For an introduction about the collaboration go to:
Poets and Filmmakers: from Page to Screen
Pegasus in the Lab
Film-poem by Marios Lizides after a poem by Ginny Saunders
Marios Lizides: I consider poetry to be closer to filmmaking than prose. Through ambiguity and symbolism you are able to communicate with the audience on a deeper, more visceral level. Even though I had created a few works that could be termed abstract and poetic in the past, I found that there were differences in the poetry and film collaboration process. In my past films, I found that their atmosphere/mood materialised mostly during the edit. In this film-poem project I had the poem as a guide and its “mood” as a reference during the shooting of the images. The sound design was also approached differently, as the images gave me clues as to what kind of sound would amplify the mood.
Ginny Saunders: When I talked with Marios about my poem I realised that it could all be traced back to when I was a student in a Biochemistry lab practical many decades ago. We were handling lab strains of bacteria and being taught how to dispose of them safely. The lecturer said something casual like, ‘but even if they did escape into the wild, we’ve so disabled them, and made them so dependent on drugs, they wouldn’t survive anyway’. That had a profound effect on me—how we manipulate and exploit nature for our benefit and don’t give the natural world a voice. In my poem I finally gave the lab bacteria a voice! I loved the idea that Marios articulated his response to my poem by comparing it to his response to a song ‘Higgs Boson Blues’ by Nick Cave. In the video of the song Cave enters a darkened stage as if from a fiery hell and when the door closes it has a big X scrawled on it. That is exactly how I worry the human race reacts to some environmental exploitations.
As far as this collaboration is concerned, it is different to anything I have done before. I see Marios as the next custodian in this chain of collaboration. Just as I had my encounter with the page without the Harvard scientists breathing down my neck (not that I would have objected to a collaboration with them if they are listening), he must now have his encounter with the lens and make Pegasus in the Lab his own.
Marios Lizides is a Cypriot filmmaker/photographer. His photographs have been published in literary magazines and his films screened at various festivals. He is currently working on his thesis film for his MA course at the Edinburgh College of Arts.
Ginny Saunders lives in Wiltshire amongst chalky white horses and enjoys writing about science. She has a PhD in Molecular Biology and last summer was Poet-in-Residence for St George’s Gardens, Bloomsbury.
Watch Pegasus in the Lab here
Of the Daughter who Spoke
Film-Poem by Simon Ray after a poem by Kristi Carter
Simon Ray: It’s the dance — the sense of loosening a grip on a certain direction en route to a particular outcome and allowing something to unfold and grow — that seems a common thread in poetry writing and filmmaking. In collaborating, a third ‘dancer’ is added; a three-way conversation between the collaborators and the work, all inputting, receiving and responding.
I have worked in video production, producing films for client briefs, alongside occasional experimental film projects as part of my creative practice. The film poem is more creative and self-directed than my commercial work, and more bounded, outcome-based and ambitious than my experimental work.
Kristi Carter: Because my poem focuses on my relationship with my mother as her only daughter, which also serves as the major thread of my manuscript, I am so familiar with the thematic obsessions that working with someone else reminded me of the alternative ways into my poem. That opportunity for a different but qualified perspective on your own work is very important for any writer or artist. I have learned that the intense control that characterizes most poets is put to the side for collaboration, which is liberating.
Mixed media collaborations also function as one of the most inviting access points to readers who are either new to poetry or more flexible with their definitions of how poetry is supposed to function. I believe that while poetry does enact the work of condensing what is otherwise ephemeral, abstract, or unutterable about the human experience, poets themselves exist in conversation with the world, no matter how quiet or marginal they might assume that conversation to be.
Simon Ray is a New Zealand born artist and filmmaker. He is currently undertaking an MFA in documentary film directing at the University of Edinburgh. His work poetically explores body memory and the boundaries of consciousness.
Kristi Carter is the author of Red and Vast (Dancing Girl Press), Daughter Shaman Sings Blood Anthem (Porkbelly Press) and Cosmovore(Aqueduct Press). Her poems have appeared in publications including So to Speak, poemmemoirstory, CALYX, Hawaii Review and Nimrod. Her work examines the intersection of gender and intergenerational trauma in 20th Century poetics. She holds a PhD from University of Nebraska Lincoln and an MFA from Oklahoma State University.
Watch Of the Daughter Who Spoke here
Anyone Can Buy a Seat in the Cinema
Film Poem by Maggie Clark after a poem by Laura Seymore
Maggie Clark: As my focus is primarily in documentary, the film poem has been an opportunity for me to expand my creative practice and be a little bit more playful with the way I film. It’s pushed me to use visual metaphor as a storytelling device, which is a challenge I’ve really enjoyed! Laura’s poem is about love in the face of prejudice. It carries a sincere and important message, which I hope to do justice in my film.
Laura Seymour: When Maggie and I were talking at the start of the project, I saw that one or two images in the poem stuck out visually from the rest, and also that the images that stuck out visually were perhaps the most ambiguous. The idea that readers or watchers might be more affected by ambivalent imagery was really interesting to me.
Maggie Clark is a Canadian born filmmaker currently studying for her Masters in Film Directing at the Edinburgh College of Art. Her focus is in character-led documentary, which she uses to explore female identity.
Laura Seymour’s book The Shark Cage (2015) won Cinnamon Press’s debut poetry collection award. Her poems have appeared in various journals, including Poetry Review, Poetry London, Magma, MsLexia, Envoi, Ambit, South Bank Poetry, Brittle Star andThe Interpreter’s House.
Watch Anyone Can Buy a Seat at the Cinema here
Film Poem by Ted Fisher after a poem by Aoife Lyall
Ted Fisher: My interest in documentary film as a practice is always connected to the power of the real world as a storyteller. In reading and re-reading Aoife Lyall’s poem, I saw it as amplifying a reality I could feel and I found myself wanting to look and listen further. We shot aspects of her life for several days, with the idea of trusting this as raw material that would meld with the poem in an editing process. I have made many short documentaries, and the best of these have been made from finding a situation where events lead to a real outcome, in front of the camera. Working in connection to a poem (and a poet) shifts this practice to one that is new for me: trying to understand past and present at once. So my approach had to include tuning in to the idea and experience of reflection and reconsideration.
Aoife Lyall: The most significant thing I learned was that the poem isn’t so much about welcoming my daughter into my life, as allowing myself to finally call Inverness home. I lived here for almost six years before she was born, and spent much of that comparing my life here to the life I had in Dublin. Walking the poem with Ted I came to realise it encapsulated what I had been missing – the accumulation of memories, moments, and experiences that layer themselves into the familiar.
As for collaborating, trust is vital: in the skills you have brought to the project, in the skills of the other party, and in the potential of what you are creating together. So there has to be a relationship there, a mutual respect, and a willingness to let someone else explore, and act on, avenues of your work that you may not have considered before. For future projects I would make the point of being able to recite the poem from memory, simply because this makes more filming options available. What would I keep the same? Working with Ted.
Ted Fisher is an American film director specializing in arts and culture documentaries. His short films have screened at over 30 festivals around the world. He is currently working toward an M.F.A. in Film Directing at the University of Edinburgh.
Shortlisted twice for the Hennessy New Writers Award, Aoife Lyall’s work has appeared in Poetry Ireland Review, The Stinging Fly, Banshee Lit, and others. She has just completed her first collection.
Watch The Wanderers here
Ode to Summer
Film Poems by students from the Edinburgh Movie Production Society after a poem by Carrie Etter
Miriam Khenissi (Filmmaker): I wanted to incorporated both artists in my short film: the poet and the filmmaker. I thought that using Carrie’s voice as a narration would add a lot to the film. And even though I wasn’t visible in the short film there were a few strands of my hair visible in the last scene which I added on purpose to include a small personal touch. The majority of the film was filmed on an iPhone which allowed me to capture picturesque scenes at just the right moment.
Miriam Khenissi is an aspiring young filmmaker and designer. Her short films have been screened in various film festivals around the world.
Carrie Etter is Reader in Creative Writing at Bath Spa University. Her fourth collection, The Weather in Normal, will be published by Seren Books this autumn.
Watch Ode to Summer films here
Magma Poetry in Collaboration with the University of Edinburgh and the Festival of Creative Leaning
Stav Poleg, Co-Editor, Magma 71, The Film Issue
The University of Edinburgh
Institute of Academic Development:
Jennifer Williams and Lucy Ridley, Festival of Creative Learning
Learning Teaching and Web Services:
Lucy Kendra, Open Media Project
Charlie Farley, Open Education Resources Advisor – open.ed.ac.uk
Emma Davie, Programme Director – Postgraduate Film, Edinburgh College of Art
Juro Oravec, President 2017-2018 – Edinburgh Movie Production Society