Step 1: Selecting the Poem
The first step of the film making process was choosing which poem I wanted to visually interpret. Entering the search for the perfect poem, I had a couple of criteria in mind. Primarily, I wanted the poem to have been written by a woman. As the poems were required to have been published prior to 1923, this made the selection pool relatively small. Adding to the restrictions, and thus further diminishing the volume of poems I could choose, I wanted the poem to be Brazilian. My first film focused on a Chilean poem, and I really wanted my second to be in Portuguese. I find the language incredibly lyrical, and tales of Brazilian history regaled by the oppressed are often performed through music.
I eventually selected Gilka Machado’s “Poema de Amor,” published in 1917. The poem was originally four stanzas, but I found the last one very powerful. I also believed that it would be an interesting idea to interpret only a very small portion of the poem. Consequently, during the filming process, I felt as though I was less interpreting the words of the poem, and more the emotions of those three lines.
Step 2: What Should I Film?
I decided that I wanted to go for a background that I could manipulate in my filming, as I felt that the poem called for a more exotic background than the interior of a house or the city landscape of Baltimore. I thus went for a background of pastels. The figure I ended up filming was a wooden figure created to give artist’s an accurate representation of the human body. I liked how he was faceless, and relatively genderless (although I saw him as a “he”).
Step 3: Editing?
The Editing process proved fairly simple, or at least much more simple than I had believed it to be. The slides were already in the order I wanted, and all I did was manipulate the color a bit to enhance the exotic, voluptuous feel I was going for.
Step 4: Where Do I Go from Here?
I go to something more voluptuous, more crazy. I am going to add a “glitchy” flavor, and trip it out a bit.