An interesting, somewhat meta student film in which collage techniques were used to generate the text. Shea Fitzpatrick has been making poetry films for more than a year. Here’s her description for this one:
FILM441: Video Art with Janne Hoeltermann. Assignment 3: Manipulate time.
Text is comprised of individual lines and fragments of lines taken from 2 years worth of personal journal entries, rearranged into a disjointed poem. The piece is conceptually aimed to embody that a mind does not exist chronologically, and that it creates chronology to form meaning. It is also very much a self-portrait of hyper-self-criticism in the artistic process. Libraries are giant brains.
Music is an excerpt from “Available Forms I,” by Earle Brown.
It’s always great to see an author-made animation. This one has a delightfully down-home, improvisational feel, but it’s obviously very carefully thought-out; the sudden intrusion of the animator’s hands is genius. The Taos, New Mexico-based writer Johanna DiBiase specializes in fiction, but judging from her website bio is something of a Renaissance woman.
Alabama-based poet, publisher and psychologist Dale Wisely continues his experiments with videopoetry, here contributing his own text and music and using public-domain footage from Pond5. He credits a story on Radiolab for inspiring some of the text, which is not the first time a film-poet has been inspired by that show.
Massachusetts-based artist Martha McCollough shows why she’s at or near the top of many people’s lists of the most innovative videopoets out there today. Until now she’s worked mainly with animation and collage techniques, but for this film she directed a troupe of seven actors wearing masks and enlisted the help of three videographers (Katie Valovcin, Cameron Morton and Joe Nervous) and two “animal wranglers.”
Indefinite Animals is featured in Issue 147 – Winter/Spring 2015 of TriQuarterly, McCollough’s fourth videopoem to appear in that most prestigious of all journals that currently publish poetry films. Go there to watch the other three. Her bio there reads:
Martha McCollough is a member of Atlantic Works, a coop gallery in Boston. Her work has been exhibited at festivals and conferences in Greece, Canada, the U.K. and the United States, and published in Rattapallax, Gone Lawn and Small Po[r]tions. She lives in Chelsea, Massachusetts.
Tommy Becker is “A poet trapped in a camcorder [who] continues to feed video, music and poems into his never-ending saga, ‘TAPE NUMBER ONE’. Often Becker’s single channel works are translated to live performance.” Discovering new-to-me videopoets of such originality is what makes all the work of publishing Moving Poems worthwhile. Here’s the Vimeo description:
Song for Awe & Dread is a contemporary take on the vanitas paintings of the 17th century and an investigation into the emotional duality of our existence. It is AWEsome to be human and to be alive, but the evolution of human intelligence has also burdened our species with a self-awareness of life’s impermanence. The Danish philosopher Søren Kierkegaard called these two uniquely human emotions, awe and dread. Through its symbolic meditation on mortality, this work attempts to find meaning between the fleeting flavors of bubblegum and cultural programming that entrenches us in our denial of death.
Music & Text & Video: written, recorded, performed and edited by Tommy Becker ©2015
instructional poetry read by – Don Johnson
skeleton characters performed by – Billy Mark
backing vocals – Rosie Harald
public domain footage – collected from the Prelinger Archives.
A huge THANK YOU!!! to all my students for their enthusiastic participation.
A film about the Great Hanshin Earthquake of 1995 from Elephant’s Footprint—the collaborative team of Chaucer Cameron and Helen Dewbery, with Cameron contributing the poem and the two of them co-directing.
a film written, directed, shot, performed, and edited by Sabina England.
-Voice Over & Sound Design by Micropixie.
-Music by Om/Off (Paco Seren and Pablo Alvarez)
-V.O Recording by Elliott Peltzman.
Filmed in India (Old Delhi, India and Patna, Bihar, India)
Though England grew up in the UK, the sign language here is ASL. She notes in her bio (which is so interesting, I almost hate to excerpt it):
I use a combination of American Sign Language, mime, poetry, voice-over, multimedia, and/or music in my stage performances. I am always looking for more opportunities to expand my works, and I love meeting new people from different cultures. I believe that art and culture can bring people together in spite of differences and issues.
I have been profoundly deaf since I was two years old. I am fluent in English, Spanish, and American Sign Language.
After one year in the making, it’s here for public viewing. ENGLISH & SPANISH subtitles are available for your watching. My film shows the diversity of Indian society (in Patna) and I wanted to show a variety of Indian groups (Muslims, Hindus, Sikhs, Buddhists), including Deaf Indians (and myself as a Deaf Indian).
(Hat-tip: Thomas Zandegiacomo Del Bel at the ZEBRA Poetry Film Festival group page on Facebook)