A 2013 filmpoem written, directed and edited by Dalia Huerta Cano. The voiceover is by Patrick Danse, and Luciano Rodríguez Arredondo composed the original score. See the webpage for full credits and the list of festival screenings, as well as this description:
The point of view of a boy who has a big love loss and how he faces it. A voyage that goes through his mind and his sadness, that will take him through memories and the things that are left of that intense relationship, towards a liberating destination.
Brazilian poet Fernando Tavares Pereira made these fascinating animated text videos with the help of Rafael Veggi (computer graphics, sound). For those of us who don’t know Portuguese, he was kind enough to email a translation of each as well as an explanation of the project:
The videographic poem is the record of the birth of a word. Through the experience of emotions, associations, forms, memories, everything that contributes to the formation and understanding. It’s the word behind the word.
Secret – Secreto
Portrait – Retrato
Sun – Sol – As the letter sun in Portuguese, s-o-l, as the key of sol, as a sun shining, as the sol note at the end
One – Um – The ONE is the element one and at the same time the multiplicity in time. This back and forth movement means your birth as a word.
I asked about their composition process, and Fernando replied:
The poem is born as a graphic on paper. Then I wrote a project, a script to follow, to turn the poem into movement. And so Rafael is free to create solutions on top of what I present, and many times I have counted on his talent to improve the quality of the job. I’m the pen and he’s the byte. We are a partnership to works in the same sense to create beauty and, I usually say, entertainment. In fact I see poetry as entertainment, image, cinema, more than anything else. I believe that with this poetry does not lose anything of its flavor.
The poems are numbered as an untitled movie, because they are born and nominated by themselves. They are the subject of reading and we are the observing object. The logical layout has changed and reinvented itself.
The sound was arranged by me following Fernando’s guidelines.
All samples come from open source databases around the internet and then edited in Audacity software.
The fourth poem represents a deconstructed word ‘um’, which means ‘one’ in portuguese, as well as the number 1 itself.
Just uploaded to Vimeo, this 2008 videopoem is from the long-time video-making partnership of artists Jeff Crouch and Cecelia Chapman:
Cecelia Chapman’s work explores the image in communication and revolves around environmental and cultural transformation.
For the past ten years Chapman has been collaborating with artist Jeff Crouch, with performer Christa Hunter, and with sound artists she meets online to produce short new media video.
The music here is by Crouch, as are the drawings. Rarely does one see an ekphrastic poetry video that succeeds as a separate artwork in its own right. Perhaps part of the key here is that Crouch’s sketches satisfy what I think of as the Konyvesian imperative: “In a successful videopoem, the work’s elements contain a collaborative property, an original incompleteness.” (Tom Konyves, In Retrospect: A Manifesto and its Underpinnings, p. 3.)
Math and poetry merge in this brilliant videopoem by Ian Gibbins. Here’s the Vimeo description:
… the probability that accidents do happen, if you slip and fall, fly too close to the sun, if your car runs off the road, if you cut your finger, miss a secret assignation, catch (or not) a slip of the tongue, when words fail, when all you have left is abstraction, operators, a lasting approximation, a mathematician’s code …
This video was a finalist in the Carbon Culture Review 2016 Poetry Film Contest: carbonculturereview.com/news/2016-poetry-film-contest-winner-and-finalists/
“My eye is your finger,” reads the Vimeo description of this silent, black-and-white videopoem by Tokyo-based filmmaker Shuhei Hatano. Made in July 2015, it was part of an exhibition of hand-held films in Kunitachi, Japan called 92TOUCH. There’s also a version with only the English titling.
This videopoem from Public Thought, the collaborative team of Dutch poet Jan Baeke and designer and media artist Alfred Marseille, was screened at ZEBRA 2016. Completed last July, it is sadly more relevant than ever: a “Poetic reflection on the ambiguities of the refugee crisis, media coverage, extremist propaganda and EU politics,” as Baeke and Marseille describe it. (Click through for the text.)
A poetic music video or a musical videopoem? Tommy Becker‘s videos for his Tape Number One project are hard to categorize, which is why I haven’t featured them here as often as I should. They blend “the artist’s poetics, songwriting, performance, costuming with found footage and computer design,” according to the statement on his website.
“Song for Koko” is from 2015. The accompanying text on Vimeo reads:
An elephant escapes from the circus and begins a rampage down a city street. His trunk tosses aside everything in his path. We cheer for him. Why? A man sits on an alligator and attempts to tie his mouth shut. The alligator contorts his body, throwing the man off before turning to bite. We are unsympathetic. Why? We take our children to the zoo to look at the monkeys. The children complain about their inactivity and we feel a sense of betrayal as we admit to ourselves that our observations are a fraud. What’s important in these situations of conflict and captivity is that we are seeing animals as equals. They are no longer the lesser species. A life force is being held against its will or once again running wild through the streets. The moment the lion lunges at the tamer we understand his motives. We relate viscerally to his oppression as we connect to the soul of its being.