A mixed-media work by Los Angeles-based writer and artist Susie Welsh, which came to my attention when it was featured at the Atticus Review back in November. Welsh had written:
The Living Image project began as a call-and-response between my writing and the paintings of visual artist, Bill Atwood. These static elements were then brought to life on camera through my collaborations with video artists, Billy Hunt and Brian Wimer, as well as musician, Deke Shipp.
The video is in six numbered parts: “The Source,” “Inverted,” “In Echo,” “Out of Blindness,” “The Witness” and “The Sphinx.” The poet’s face forms part of the screen/surface onto which images are projected, which is always an interesting effect but works especially well here, drawing attention to the hermetic and spell-like quality of the text — a text which, to be honest, I probably wouldn’t like very much on its own, laden as it is with modifiers and abstractions. But it works well in a videopoem that’s truly greater than the sum of its parts. The Vimeo description reads:
Living Image is a poetry film exploring the frustration and alienation inherent in the assumption of selfhood, as well as the possibility of extricating the power of consciousness from our self-conscious preoccupation.
Click through to Atticus Review to read a fuller artist’s statement, which delves into ancient Egyptian cosmology, as well as a bio of Welsh. And while you’re there, check out the guidelines for submission — mixed media editor Matt Mullins is always looking for new material.
A 2009 poetry film, newly uploaded to Vimeo, written, directed and performed by Karen Mary Berr.
A silent text animation by Michael Barakat, who worked closely with the poet, Shin Yu Pai. Shin Yu told me in an email last Sunday,
I created this piece with designer Michael Barakat for a civic festival for the City of Redmond, WA, where I am wrapping up a 2-year term as the city’s fourth poet laureate. We projected the piece on the side of City Hall at its annual Redmond Lights Festival which took place this past weekend.
Via Shin Yu’s blog, here’s a video (shot by Scott Keva James) showing what that looked like:
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.”