tag:blogger.com,1999:blog-6680702003121216301.post6742631647877903108..comments2020-05-07T10:26:27.684-07:00Comments on irreducible: a study on the concept and genre of poetry film: on manifestos and the critical needLaura Theobaldhttp://www.blogger.com/profile/14717166881197210901noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-6680702003121216301.post-28451689333574855592014-03-31T08:19:06.896-07:002014-03-31T08:19:06.896-07:00Thanks for the link and the useful perspectives on...Thanks for the link and the useful perspectives on Konyves' and Cook's manifestos. Personally, I'm less interested in what contemporary masters of the genre think *should* exist than descriptions of what actually *does* exist. The varying terminology in use reflects different cultures' and communities' histories of interaction with these media. For example, as I think I probably say on the Moving Poems About page, one's choice of the term "video" or "film" for digital moving images seems largely dependent on whether one is from North America or the UK. Another example: the term "cinepoetry" (or "cin(e)poetry") is current mainly in North American academic circles — English departments as opposed to film departments — reflecting, I believe, the reach of George Aguilar and the American Poetry Film Festival with their movable feast of VHS cassettes in the 1990s and digital films in the aughts. See http://atticusreview.org/george-aguilar-an-ambassador-of-cinepoetry-part-1/<br /><br />At any rate, I'd love to see someone attempt some sort of survey of the various kinds of poetry films/videos on YouTube and Vimeo, combined perhaps with surveys of viewers to see how people interact with various kinds of poetry videos. (I'm not saying you should do it. I keep meaning to attempt it myself...) One thing neither of the manifestos dwells on is the difference between watching a film in a theater, watching it in a gallery as part of a loop, and watching it online. The last of these experiences is now primary, it seems to me, at least in terms of the sheer number of people who are exposed to poetry videos that way, and yet both Konyves and Cook still seem to be thinking of screening events as the default or ideal mechanism by which audiences are exposed to the genre(s). Watching videos on the web is especially interesting to me because it is largely a solitary experience, just as book-reading was. As with a book, we can pause and go back, re-"read" the same (video-)poem as often as we like. That's huge in terms of ordinary readers/viewers being able to "get" the more allusive or recherche videopoetry. Then there's the whole social media aspect...<br /><br />Well, enough of my rambling. Thanks so much for your thoughtful blogging. Keep it up!Dave Bontahttps://www.blogger.com/profile/12157190911655784958noreply@blogger.comtag:blogger.com,1999:blog-6680702003121216301.post-6786015439368025342014-03-31T08:18:31.723-07:002014-03-31T08:18:31.723-07:00Hmm. My comment seems to have vanished. Testing......Hmm. My comment seems to have vanished. Testing...Dave Bontahttps://www.blogger.com/profile/12157190911655784958noreply@blogger.com