, and the many forms that poetry takes in film. This last mission is probably our most arduous, but we try to make people see the world via cinema and feel poetry for the first time, like a child seeing the grass with an untamed eye. This is why we reference Stan Brakhage in our leitmotif: ‘open your gaze’.
Janet Lees & Antonio Heurta, a director from Sonora : credit Fotogenia
Janet Lees https://janetlees.weebly.com/ is a lens-based artist and poet. She has been selected for many festivals and prizes, including the ZEBRA Poetry Film Festival, the International Videopoetry Festival and the Aesthetica Art Prize. In 2021 she won the Ó Bhéal International Poetry-Film Competition. In 2022 her work featured in the landmark exhibition ‘Poets with a Video Camera: Poetry Film 1980 to 2020’. She has been published worldwide. Her two books are ‘House of water’, and ‘A bag of sky’, winner of the Frosted Fire Firsts prize 2019.
All photos Janet Lees unless specified
REELpoetry 2023 – Translation, Deaf and Hard of Hearing films, Ecopoetry film, Voice, Activism, Fragmentation
REELpoetry 2023 is upcoming at the end of the month – February 25th and 26th – (and generously on demand from February 27th to March 17th) with a wide selection of poets and filmmakers and strongly inclusive of the deaf and hard of hearing.
I first presented at REELpoetry just before Lockdown in 2020, with UPROOTED curation, with films on the refugee crisis. It was memorable in that Fran organised a reading by a number of Houston-based poets interwoven with the screening which prompted a great discussion. Since then I have been involved in the organisation / judging every year, and this year I was fortunate to be one of the judges of the exciting and innovative open competition with festival director Fran Sanders and Australian filmmaker Ian Gibbins. Look out for that and the talented winners!
Curators and presenters include: Laura Bianco (Italy), Helen Dewbery (England), Colm Scully (Ireland), Eleanor Livingstone (Scotland), Sabina England, Aarron Loggins, Jonathan Lamy (Canada), Rachel McCrum (Canada), Crom Saunders, Peter Cook, Douglas Ridloff, Estefania Diaz (Mexico), Pamela Falkenberg (USA) and Jack Cochran (USA), Ian Gibbins (Australia), Mary McDonald (Canada) and myself Sarah Tremlett (England).
In relation to the devastating effects of climate change, Ian Gibbins, Mary McDonald and myself are presenting a documentary discussion on Ecopoetry Films and Subjectivity on Sunday 26th. See TRAILER above.
Coming from three different parts of the world it was a salutary lesson in the geopolitics of catastrophe poetry film and how we are addressing the news we hear every day. Also how we want to share our feelings on the subject.I have to say this was a really revealing discussion, particularly for me, as Mary and Ian had some really perceptive things to say about my work, and I seldom have such great one-to-one comments made. Mary’s films are Wishing Well (poet Penn Kemp) and Utility Pole (poet Fiona Tinwei Lam); Ian’s floodtide, and colony collapse, and mine I Cannot be Human, and Villanelle for Elizabeth not Ophelia.
In conjunction with announcing this event, it is high time that I featured Ian Gibbins’ work on Liberated Words. Please see the previous post and Ecopoetry Films for a link to four of his most outstanding films: The Life We Live Is Not Life itself, floodtide, Colony Collapse, and The Ferrovores. If you tune in for our session you can find out more about Ian’s thinking on the background of floodtide and Colony Collapse.
IAN GIBBINS – four films from a prizewinning ecopoetry filmmaker
if you ask any poetry filmmaker or video poet about Australian Ian Gibbins they will immediately know his work, and often know him. He has become a leading light in the field in the last five years and his work is often crafted with great skill, time and patience, and often set against the ecological clock that feels as if it is running out. He briefly describes himself as ‘a poet, video artist and electronic musician working across diverse forms’. And drops in that he used to be a neuroscientist and Professor of Anatomy at Flinders University, living in South Australia on unceded Kaurna land.
In 2021 I was the judge at FOTOGENIA festival for the Delluc Avant-Garde Winner’s Prize, and selected his film of Greek poet Tasos Sagris‘ arresting poem ‘The Life we Life is not Life itself‘. Produced by the Institute [for Experimental Arts] the soulless litany of desolate concrete landscapes, (signifying developer’s profits at the expense of humanity and the environment), are doubled and trebled in his scenarios that become densely composited, fictional still-life paintings of our world. Each tightly framed ‘view’ is constructed by his hand, and reduced to a narrow box of ‘life’ to be bought, without Life that shows us who we really can be. Ian writes on his Vimeo channel:
‘Tasos Sagris’s poem, with its haunting soundtrack by Whodoes, offers us an extended exploration of lives lived in parallel, at cross-purposes, in and out of love, around the world, from the innocence of children to the wisdom of elders. There are the good times when summer seems to last forever, and the bad, when persecution and misadventure could land us in prison, with nothing but rain to hear our voice. But what is the reality? What is mere illusion? Can there be more to life than simply living?
The raw footage for the video was shot mainly in and around the city of Adelaide, its suburbs, the nearby Fleurieu Peninsula and Yorke Peninsula, South Australia, supplemented with images from around Greece. But nothing in the video is quite as it seems. Most scenes have been composited and animated from multiple sources. So we look down a city laneway and see friends walking along a beach. Storm clouds, ominously aglow, gather behind skylines. And after the rain, floodwater surges across plazas, covers the floors of ruined buildings.
Who inhabits these strange places? Whom will we meet there? Look carefully in the malls and side-streets: we can see our fellow walkers, and then, again, again… And in windows of city buildings, in old frames hung on walls of broken brick and cracked concrete, we see the faces of the young and old, the boys and girls, the men and women of our imagination, our desires, our reconstructed memories. As alluring as they seem, none of them is real. Rather, they are the product of artificial intelligence, trained on thousands of our fellow humans, and generated by cold, unfeeling algorithms.
Is this Life? Who amongst us is truly Living? Let’s see. And perhaps we will meet again … on another rainy afternoon… “like now, like now.”
And I wrote at the time:
‘This piece is an eloquent and poetically charged audiovisual poem. A huge technical achievement. Here the complexities of the technical work such as manipulation details are integrated into Sagris’s existential poem and don’t overshadow the narrative itself, on the contrary, they complement the dystopian narrative so that you listen to the voice and watch the unfolding scenarios in front of your view. A masterful example of the handling of material, and how to make a project as a collaborative artist. Often we feel taken right into the screen, to scenes that offered a view,a false view of a sea at the end of a street for example, and this is pure art. The piece also raises the question of what have developers done to our lives, what has money done to our lives, and what is society today? All of this is wholly examined through an artist’s eyes. A reflection of what life is and the importance that it keeps in the little things.‘
I have recently had the great pleasure to judge REELpoetry 2023 open competition with him and Festival Director Fran Sanders. I was also part of a triad with Ian and Mary McDonald from Canada discussing our films in relation to Climate Change and Subjectivity. It was a great experience listening to Mary’s ‘immersive’, highly skilled and painterly approach to making ecopoetry films, and Ian’s complex and highly painstaking working methods and knowledge of what is happening in Australia in terms of the environment. I also really valued having his and Mary’s opinions of my work – you seldom have the opportunity to really discover the views of others you admire and respect, so a rare experience. The two films that Ian selected were floodtide and Colony Collapse. Here they are, with his own introductions. Thank you, Ian.
floodtide (2018)
How does a city cope, what does it look like, after years of drought, rising sea levels, relentless storms?
The composition process making the video was very complex. Nearly every scene has been composited from multiple sources requiring more than 500 individual sequences from original footage filmed around Australia: Adelaide, the Fleurieu Peninsula, Inner Suburban Melbourne, the Western Highway, and Far North Queensland. Each scene required matching of lighting intensity, colour and direction, as well as wind direction (in clouds, water, trees, etc), atmospheric haze, perspective, scale and more. In most scenes containing water, footage of the sea has been added to the landscape or cityscape. Similarly, nearly every sky and cloud bank has been composited from mixed sources. Almost none of the building skylines is from a single location.
As a result, almost none of these scenes actually exists. Although these scenes might be imaginary, as the world careers into a now unavoidable climate emergency, the reality is not far off…
floodtide has been screened to acclaim around the world in festivals and exhibitions of short films, poetry videos, experimental video art and animation, and environmental art.
“I am still watching ghosts, eyes rimed with salt, homesick… this was never our natural state, our true inheritance… we should not be here…”
While walking around the Circular Key area of Sydney Harbour, I was struck by the disconnect between the crowds of people going about their current-day activities and the deep timelines of the area. Despite the urban infrastructure largely obliterating so much of what, and who, was once there, the power of natural environment remains inescapable, the precariousness of our hold on place seems obvious.
The video footage was shot around Sydney, Melbourne, the Anglesea region of the Victorian coast, Adelaide, the Flinders Ranges, and the coastline of the Fleurieu Peninsula. Many of the scenes were composited and animated from multiple sources. In the face of one of the driest and hottest years on record, the transition from flood to fire seemed to be a fitting visual metaphor to complement the text. Despite the warnings, I doubt many of us expected the reality to be as devastating as it has turned out to be.
Colony Collapse
I am still watching
ghosts, testamentary
farewells sunk amid
sandstone bollards,
grid-lock corroded
moss, black mould,
pale concrete fatigue.
We should not be
here on this cliftop,
feet aquake, unsteady
with rising damp,
eyes rimed with salt
fung from shoulders
of mariners’ wives.
Homesick, addled,
stricken by virus,
we push for oxygen
though iron web
duplicity, dodge
the ferce splayed
gid of gunpowder.
Below jack hammer,
bulldozer, piledriver,
listen to us scratch,
our scour and scrape,
in our patient, almost
there, underearth of
tactical withdrawal.
This was never
our natural state:
we can only wait
for oceans’ ebb
to countermand,
to birth again our
true inheritance.
In The Ferrovores we are taken into a scientific future where humans no longer exist, prompted as Ian says below by a multi-year drought. Australia has become his canvas of emergency – and with science and art he is a vatic voice that must be heard.
“this time, this place… beyond open circulation, closed reciprocity… closed hydration spheres, wrought, cast, smithed… this is what we are, what we eat …”
‘Iron is the most common metal on earth. Indeed, it forms much of the molten core of the planet which in turn generates the earth’s magnetic poles. The red soils of the world are due to iron. At a biochemical level, iron is essential for human life, amongst other things, making our blood red. In the societal domain, iron is essential for manufacturing, electricity generation, and much more. Certain bacteria can derive energy for life directly from dissolved iron compounds (“rust”) rather than from oxygen as we do. In some dystopian future, our descendants, the Ferrovores, dependent on ferrous bacterial endosymbionts, will be able to do the same. The story of the Ferrovores is told in a combination of code and the remnant language of chemistry, biochemistry, geology, metallurgy and mining.
The video was recorded mostly in the Southern Flinders Ranges, South Australia, in the midst of a multi-year drought. The computer code that appears in the video is an artificial language that nevertheless is internally consistent and is linked to the text that appears on the screen.
The Ferrovores has been screened to acclaim around the world in festivals and exhibitions of short films, poetry videos, and environmental art. An extended form of the text will be published in Antennae later in 2022. It won the Best Australian Short Experimental film at the Newcastle International Short Film festival in 2021.’
To really learn more about Ian you need to access his website as the content is so wide-ranging!
TAKEN FROM IAN’S EXTRAORDINARY ECLECTIC BIO
Poetry / Video / Music / Science
poetry…
Language helps makes us human. Yet it often fails to adequately describe things we know or feel. Much of Ian’s poetry explores this failure of language. He has only been writing poetry seriously since about 2007, but was well tutored back in student days by Chris Wallace-Crabbe, amongst others. Ian has been surprised to find his poems getting published and doing well in various national competitions. Highlights so far include being selected for Best Australian Poems 2008 and short-listed for the The Australian Book Review Poetry Prize 2007, Newcastle Poetry Prize 2010 and Ron Pretty Poetry Prize 2014. urban biology (2012) is his first full length collection. In 2014, he published The Microscope Project: How Things Work; Floribunda in 2015; and A Skeleton of Desire in 2018. Ian performs his poetry regularly around Adelaide and beyond, often accompanied by his electronic music and videos.
video art and electronic music…
Ian’s videos have been shown to acclaim in festivals, exhibitions and installations around the world. Several have won major awards. His electronic music / poetry mixes have ended up on ABC Radio National (All in the Mind; Poetica), Going Down Swinging, and Cordite and form a key component of The Microscope Project. He’s also picked up public art commissions for his videos and audio works, including for the Adelaide Convention Centre, the Adelaide City Council and the Adelaide Festival Centre. He has performed with his videos or music at various pubs, the Adelaide Cabaret Festival Fringe (2013), the Adelaide Fringe Festival (2014-2019), and the Queensland Poetry Festival (2014, 2018). In 2015, he won the Studio Instrumental section of the SCALA Festival Of Original Music competition, for his piece Caza. More recently, Ian has been collaborating with other artists on video and audio projects, including several gallery shows.
AMERICA – Ginsberg reframed … ‘an identity falling apart’ an interview with Matt Mullins by Pamela Falkenberg and Jack Cochran
American poet, videopoet, writer and educator Matt Mullins has been edging towards this memorable poem and poetry film – america – (i wanted to make you something beautiful but I failed) – for some time now. The deep rift between the USA’s founding democratic ideals, and its more historically recent downward slide into a very visible right wing, self-implosion has provided a toxic supply of raw material. Subjects such as the ‘right to bear arms’, and whipped up, scapegoating alongside blatant falsifying of truth and accountability, have been taken on through such poetry films as Semi-Automatic Pantoum, and now an updated version of the famous eponymous 1956 poem by Allen Ginsberg.
‘You’ve made all truths relative’
Some might say that it was an ambitious idea – no, a crazy idea – but Matt Mullins has pulled it off! Matt’s poem is a compulsive, propulsive, passionate read (and thrilling when read live, as I heard it declared by Tom Konyves). It stands alongside old film footage that layers the innocence of a 1940s home movie trip to the White House with the famed Trump supporter riots on the Capitol, January 6th 2021. It really gets to the heart of ‘a concerned American’ (who shares some of Matt’s experiences) and his despair at what is happening to his country. Mullins’ voice, in short, stands healthily next to Ginsbergs – not an easy feat.
‘I will write my poem because I am in my wrong mind’
From a British perspective, it feels more and more as if we are presented with a version of America via our screens and papers, and as such return the favour with a type of cynical realism. As Matt says, the mind is a mirror of the political State. And, although on a miniature scale, the UK is sucked in, and is experiencing the same misgovernment, or what appears like gangster government (crony capitalist benefits). We feel as if we are also being played. We hear one thing that means another. They present as honourable, listening but … At this most dangerous of times we need leaders who are more than just concerned for the future. We need our leaders to be rapidly adapting our industrial and economic systems to actually have a future. This last year, with all the climate warnings, the average voter, in most places on the planet, feels like a kid in the back of a car with a drunk parent careering towards an abyss.
But, by exposure and grabbing the wheel, poetry can voice discontent from all of us, locked into battle with cannibalistic economic and political systems. Thanks Matt for saying it how it is, helping to lance the boil of what is happening in America (and let’s face it, everywhere today) and standing up for the need for Truth – and from there we have a much better chance of well, – survival.
Pam and Jack with some Leading Questions
Inspired by his work, leading eco activist American poetry filmmakers Pamela Falkenberg and Jack Cochran (see more of their writing under eco poetry films) have conducted a highly detailed and fascinating interview with Matt for Liberated Words, finding out more about the making of poem and film, and what it means to create such a powerful revisioning of Ginsberg.
They also have provided me with a line-by-line comparison between the original and Mullins’ version, which actually creates a third, intertextual cross-temporal poem!! Like a ghostly political reminder, you can look back to Ginsberg’s post-World War II historical emphasis and find its current counterpart sitting right alongside. The lines reverberate the role of the isolated speaker, yet one who speaks for millions. This also makes for some fairly sad, but salutary thinking, whilst our minds flip and dive through time.
The Naked Truth Interview
JC: Imagine you showed the film to Allen Ginsberg. What would the conversation be afterwards? What do you think he would say? What would you ask him? How would he reply?
MM: I’ll marinate on that Ginsberg question, but my first thought is that he’d smile and respond with a Zen Koan.
. . .
The screening room lights come up:
Me: So Allen, what’d you think?
Allen: (beatific smile) How many insurrectionists do you believe it takes to suffuse the bowl of Heaven with an eerie glow?
Me: As many as necessary, I suppose.
Allen: Rumi once said, “Out beyond the ideas of wrongdoing and rightdoing there is a field. I’ll meet you there.”
Me: Can I bum a ride with you?
Allen: Of course.
PF: Loved your answer – serious fun! You’ve created a high bar for the next question. We hope we’re up to it! At some point in the early back and forth after we saw your videopoem in the Cadence Videopoetry Festival, you said it was a poem you “had to write.” That might be a good next question — why you felt you were compelled to write the poem — and follows rather naturally, since you volunteered to add “something more serious” as a second part of your response to Jack’s first question, and we were already thinking about asking you next:
PF: What compelled you to create “america (i wanted to make you something beautiful but i failed)?” Do you think Ginsberg felt the same way when he wrote his poem? Feel free to surprise us!
MM: At about 12:30 PM on January 6th 2021, I sat down in my living room with a sandwich and a glass of milk to do what was previously one of the geekiest political things possible – watch the certification of the electoral college votes by Congress. Throughout most of American history, this has been a rubber stamp event that no one pays attention to. The vote tallies have already been certified by the states and the official electors sent to congress. Congress signs off. The VP gavels the count as official, and we’re out.
I’d been following the election and the electoral vote certification process very closely, more closely than I’d ever followed it in my life (to be perfectly honest I’d never really followed it before because it had always been a political afterthought), but I saw early, many months in advance, that the MAGA wing of the Republican party had become so treasonous and deluded and Trump so desperate and autocratic that Republicans were likely going to try to exploit the certification of electoral college votes via the cracks in the certification process that no one had ever been brazen enough to consider exploiting previously.
However, I felt the outcome itself was assured. We’d gotten over what I believed was the real hump, getting the true electoral votes certified by the states and the true slates of electors sent to congress. As a result, the VP was constitutionally obligated to accept the certified electoral count, and I knew the Republicans didn’t have enough leverage in congress to truly reject the certified slates and throw the election to the House, where their actual state by state advantage would truly enable them to overturn a legitimate Biden win. So, I felt the outcome was assured, and I sat down to take in what I assumed would be a bunch of pointless bloviating challenging the certified electors by the morally craven Congressmen whose sedition was and is so obvious.
And so the bloviating and challenges to the certified electors began. Arizona is right near the top of the list, so we came out of the gate hot and were off to the races. But the news coverage kept switching back and forth between those bloviating Congressmen and the Trump “rally” at the ellipse. It was indeed beginning to get “wild.” Fascist propaganda video backdrop. Calls to violence. A shitstorm of lies and rage. And so we went back and forth. A Republican congressman talking utter bullshit.
CUT TO: A neo-fascist president whipping up a crowd with seditious lies. Another Republican congressman talking more utter bullshit.
CUT TO: A neo-fascist president telling his deluded stooges to take back their country. Yet another Republican congressman talking even more utter bullshit.
CUT TO: A neo-fascist president concluding by telling his dupes to march down to the capital and “take back” the country that he had ironically stolen from them right before their glazed-over eyes. And then we left the bloviating behind as the coverage
CUT TO: and stayed with the insurrectionists pushing against barricades and held at bay by a thin police presence, the crowd swelling, seething, the stars and bars and Gadsden [a historical flag of a rattlesnake ready to strike, co-opted for right-wing causes] and Trump flags. A makeshift gallows going up. Tear gas and smoke. Chaos. Rioters scaling walls, smashing windows. Using flagpoles like lances. Surging into the hallowed halls of our democracy and figuratively and literally smearing their shit on the walls.
I erupted from my chair. I started screaming at the TV. WHAT THE FUCK! I feverishly paced my living room. I texted friends who I knew stood with me. I texted friends whom I’d distanced myself from in all caps. GODDAMMITT!!! HAPPY NOW!? HAPPY NOW!? LOOK AT WHAT THOSE MOTHERFUCKERS HAVE DONE! YOU IGNORANT FOOLS! THIS IS WHAT HAPPENS WHEN YOU BELIEVE THESE FUCKING LIES!!!
I watched TV for the next 12 hours, all the way into the next day when Congress came back into session and certified the electoral college vote. I watched those craven moral cowards, who I will not bother to name, disavow in long heartfelt speeches a (now literally fascist) wanna-be dictator, and I was actually twinged by a hopeful thought, “Wow, is this America’s come to Jesus moment?” (It was, of course, not, as we would all soon see within a week or so once the Mar-a-lago ass/ring kissing began). I went to bed very late, slept badly, and woke up disturbed and forever changed.
All Americans of sound mind and good conscience were altered by that day. We’d watched our already desperately ill conspiracy-theory poisoned nation flat-line, then get jump-started back to shaky life. How does a patriotic American (in the actual sense, not in the sense hijacked by the MAGA right) move on from a day like that? How do you incorporate a treasonous insurrection and its continued justification into your social and political life? How do you look at anyone who supported or still supports Trump or the Republican party in the same way? How do you try to live on in a nation in which nearly half of us labor under the delusion of an alternate reality constructed by and for the benefit of those who would seek to subvert and destroy the core principles of our democracy and the notion of a nation governed by and for the people for the sake of total authoritarian control?
You take to the streets, perhaps carrying the shotgun you bought right before the election, the first and only gun you own (a shotgun I did indeed buy), or you try to sort your shit out through art. You look for a way beyond a bullet or a fist to speak the truth. You walk into your study one day and see a book of poems by someone you’ve read often and long admired and because you know that sometimes it’s only poetry that makes any sense, you take up that book and you read. And you come across a poem you’ve loved for years, but hadn’t thought about for a while, and suddenly it dawns on you that a truth spoken then can perhaps become another truth spoken right now. A truth that needs to be said in a different way as it speaks to new challenges, inner and outer, that have somehow changed while somehow still remaining the same. So, you use that truth as a spine, and from it you try to create something honest and hopefully useful that calls out the present through the past that got us here.
How else can you face the eternally ugly and ever-evolving yet ever constant forces of all those people and things that would have us lose ourselves and our human truths in their lies? You rise to the occasion in your own way. It’s that or let our freedom die.
[click on the following if you wish to learn more about the American electoral process ]
PF: Let me just say that you did surprise us, and your answer was brilliant, powerful, and revealing. This is exactly why we wanted to include “america” in the group of “activist poetry films” we are curating for REELpoetry 2023. But since “america” is already part of the REELpoetry competition curation, we’re happy to have “Semi-Automatic Pantoum” in our curated group instead. “Pantoum” is just as powerful as “america.” In times such as these, (as Thomas Paine wrote in 1776) “that try men’s souls,” this is what poetry can and should be! Your passionate explanation of why you felt you “had to write the poem” was everything we could have hoped for, and more.
PF: Jack thinks it would be interesting to see your poem side by side with Ginsberg’s. What do you think?
MM: I had two primary goals when it came to emulating the poem:
- To in some way express yet advance/evolve what I thought was the original sense/meaning of a given line. (To express what I took as its original intent in a new way.)
- To emulate the rhythm/breath/grammatical feel of a given line.
So, in that sense I think in a visual, side-by-side comparison they should look very similar. In terms of how well I evolved the sense/intent, I guess that’s more subjective.
[Here follows an example of a section. For a side by side comparison see further down]
AMERICA
by Allen Ginsberg
America I’ve given you all and now I’m nothing.
America two dollars and twentyseven cents January 17, 1956.
I can’t stand my own mind.
America when will we end the human war?
Go fuck yourself with your atom bomb.
I don’t feel good don’t bother me.
I won’t write my poem till I’m in my right mind.
America when will you be angelic?
When will you take off your clothes?
When will you look at yourself through the grave?
When will you be worthy of your million Trotskyites?
America why are your libraries full of tears?
America when will you send your eggs to India?
I’m sick of your insane demands.
When can I go into the supermarket and buy what I need with my good looks?
America after all it is you and I who are perfect not the next world.
Your machinery is too much for me.
You made me want to be a saint.
AMERICA (I Wanted to Make You Something Beautiful but I Failed)
by Matt Mullins
America I’ve given you nothing and now I’m all.
America 12k in credit card debt mortgage at 3% January 6, 2021.
I don’t know my own mind.
America are you still winning the cyber war?
Come fuck us all with your false equivalence.
I don’t feel anything I need more.
I will write my poem because I’m in my wrong mind.
America is your excuse that the devil is in the details?
When will you admit the naked truth?
When will you look at yourself beyond your screens?
When will you be aware of the million cognitive dissonances in your binary thought?
America why are your libraries empty?
America when will you stop sending your garbage to the Third World?
I’m trying hard to leave well enough alone.
When can I go to the doctor’s and buy what I need with the fact of my humanity?
America it is you and I who are broken because of the next world.
Your world is too much for us, late and soon.
You made me want to be an assassin.
PF: Putting the two poems side-by-side was somewhat arduous to achieve, and your poem is a little longer in lines, but in words … it’s close. I think Jack was right to want to see the poems side-by-side, and for me it makes it clear just how brilliant your poem is on its own. Your poem is powerful even if readers are unfamiliar with Ginsberg, and in creating a dialogue with/updating of Ginsberg’s poem in relation to the chilling events of January 6, 2021. Accomplishing both things at once is quite a tour-de-force. On top of that, the word play across the two poems is really delightful and yet deadly serious.
JC: I want to ask you about Ginsberg.I first came in contact with “Howl & Other Poems” when I was a high school dropout in the ‘sixties, hippie times. It really hit home then, and honestly it has stayed with me through the years. It still speaks to me. Can you tell us about your first encounter with “Howl & Other Poems?” What was your response to it then, and how has that changed through the years?”
MM: It’s difficult for me to speak to the first time I encountered Ginsberg because honestly, I don’t have a specific memory of encountering Ginsberg for the first time. It was at some point in my undergrad, beyond that I have no specifics – but I do have vague impressions of my awe toward the poem itself. Perhaps that’s how I’ll approach it, with an honest answer that leans on my vague impressions. I’m not sure if my Swiss cheese brain can dredge up a first encounter with much of anything across the course of my entire life, beyond the birth of my two daughters and my wedding day. But the circumstances of when I first came across Ginsberg? Perhaps through the recommendation of Jack Kerouac’s On the Road, via my Beat to the soul buddy Jeff Mick (a great outsider collage artist that you’ll never hear of because he has no interest in being known) or maybe by way of On the Road being assigned for some college lit class I took during my undergrad years at Michigan State. I truly don’t know.
Either way, I’m fairly sure that On the Road was my introduction to the Beats. I grew up in a very Irish Catholic family (I am now a kind of neo-transcendental agnostic quasi-Catho-Buddhist, if there can be such a thing), and have always loved road trips and imagine myself to be a bit of a free spirit, and a deep lover of all things musical and spontaneous/improvisational, so that book spoke to my early twenty-something mind in a profoundly Romantic way (Oh how I longed to roll with Jack as part and participle of the quivering meat wheel of true thought and mad compassion spinning now beneath the endless starry dynamo of night…). So, I’ll just pretend toward some kind of certainty here, and say that one way or another I first encountered Ginsberg through Kerouac.
Once I was hipped to Ginsberg, it was “Howl” (which I first read in the little, square Pocket Poet Series edition from City Lights) that exploded my thinking about poetry. That poem’s amazing opening lines, those incantatory repetitions, the rawness of the imagery and the brutal honesty of its observations, it shook me. There was also the legend of the Six Gallery and skinny, nervous Ginsberg tearing the roof of the place with a barbaric, yawping poem unlike anything written or heard before while Kerouac slugged wine, collected dough, and whooped his approval. When “America” specifically came into that mix for me is hard to say. I absorbed it like I absorbed the rest of the poems in that book – I saw it as something fresh and brutally introspective while also being pointedly critical of certain aspects of our culture and politics (the same aspects I was also, and still am, pointedly critical of). What I gleaned from it (and “Howl”) was the power of repetition and that free-flowing sense of line. I was all hung up on tight little lines and stanzas back then. Ginsberg ripped apart that notion for me. He was speaking from a deep part of the human spirit – a kind of profound truth, sometimes sad, sometimes enraged, sometimes delivered with a buddha wink. So, it’s more the book as a whole that I recall being influenced by and “America” (which I saw as a kind of “Howl” articulated via direct address rather than incantational rage) was a facet of that overall awakening. It was part of that first blast of Beat thinking that hit me around age twenty – On the Road, Naked Lunch, and Howl and Other Poems. What I guess could be considered the Holy Trinity of beat literature.
‘Ginsberg is the one you want to talk to and listen to’
In terms of how “America,” and more specifically Ginsberg’s poetry in general has changed for me over the years – he has become, to me, the most interesting writer of the three. Kerouac’s light has dimmed a bit for me (though I still think he’s great!). I haven’t read On the Road since it was on my reading list for my area exams for my PhD twenty-five years ago, though I did reread Dharma Bums a few years back and liked it well enough. Burroughs, that Holy Crank, I can only take in small doses now. I always liked him more for what he stood for (junkie queer outsider defiance filtered through his inimitable approach to prose) than for his work overall.
Naked Lunch is more like a flavor than a book. All you need to do is to open it at random and read a few pages to get a good taste (and an acquired taste at that). His shorter pieces and spoken word stuff, the cut ups, his work with Brion Gysin, that’s what appeals to me the most – the mixed media. I tend to lose interest in his longer fictional works.
But as I get older, it’s Ginsberg who has deepened for me in terms of meaning. His raw emotional honesty and vulnerability. There’s a certain degree of macho posturing to Kerouac beneath the Zen cover, and Burroughs, when you get down to it, is just not of this world. Ginsberg had nothing to hide and fully inhabited that revelation of self. He’s naked with joy and sorrow and the joy of sorrow and the sorrow of joy. Kerouac and Burroughs both had personas, and it’s not that Ginsberg didn’t have a persona, but of the three his persona was in no way a construction. It’s who he truly was. And that’s reflected in his poetry, the laid bare truth of it.
So in my 20’s it was the energy and movement of Kerouac that appealed to me. Likewise, it was the strangeness and rebellion and otherworldliness of Burroughs and the raw emotion of Ginsberg. Now that I’m older and spending time thinking about the good and bad I’ve wrought and what living is supposed to mean, it’s Ginsberg’s honesty and craftsmanship and self-examination that appeal to me. Kerouac’s the one you want to spend your mad nights with. Burroughs is the one you want to explore the queasy underbelly of the world with. Ginsberg is the one you want to sit down with among the dual-edged workings of this life and talk to and listen to.
PF: Your answer is both revealing and insightful, opening the curtains and giving us a window on Matt, the young poet and musician, as well as Matt, the mature poet and filmmaker, confronting events that are pivotal, and yet whose full consequences have yet to be seen. It’s interesting how Ginsberg’s work continues to be a relevant prism for America’s ideals, shortcomings, and blind spots.
PF: When you went to your bookshelves, why was it Ginsberg’s “America” that you pulled off the shelf?
MM: I mentioned my Swiss Cheese of a memory in one of my previous answers, so I’ll offer another slice here. I don’t remember exactly what happened, but here’s what I think happened (or what I’ve convinced myself actually happened). In my home office I have a reading chair with end tables next to either arm, both tables piled high with books I mean to read and am currently browsing. Ginsberg’s Howl and Other Poems was on/in one of those stacks and has been for a long time,as it’s one I’ve always liked to reread.
At some point in early January 2022 (yes, the date of 2021 is for poetic effect, I really did not write that poem on the day of the insurrection, but rather a year later), likely around the 6th, I went in there and sat in that chair and reached for one of those piles of books. Howl and Other Poems somehow ended up in my hands. I started flipping through. I landed on “America.” Politics being on my mind (as it always was at that time) I read the poem, and it punched me in the face, this idea: “What’s in this poem needs to be said again in a different way that speaks to this current time and place.” It was just something that hit me, this notion that what Ginsberg said was so true and right in that moment that it was worth saying again in a new way for a new moment. It was as if I had read an eternal blueprint for a statement about where the personal meets the political to speak to our situation as human beings who are struggling to be human beings in the context of the larger political systems that influence our lives.
So, in that regard it wasn’t so much a “why I pulled it from the shelf” moment as it was the poem finding my hand and perhaps – if I want to get Blakean/Ginsberg mystical about it—some essence of Ginsberg pointing toward me through the Other and saying, “Hey, do you see the universal truth I laid out for you in this poem? Good. Now what the fuck are you going to do about it, my friend?”
PF: Sometimes Jack’s poems come all at once. Other times, a poem might sit for years before he comes back to finish it. Sometimes, he forgets that he wrote a poem, until he rediscovers it in a notebook or a folder in his file cabinet. This is what happened with “The Eternal Footman,” Jack’s poem that uses T.S. Eliot’s “The Love Song of J. Alfred Prufrock” as an intertext, but in a very different way than “america”.
PF: So, what was writing the poem like? Was it a whirlwind of a poem that wrote itself, or more like a dialogue – a call from a line or lines of Ginsberg, followed by your response? Or was it perhaps a kind of struggle? Take us behind the scenes and reveal a little of the poetic process that resulted in “America (I Wanted to …”
MM: The poem wrote itself and didn’t write itself. Once I’d hit upon the idea of emulation it was a matter of taking each line from the original, the rhythm and sense of it, and filtering it through my own experience and outlook—channeling and translating and re-interpreting Ginsberg through my own characterized version of the self – because despite the illusion, the speaker of that poem is me but not me. It’s to some extent a character; that’s not my life as is wholly spewed onto the page, though parts of my life and experience are there, certainly, but the speaker of that poem is a concerned American wondering what America has wrought and seeking the self to understand what America’s consequences mean on both the intimate personal and larger political levels.
I wrote the skeleton in two or three sessions of about five hours each over the course of a week. Most of the lines just came to me. I looked at a line, sought its sense, then respoke it on my own terms. They emerged whole from within. I liken the process to those Japanese ink monochrome paintings that are often associated with Zen. The artist cannot linger with the brush or it will seep through the paper, so the mode is one of long meditation at the blank slate followed by deliberate decisive strokes. The vast majority of the composition happens subconsciously through the osmosis of life’s experience before the brush even touches the ink. Such work is a culmination of the artist’s whole previous existence expressed in the instant, not something labored over in the moment.
That’s not the only way I work, to be sure (I have been known to “worry” over some pieces for quite some time. The videopoem Monster Movie is a good example of painstaking meddling to get the result I was after.). But the spontaneous mode tends to result in things that feel innately powerful to me, and it’s also appropriate to the vibe of creation for the source material—I have a feeling Ginsberg did not labor over the original much, either; it just doesn’t have that feel, and I wanted his feel for my own poem. My videopoem Our Bodies was created in the same way – a culmination of thirty some years of thinking about art/writing/music/spirituality/life as a facet of my daily existence that came together in the subconscious and emerged whole as an idea/draft. Does that mode often require some tinkering after the fact? Yes. Which is why I’m not a Japanese ink monochrome painter (at least not in this life). A work may emerge in a rush, but I still feel the instinct to revise and polish. Regardless, when I create something in this mode it often just feels “right” to me when it’s done. Will others feel that way? I hope so, but also, to some degree, I don’t care. It’s the process of the doing that’s most important, cathartic, and enlightening for me. The end result is just an aftermath.
So, after that initial outpouring, I set it aside for a few days and came back to it, working the phrasing, revising lines that weren’t doing what I wanted them to do. I recall that I played with that very last line quite a bit. “America I’m putting my queer shoulder to the wheel,” is how Ginsberg has it, which is of course perfect for Ginsberg, but I was having trouble finding my (adjective) shoulder. Was my shoulder broken, slumped, playing Atlas under some kind of unbearable weight, on the verge of collapse? I didn’t know, and I struggled to find the right word. Then I had a bit of a revelation that I think cast its light back over the entire poem: the big picture here is that it’s not about me putting my whatever type of shoulder to the wheel; I’m putting a shoulder to the (karmic) wheel regardless through the fact that I even care enough to do what I can to push things forward toward the positive in my life as an American. The big picture is that the wheel itself, the idea of what America supposedly is and means, the entire notion of our forward motion, and subsequently my identity as an American, is falling apart before my/our very eyes.
PF: What was your creative process in making the film, for example your reading of the poem is very compelling – deadly serious, and yet somewhat wry, as well as witty, playful, and free. You’re also a musician, and the soundscape in contrast is restrained, but off kilter, and quite sinister. Do you think of the soundscape you added to your reading of the poem as a kind of musical score – a rather spare one, to be sure, but still ominous and disturbed/disturbing? Also, what can you share about your visual strategies and editing patterns? Your image tracks in your other poems often employ found footage – in this case, you employ archival film footage of the U.S. Capitol and layer in found video footage of the Jan 6th Capitol events (from “the internet,”). Did you have this in mind when you wrote the poem, or did that come afterwards?
MM: I do a bit of a breakdown on my creative process for “America (i wanted to…) in a talking head presentation I did for a symposium on videopoetry that Tom Konyves held in Vancouver in November of 2022. In it, I spend about fifteen minutes discussing the composition process for three of my videopoems (Our Bodies,Semi-Automatic Pantoum and America.) I tried to have a bit of fun with it in that I wanted to make a presentation about videopoetry that perhaps also felt a bit like one of my videopoems. I’m not sure how well I pulled that off, but it was fun to make and fun to think about my composition process in that way, which is usually less conscious and more intuitive. In that regard, some of the things I say in there point to what I’ll say here.
In terms of the reading. I try very hard to not read in that “poetry voice” that has a cadence that lilts up at the end to make every line feel like a question? A reading style I’m trying to give you a sense of right now by having these three statements end as questions? Which they are not? You get the idea.
For me the idea behind a recitation is to always try to be dramatic in a way that plays toward the inflections and sounds of the language while also getting across the right tone, whether that tone is light or world-weary or intimate. (As an aside here, I think the greatest reader/narrator of videopoetry I’ve ever heard is Nic Sebastian. I’ve never worked with her and have never met her, but I truly love the sound of her voice. She could read a grocery list and make it sound incredibly profound). The key for me is to read the words honestly and without artifice or pretension. So, a big part of my delivery was to just get what I was feeling in the poem across honestly. On another level I was also trying to emulate/imitate Ginsberg’s reading of the poem. Before I recorded my recitation, I listened to his recitation a number of times. You can really tell he’s feeling the texture of each word. It’s a beat thing. Words are sonic; they are notes and they need to be caressed or bent or cajoled or spat out according to meaning and intent. It’s like he surrounds each word with meaning before he lets it out. And there’s also his phrasing and tone. So, to an extent I was trying to sound like him – or at the least, I was trying to use what I felt was his approach to sonic delivery, which includes those things you mention – his reading is wry, witty, playful and free. So, I’m glad that came across in my recitation as well.
In terms of the score, I did want something ominous and a bit discordant and disturbing because that’s definitely the vibe here. Attempted coups and the near-death of democracy qualify as disturbing shit. So, I mean a lilting ditty wouldn’t cut it, unless I was going for irony/sarcasm, and the poem is far too earnest for that. It’s deadly serious, if pleading and direct. Spare also seemed the right approach because there is so much sonic weight to the language. It’s a wordy poem with long breath lines, which is one reason I knew from the start that I’d deliver the poem via recitation rather than titles. It’s a poem that needs to be heard. In that regard, I didn’t want the music to get in the way. I wanted it to color the background, to create something ominous and almost sub-textual, something you hear that drops into the background to leave you feeling uneasy as you indirectly absorb it. To create it I used a home-made instrument called a canjo, which is basically a really primitive banjo made out of a coffee can. I recorded a simple riff then dropped the pitch way down to make it sludgy and then layered in some effects to add a bit of grit then I put it under the recitation and kept it low in the mix so the recitation would sit on top of it.
Visually, the videopoem originally had a much different look and feel. That vacation footage, from the 40’s I believe, is something I pulled from the Prelinger archives. It was what I’d call the backdrop. And it has all the greatest hits of a family vacation to Washington D.C. (The Lincoln Memorial, The Washington Monument, The Capitol Building, The White House, etc.). On top of that I had four other types of footage appear sequentially over the course of the videopoem/recitation. Each of the four had its own quadrant on the page, so by the time the fourth type of footage appeared, this backdrop of vacation footage was entirely “taken over” by a split screen of four screens each playing something different. My thought there was to show how the contemporary overpowers and distorts our nostalgia for the past and twists our sense of history. I also wanted to say, I think, something about triviality, consumerism and digital culture.
The four types of footage were: a close crop I made of Trump’s smarmy, snearing mouth while in the midst of giving a speech (ripped from Youtube), a TikTok montage of teenagers in baggy pants doing synchronized dance moves (ripped from Youtube), a rather psychedelic TV ad from the early 60’s (Prelinger archives), and a montage of news footage from the Capitol insurrection (ripped from Youtube). As I mentioned, the approach had each type of footage appear one at a time then remain on screen as the others subsequently appeared. I can’t recall in what order I initially had them appear. The end result felt okay to me, but I wasn’t fully happy with it. It seemed scattershot. So, I layered in the score and the recitation and sent it off to Tom Konyves, whose opinion I very much respect. His reaction was basically: The poem itself is excellent. The videopoem is okay. You need to be ruthless.
And he was right. I was not being ruthless (and I really think that was great open-ended advice and exactly what I needed to hear). I realized using the four quadrants was a mis-step and, at points, off theme. Trump’s smarm and image were sucking up all the air, and he was already the unspoken sickness at the heart of all this, so his image or words did not need to be directly brought into the matter. The TikTok kids and the ad felt frivolous, like forays into other issues rather than being to the point. But I felt there was something to that vacation footage and that insurrection footage. I thought into it for a while and decided that visually I wanted to comment on how what had happened on January 6th had poisoned both the idea/idyll of Washington D.C. in particular and also of America in general in ways that we still needed to process. It was not lost on me that traitors to the United States of America, lied to and urged on by an aspiring fascist dictator, threatened the tradition of the peaceful transfer of power and carried the Confederate battle flag and flags bearing this would-be dictator’s name into our Capitol building. Such a thing had never happened before in the entire history of our nation. People smeared their shit on the Capitol’s walls. I mean, come on, man. What kind of person does that? You might as well start shitting on top of the graves at Arlington because desecrating our capitol means desecrating the memory of every soldier or public servant or honorable politician who has ever given his/her/their life for the sake of American democracy. That’s how deep this poison goes. And that was something I wanted to speak to directly. The distraction of those quadrants was not the way to make that statement.
So, I decided to keep the vacation footage – footage of that archetypal American family/school kid pilgrimage to our nation’s capital – as the backdrop or underlayment of the piece. The footage is already wonderfully distressed with flaws and dust and hairs and burn marks, which I thought hinted nicely at what was to come. Being from the 40’s (I think?) it also had that wonderful anachronistic visual tone to it, i.e., the “good ol’ days (which never really were the good ol’ days in the first place). So, I didn’t do much with that visually. Then I took the insurrection footage, ran it through a filter to make it look more “sickly,” sped it up to make things both more frenetic and more cartoonish (because although there was a deadly serious element among the insurrectionists many of them also literally came off as idiots and clowns – such is the pathetic level of their ignorance and delusion) and then I ran the footage backwards overall. I did this because although I wanted to show that their infection had risen up to forever taint America, they had also failed in the end to install Trump as dictator, and I wanted to show that failure by having them visually sucked away from their goal by the end of the videopoem. I guess this is my little hope-flame saying, “Yes, you traitors did take things to the brink, but you could not take us over. The system held. For now.” From there the plan was to have that insurrection footage rise up and bleed through that idyll to infect our history/our past with the treasonous actions of the present, which is what gradually happens over the course of the videopoem – the idyll is infected and replaced by the insurrection which is then sucked away at the end to leave us with the idyll again, though now we see that idyll through a different, tainted, context. The idyll from the beginning is forever changed.
PF: Your poetic interplay with Ginsberg’s poem creates an intertextual dialogue as well as a new work that dares to confront the alarming state of American democracy and civil society, in the light of Donald Trump’s fomenting of the January 6 insurrection (under the false flag of a “stolen election”), and the perhaps even more dangerous continuing aftermath. This underscores what an impressive accomplishment your new poem is in itself, and how much it needs to be heard and heeded. Ginsberg’s time was perilous, but this seems worse than anything we’ve experienced, except perhaps the Civil War. How worried are you? Where do you find hope? (We ask ourselves these questions, too.) What do you want viewers of your film to take away after watching the film?
MM: I’m going to try to talk around that idea as much as possible because I am not one to pin things down when it comes to the messages or meanings in my creative endeavors.
After years of making myself sick in thought with worry, I’m lately trying to be as meditative as possible about our current American (and global) situation and take the long view by embracing the idea that all things are ephemeral and constantly in transition, something which our relative perspective to time often prevents me from considering as fully as I might. We see time pass and our bodies decay, but usually get caught up in the shit and fail to remember that the mountain also crumbles to the sea as the fly laughs at the clumsy sweep of our clutching slow-motion hand.
And so I keep trying to convince myself that a useful approach to art and life brings the most positive possible impact to others in each moment as it arrives. This is something I constantly fail at doing, but keep trying to do regardless, because I’ve come to feel it’s truly worth doing. And this is what making the videopoem taught me. Due to the last few years I have finally realized that if I think too much about the politics of the moment I lose my sense of how to make the best possible now for myself and those around me. But I also have my doubts. Sometimes I believe that might be a rather selfish way of thinking on my part, and it does truly grieve me to watch the American Experiment flail with what I hope are not its death throes. So, I’m torn between this path I’m seeing and my urge to try to “save” things with art and rants and videopoems and “messages,” but then the Mobius strip glides me back to cyclical ephemerality and suffering, etc. Perhaps if I’m ever able to fully incorporate what I’m thinking into my life (inner and outer) I can then try to address the astounding depth of ignorance and delusion currently at work in this world and in our ridiculously contorted nation in particular.
At its core, the insurrection was evil. Autocracy is evil. Fascism is evil. The desire to replace democracy with such things and in such ways is born of ignorance, fear, selfishness, and evil. There’s no other way to put it. But I wonder at times if hating evil poisons me with hatred regardless (because I really really really hate evil in all its forms, and hatred is a feeling I know I have to surrender) which then makes me wonder how I should wrestle evil in the first place – with videopoems? Better perhaps to do so with acceptance of evil’s reality and the intention to in some way work to bend evil toward the good. On my better days I can see evil as merely a consequence of ignorance and fear and good as a form of knowledge and courage. And then I see knowledge as a form of truth. Only to get tangled up in the idea of what truth actually is or isn’t, and that knowledge isn’t necessarily truth – at least not Truth, which is of course not facts, but how we feel about the facts. Or is it that Truth just is what it is? Literally. I don’t know.
My mind is too small and untamed to figure it out at this point. I just know that compassion is severely lacking in this world and the compassion of Ginsberg’s poem struck me with its unflinching look at the self and the state of the place wherein that self dwells (America, 1956). I am trying to take that unflinching look yet again, in my own way, while I’m also trying to help shoulder that wheel, and I suppose that means I’m asking for help while helping, which might mean that I’m hoping that others will put their shoulders to the wheel along with mine in the larger struggle to roll the wheel of our compassion over the bumps of our escalating situation. It’s easy to love the good. It’s much harder to fight through hate and see that it takes compassion to counteract evil. The process of creating this videopoem helped me to further realize that, despite the fact that such a message is not overtly in the videopoem itself.
Artworks recalibrating
Maybe what I’m trying to say with “America (i wanted to…)” is that despite the shitstorm I see whirling within me and all around us, I’m going to try and keep fighting the good fight, which might not even be a fight at all, but a form of acceptance in which that acceptance means exerting my will toward pointing the full power of my compassion at others, and crushing the fear and doubt and failures that keep telling me, “Yeah, like you’re ever gonna be able to do that.” When I can look at someone who I would formerly instinctively loathe and instead understand that my loathing is caused by my negative reaction to their suffering and delusion and the ensuing negative reverberations that suffering and delusion cause for others, that should turn my loathing into a strong desire to help that person find what they need to end the cycle of their negative actions. And that thing they need to find is not my videopoem. It’s the compassion they’ve lost sight of within themselves along the way due to their fear and ignorance. I’m still struggling with that loathing every day. Until I’m capable of turning that loathing into compassion I’ve realized I should probably hold off on having an opinion on a lot of things I’ve formerly had some pretty strident opinions about. Just as I feel I should hold off on claiming anything I’ve ever created in an artistic sense has anything to offer anyone beyond the dim hope of somehow making someone pause to think in some way about our very complicated human condition. If an artwork causes you to pause in any way, if it makes you think, if it re-calibrates your thought into a new direction in some way, then that artwork has done what all art should aspire to do, at least in my opinion. If I’m lucky, perhaps this videopoem accomplishes that.
PF: We expect a bit more back and forth before wrapping this up. In particular, we’d like to know if there are any questions you wish we had asked you, but haven’t?
MM: Hmmm. What’s my favorite color? (forest green). Why am I overly sentimental and sometimes feel overwhelmed with the urge to weep when I see genuine acts of selflessness and kindness (I aspire to transcend my own flaws). Who are you? (no one/everyone). Why are you here? (I’m not sure where else I’m supposed to be). What is the meaning of life? (It would seem the answer to that lives somewhere between everything we’ve already done and everything we aspire to be).
Matt Mullins with Pamela Falkenberg and Jack Cochran, December, 2022.
Matt Mullins
Matt Mullins makes videopoems, digital/interactive literature and writes poetry, fiction, screenplays, and music. His videopoems have been displayed at exhibitions, galleries, and festivals throughout the world and include screenings at Visible Verse (Canada), Zebra (Germany), VideoBardo (Argentina), Liberated Words (England), Ó Bhéal (Ireland), The Body Electric (USA), CYCLOP (Ukraine), Co-Kisser (USA), The Filmpoem Festival (Scotland), Rabbit Heart (USA), and The International Film Poetry Festival (Greece) and REELPoetry (USA). His poetry and fiction have appeared in online and print literary journals such as the Mid American Review, Pleiades, Hunger Mountain, Descant, decomP, and Hobart. His collection of short stories, Three Ways of the Saw, was published by Atticus Books and named a finalist for Foreword Magazine’s Book of the Year. He currently teaches at Ball State University where he is an Associate Professor of Creative Writing. He is also the mixed media editor at The Atticus Review. You can find a number of his videopoems at: https://vimeo.com/mattmullins
Pamela Falkenberg
Pam is an independent filmmaker who received her PhD from the University of Iowa and taught at Northern Illinois University, St.Mary’s College, and the University of Notre Dame. She directed the largest student film society in the US while she was at the University of Iowa, and also ran film series for the Snite Museum of Art in South Bend, IN. Her experimental film with Dan Curry, Open Territory, received an individual filmmaker grant from the National Endowment for the Arts, as well as grants from the Center for New Television and the Indiana Arts Council. Open Territory screened at the Pacific Film Archives, as well at numerous film festivals, including the AFI Video Festival, and was nominated for a regional Emmy. Her other films include museum installations, scholarly/academic hybrid works shown at film conferences, and a documentary commissioned by the Peace Institute at the University of Notre Dame. She has also been an occasional contributor to Moving Poems Magazine (http://discussion.movingpoems.com/).
Jack Cochran
Jack is an independent filmmaker who has produced, directed, or shot a variety of experimental and personal projects. As a Director of Photography, he has extensive experience shooting commercials, independent features, and documentaries. His varied commercial client list includes BMW, Ford, Nissan, Fujifilm, Iomega, Corum Watches, and Forte Hotels. His features and documentaries have shown at the Sundance, Raindance, Telluride, Tribeca, Edinburgh, Chicago, Houston, and Taos film Festivals, winning several honors. Commercials and documentaries he shot have won Silver Lions from Cannes, a BAFTA (British Academy Award), Peabody Awards, and Cable Aces. Some of his notable credits include Director of Photography on Brian Griffin’s Claustrofoamia, Cinematographer for documentarian Antony Thomas’ Tank Man, Director/Cinematographer of Viento Nocturno, and Cinematographer of Ramin Niami’s feature film Paris. Jack received his MFA from the University of Iowa Creative Writers Workshop, and spent four years in the University of Iowa Film Studies PhD program before deciding to make his career in the film industry, working out of Los Angeles and London.
