Cadence 2020 – Better Left Unsaid: Video Poetry Showcase [Online]
Sliding scale admission: $0–25
Please pay what you can; proceeds support our move to a virtual platform!
Each showcase will be available to view for 24 hrs from the listed showtime (PDT).
Cadence is SCREENING ONLINE! NWFF’s physical space is temporarily closed in light of public health concerns around COVID-19, but community, dialogue, and education through media arts WILL persist.
• • HOW TO WATCH • •
- Purchase a ticket through Brown Paper Tickets in advance of the listed showtime (PDT). Registration ends 1 hour before the start time.
- 30 minutes before each screening, NWFF will send a link and password to your registered e-mail address! (Don’t see it? Check your spam filter.) The password will expire at the end of the 24 hr screening window. No late seating!
- If by showtime you do not receive an e-mail with details, please contact firstname.lastname@example.org for a quick follow-up. (But please, check your spam!)
Not silent, these video poems emphasize language as an auditory experience, a graphic experience, and a cultural experience. A dying language left untranslated, constraints leaving language limited, and limited language leaving emotional threads through found and filmed footage—this screening leaves room for inference and poetic impressions.
Cadence: Video Poetry Festival, presented by Northwest Film Forum, programmed in collaboration with Seattle author Chelsea Werner-Jatzke and artist Rana San, is a series of screenings, workshops, and discussions on the genre of video poetry, throughout National Poetry Month. Cadence fosters critical and creative growth around the medium of video poetry, approaching it as a literary genre presented as visual media.
Image Credit: der und die by Peter Böving
Short Film Program:
(Kamyar Mohsenin & Sara Kei, Seattle, WA, 1 min)
Written and conceptualized by Sara Kei directed and edited by Kamyar Mohsenin.
How Do They Do It?
(A. Moon, US, 2019, 5 min)
This silent found footage film uses mundane moments culled from a trove of vintage “adult” films found at a Baltimore salvage house and the structure of a half-forgotten poem to mine meaning and examine agency, motivation, and the limited nature of possibilities in a familiar genre of filmmaking.
der und die (Blind Date in Dresden)
(Peter Böving, Germany, 2019, 10 min)
A love poem by Ernst Jandl is the basis for a musical “Tête-à-tête” between a Dresden woman and a Martian. In a rental car it comes fast to a rushing love scene, which ends in total chaos in the environment of a violent Monday demo.
An A4 paper
(Cheng Qiu, UK, 2018, 2 min)
An experimental animation from a poem I wrote —— ‘A monologue of an A4 paper’.
With Air and Salt, Unbreakable Health
(Maia Iotzova, Canada, 2018, 7 min)
A slow walk uncovers the history of an abandoned building with interesting architecture. A poem commemorating the Romansh language is read by people from all ages, who live in the region of the lower Engadine valley. The building and the poem, both existing in a danger zone, illuminate the beauty and fragility of the local culture. Set against the forces of nature and the changing times, people from the region are faced with the questions: How do we choose what to preserve and what to leave to perish? What price is paid for either choice? (Please note that the video has no subtitles. The poem is read in Romansh, an endangered language. It is not subtitled so the viewer can experience the language in an auditory way.)
(Ebba Jahn, Germany, 2020, 6 min)
We see a webcam surveillance video of a harbor entrance on a foggy day in Cuxhaven, Germany. A sound of a fog horn extends into film music, a contemporary composition for his trombone by Paul Hubweber. Ships come in slowly and the first stanza of the poem “Fog Horns” by poet David Mason from Colorado appears slowly and in writing first. These three elements – webcam image, poem, trombone music – appear in the video as if they were always meant for each other…
Where Does It Hurt?
(Tara Morgan, Vashon, WA, 2020, 1 min)
Heartbreak/Intake, stop motion + poetry.
(Ian Gibbins, Australia, 2019, 5 min)
Words stripped of their ornamentation, pared back to monosyllabic cores… Are these the roots of language? Or are they the skeletal remains of a lost form of communication?
(Laura Knott & Kevin McLellan, US, 2019, 10 min)
On a winter night in Cambridge, Massachusetts, seven friends gather to share food and company. There are 7.7 billion ways to dine. This is one of them.
It is time to give yourself flowers
(Maria Meldgaard, Denmark, 2019, 2 min)
A message of self love and intimacy that comes from a place of need, and at times from force.
(Martin Gerigk, Germany, 2020, 17 min)
Haiku | 俳句 is a symphonic audiovisual project for two Japanese performers, alternating percussion groups, soundscapes and rhythmicized video sequences. The film is an experimental approach to pay tribute to the extraordinary art of Japanese haiku poetry.
Back to Festival Catalog:
Cadence, the only festival dedicated to video poetry in the PNW, fosters critical and creative growth around its genre. This year we will host five online showcases of short video poetry works by 83 artists from 20 different countries, selected from an open call for submissions and solicitations. In 2020, Cadence is moving online for the first time, in response to Washington State’s Stay Home, Stay Safe mandate. All programs priced on a sliding scale.