sucking on words is a documentary film that features interviews with, and extensive performances by, the American poet Kenneth Goldsmith. It also features critical commentary on his intense and ground-breaking conceptualist practice from three of North America’s leading voices on avant-garde poetics. Shot on location in New York in 2007, the lively conversations featured in sucking on words are an ideal introduction to Goldsmith’s witty and provocative works, which are already regarded as hallmarks of 21st-century literature. The film showcases readings from some of his notorious books: No.111 (found phrases ending in the ‘r’ rhyme and filtered alphabetically by syllable count); Soliloquy (a transcription of every word Goldsmith spoke for a week); Day (a retyping of one day’s New York Times newspaper); Traffic (one day’s worth of hourly radio traffic bulletins); and The Weather (one year’s worth of radio weather bulletins).
Himself
Himself
Herself
Himself
sucking on words is a documentary film that features interviews with, and extensive performances by, the American poet Kenneth Goldsmith. It also features critical commentary on his intense and ground-breaking conceptualist practice from three of North America’s leading voices on avant-garde poetics. Shot on location in New York in 2007, the lively conversations featured in sucking on words are an ideal introduction to Goldsmith’s witty and provocative works, which are already regarded as hallmarks of 21st-century literature. The film showcases readings from some of his notorious books: No.111 (found phrases ending in the ‘r’ rhyme and filtered alphabetically by syllable count); Soliloquy (a transcription of every word Goldsmith spoke for a week); Day (a retyping of one day’s New York Times newspaper); Traffic (one day’s worth of hourly radio traffic bulletins); and The Weather (one year’s worth of radio weather bulletins).
2007-10-01
4.8
conceptual writing - a fusion of art and literature
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In celebration of Asian Heritage Month, HBO presents a collection of perspectives from a diverse group of Asian Americans.
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From 1970-1977, six low budget films shown at midnight transformed the way we make and watch films.
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A man is painting a landscape. A woman is holding two cups. What can go wrong? A nightmare in pink.
In a small town in Nazi-occupied Slovakia during World War II, decent but timid carpenter Tono is named "Aryan comptroller" of a button store owned by an old Jewish widow, Rozalie. Since the post comes with a salary and standing in the town's corrupt hierarchy, Tono wrestles with greed and guilt as he and Rozalie gradually befriend each other. When the authorities order all Jews in town to be rounded up, Tono faces a moral dilemma unlike any he's known before.
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After Suman's father leaves her in the care of another family while he travels abroad, she falls in love with Prem. However, in order to for them to marry, Prem has to prove to Suman's father that he is not the same as his own dad.
Marco Paolini discusses with poet Andrea Zanzotto about nature, history and language.
The experimental animated film Song of the Flies (El Canto de las Moscas), translates the desolation caused by the violence of the Colombian armed conflict through the poetic voice of Maria Mercedes Carranza (1945–2003) and the audiovisual dialogue between 9 Colombian women. In 24 places, as a transit over the course of a day (Morning, Day, Night) a map of terror is drawn where massacres took place in Colombia in the 1990s. Archival images, the artists’ personal memories and the use of loops and analogue materials bring to life the landscapes ravaged by violence and build a polyphony of memory and mourning, a universal song of pain.
Intimate portrait of Marie-Jo Gobron, belgian poet and the director's mother. 20 years after the release of a film about his father's paintings, the filmmaker continues the description of the artistic universe of his parents. Born in 1916 in Flanders near the French border, Marie-Jo writes mostly in French. Aged 85, she starts an autobiographical novel about her youth, its many events, and about her daring emancipation in art and love, which she confides here.
This was a labour of love combining the work of some incredible artists to bring Máire Mhac an tSaoi’s poetry into the medium of film. Deargdhúil: Anatomy of Passion explores the life, work and sensual poetic imagination of the revolutionary Irish poet Máire Mhac an tSaoi. Born in 1922, her story is set against a backdrop of a tumultuous century in Irish history in which she and her family were centrally involved. At a time when women's voices were being silenced, the native tradition in the Irish language was her stage to explore the depths of female sexuality and experience without shame. Featuring the movement poetry of performance artist Maureen Fleming, interview by Louis de Paor, poetry voiced by Máire Mhac an tSaoi, Ailbhe Ní Ghearbhuigh and Nuala Ní Dhomhnaill, autobiography script voiced by Olwen Fouéré.
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