A poem by Nathan Anderson from Best American Poetry 2013, adapted for Motionpoems by Carolyn Figel of MPC with additional animation by Andrew Montague, voiceover by Daniel Silverman, and sound design by Michael Scott.
The Best American Poetry blog has a brief post quoting Anderson about the poem:
This poem started when a few lines (a shadowy echo of what would become the speaker’s voice) surfaced while I was working on another project. As the speaker’s voice developed and the context began to take shape, I became interested in how this particular speaker responds and, more broadly, how all of us respond, when the daily pressures of a life become seemingly unmanageable.
Visit the video’s page on Motionpoems for the text of the poem.
I see from her website that Carolyn Figel has “An ongoing personal project of illustrating delicious sandwiches I find online.” No wonder this poem caught her eye, then.
Two different video remixes of footage from the Prelinger Archives using a text by Janeen Rastall sourced from The Poetry Storehouse. While neither is a perfect video (both end too soon and too abruptly for my taste, for example), I think each is interesting, and together they show how approaches can diverge even when using largely the same material and techniques. Both are black and white with a 4:3 aspect ratio, last for 51 or 52 seconds with a cut every 6-10 seconds, and intersperse moments of allusiveness or departure from the text with moments of more literal illustration. But while Othniel Smith seized upon the goddess imagery in the title and first line, Marie Craven took the bursting seeds of the second line as her point of departure. They also differ in their soundtracks, Smith opting to use the poet’s own reading without accompaniment and Craven mixing Nic Sebastian’s reading with music by SK123.
This is Filmpoem 39, by the core team at Filmpoem: directed by Alastair Cook with cinematography by James William Norton and sound composed by Luca Nasciuti. The text, by Michael Symmons Roberts, was one of four new poems by British poets on the theme of migration commissioned for Filmpoem Festival 2014.
The video is also presented on the Filmpoem website, an increasingly useful site for people interested in poetry films generally. (If you’re in London this weekend, don’t miss the Filmpoem events at the Southbank Centre.)
This is Part VII in the 12 Moons collaborative videopoem series presented by Atticus Review — and it may be my favorite to date. As usual, the line-up is Erica Goss (text), Nic Sebastian (voice), Kathy McTavish (music), and Swoon, A.K.A. Marc Neys (concept and direction). Neys calls the text
A lovely short poem that I wanted to give an extra playful and nostalgic layer by adding a bit of ‘family history’.
I went back to the outstanding collection of IICADOM (‘International Institute for the Conservation, Archiving and Distribution of Other People’s Memories’) to look for the right footage.
Kathy provided me with an impressive soundtrack with enough length to work with two distinctive parts in the visual storyline.
Part one; a bright and colourful look into the carefree world of children. Part two; a short view on the expectations, doubts, happiness and moments of fear that might precede that carefree world.
This well-filmed dance interpretation of a poem by Ella Jane Chappell is one of ten shortlisted films for the Southbank Centre’s inaugural Shot Through the Heart Poetry Film competition. Katie Garrett of Garrett and Garrett Videography directs, with choreography by Anna-Lise Marie Hearn. The dance company, AniCo., has a webpage about the film. The text is worth quoting at length for the insight it gives into dance-focused poetry videos, an important subset of poetry video generally:
Rolling Frames is an intimate and personal look into the scenarios of three very different relationships that are affected and manipulated by dependency.
At the heart of Rolling Frames are a series of shifting voices and characters that inhabit three very different relationships. These relationships are linked by the role that dependency plays in each. To some extent, every relationship involves a yielding of independence. The poem dissects this manner of yielding: the manifestation of greed in desire, the vulnerability in love, the loneliness in lust.
The physicality and inner rhythms of the words are translated once over by the expressive movements of dance, and once again through the gaze of the camera’s eyes.