This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques.
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