Inspired by Maya Angelou’s “Phenomenal Woman,” actress and poet Jade Anouka enlisted the help of a huge cast to recite her text for the camera, resulting in a uniquely polyphonic presentation. See YouTube for the text and complete list of contributors. The music is by Grace Savage.
Venice-based photographer and video artist Francesca Bonfatti notes on Vimeo that
“The inventory” is inspired by a film from the repertory of mute cinema of 1917, inspired by the novel by Antonio Fogazzaro of 1881, in which a woman experiences a deep state of disturbance perhaps due to a personality duplication that is the cause of strange memories that emerge as ghosts of the past…
This is among the latest featured videos at Poetry Film Live. Go there for much more about Bonfatti and the multimedia project of which this is a part.
In a 2015 interview with the Phoenix Rising Collective, Savannah discussed some of the family history that she also drew upon in this poem.
A fascinating experiment in bilingual videopoetry from the always inventive Kate Greenstreet. Here’s the description on Vimeo, with italics and links added:
Based on early versions of poems from The End of Something translated into French by Alexander Dickow for the anthology Ligatures: Poets of France and America (Catala Press, 2017). Featuring the voice of Virginia Konchan speaking the French lines and a short video clip of Amaranth Borsuk (“the girls are gone”). This video first appeared in The Continental Review (thecontinentalreview.com).
It’s good to see The Continental Review, one of the oldest online poetry video journals, still putting out issues. Browse their latest material here. And be sure to visit Kate Greenstreet’s webpage for The End of Something to download a free music EP and watch three more videopoems based on texts in the forthcoming book. Ahsahta Press’s description begins:
In curating cartography together with lyric, poly-vocality with loneliness, and even the unspeakable with common speech, poet and artist Kate Greenstreet has created a surprising hybrid with The End of Something. The intimacy in Greenstreet’s partial narratives and slow admissions contrasts with much of what we consume as Americans, which is fleeting and feigns being “factual.”
Body With No Windows explores death and embodiment through a collage of faceless sequences from public-domain home video footage of a Pennsylvania family in the 1950s.
In “Body With No Windows” by Annelyse Gelman, “human faces have been elided,” first found and then lost. Here, the tensions between vocal annunciation and the sharp timing of archival clips showcase Gelman’s practiced hand at working in collage. A woman on camera walking alone becomes a mother holding a child’s hand just as suddenly as “the feeling that your body belongs to you” might go away. Gelman’s opening soundscape signals a kind of dread or apprehension. This tone is quickly disrupted by quotidian footage of sunbathers in crabgrass, yard dogs, and tandem swimmers curated from the Prelinger Archives. In a particular fleeting style that intermedia texts seem to capture best, Gelman asks us to recognize the uncanny that we only witness in the daily lives of others, that particular waiting “to be carried from what you cannot remember to what you cannot forsee.”
A haunting, incantatory videopoem from U.K. poet-filmmaker Cactus “Cathy” Chilly that raises disturbing questions about what we accept as normal and ordinary.
I made this video last summer in my backyard. It’s a selection of haiku that seemed to tell a story, with big letters imposed over a glitter globe I bought at the MOMA-San Francisco gift shop. It’s somewhat nostalgic for me to watch this, as it’s one of the last art projects I did before moving from California to my new home in Eugene, Oregon.