Posts in Category: Videopoems

The Entropy of Forgiveness by Angelica Poversky

Poet: | Nationality: | Filmmaker:

Merissa Victor directed this videopoem about self-acceptance, with Vancouver-based spoken-word poet Angelica Poversky contributing the original concept and lyrics. I’m blown away by Poversky’s voiceover here—refreshingly free of affectation, it’s the perfect compromise between a natural speaking voice and rhythmic musicality, to my ear. Unsurprisingly, a note in the YouTube description says it’s “Coming soon to Spotify as part of a debut album by Angelica Poversky.” The vocal accompaniment and musical direction are by rhé (Rhea Casido); moses c.c. is the producer.

Thanks to Moving Poems reader Emily Sergey for the tip.

White Flowers by Brendan Bonsack

Poet: | Nationality: | Filmmaker:

A new videopoem from Australian poet Brendan Bonsack, who calls it “a short and snappy musing on love, death and white flowers.”

The Hungriest Animal Alive by Patricia Killelea

Poet: | Nationality: | Filmmaker:

A new videopoem from Patricia Killelea, who says about her creative process:

First comes the language. That is the foundation. Then the video poem builds upon that language, goes to war with that language, prompts that language to shed its skin and become something new, albeit still grounded in voice, breath, and the body.

Read the rest.

Anyone Can Buy a Seat in the Cinema by Laura Seymour

Poet: | Nationality: | Filmmaker:

Maggie Clark’s film of a poem by Laura Seymour, part of a collaboration between Magma Poetry and the University of Edinburgh to make poetry films for Magma 71, The Film Issue. I attended the launch on Friday night at London’s wonderful (and threatened) Cinema Museum, and this was the stand-out film to me. You can find all the films linked from this article. Here’s what they have for Anyone Can Buy a Seat in the Cinema:

Maggie Clark: As my focus is primarily in documentary, the film poem has been an opportunity for me to expand my creative practice and be a little bit more playful with the way I film. It’s pushed me to use visual metaphor as a storytelling device, which is a challenge I’ve really enjoyed! Laura’s poem is about love in the face of prejudice. It carries a sincere and important message, which I hope to do justice in my film.

Laura Seymour: When Maggie and I were talking at the start of the project, I saw that one or two images in the poem stuck out visually from the rest, and also that the images that stuck out visually were perhaps the most ambiguous. The idea that readers or watchers might be more affected by ambivalent imagery was really interesting to me.

Click through for their bios.

The Shadow by Lucy English

Poet: | Nationality: | Filmmaker: ,

A meditation on belonging and place from filmmakers Jack Cochran and Pamela Falkenberg of Outlier Moving Pictures and poet Lucy English — the February afternoon film for her Book of Hours Project.

Threshold by Ocean Vuong

Poet: | Nationality: | Filmmaker:

A poem by the justly celebrated young writer Ocean Vuong, translated to film by Michelle Cheripka for the Visible Poetry Project, which released it back on April 23rd. Cheripka is, as they note,

the founder and Executive Producer of Visible Poetry Project. Michelle is currently based in Brooklyn, NY, where she writes screenplays, essays, and poetry. She directs and produces both short and long-form films and web series. She graduated from Columbia University, where she studied English.

“Threshold” is the opening poem in Vuong’s debut collection Night Sky with Exit Wounds, which has won the T.S. Eliot Prize, the Whiting Award, the Thom Gunn Award, and the Forward Prize for Best First Collection, among other honors.

Misery by Sarah Sloat

Poet: | Nationality: | Filmmaker:

I’ve been following Sarah J. Sloat’s erasure poetry project using Stephen King’s Misery ever since it began, on a subsequently deleted Tumblr site, as a poem-a-day project in 2016, and thereafter in various online magazines (such as Tupelo Quarterly and Escape Into Life) as Sloat’s erasures have become ever more visually arresting and imaginative. Just last week there was this interview and feature in Neon Pajamas.

So I was delighted to see a video collaboration between Sarah Sloat and Marie Craven, incorporating images from the erasures in a montage of Marie’s own invention. Here’s how Marie describes it in a just-published blog post:

Sarah Sloat creates hand-made visual art pieces that are also poems. She does this by using various techniques to ‘erase’ most of the words from pages of Stephen King’s novel, ‘Misery’. Her ‘erasures’ leave only scattered words around the page, forming small poems. To these, she adds found images, related to the poems in associative ways that might recall surrealism. With Sarah’s permission and ongoing feedback, I have here selected a number of the visual poetry pieces and adapted them. The video of ‘Misery’ attempts to construct a fragmented narrative, or new poem, from the juxtaposition of the selected visual poetry pieces. It focuses strongly on the image components of Sarah’s ‘Misery’ pages and creates a new form in motion with them. Not a strict ‘presentation’ of Sarah’s visual poetry, the video is my response to their inspiration. Music is by Gurdonark, whose Creative Commons music I have been following for about eight years. Other videos I have made from Sarah Sloat’s poetry are Dictionary Illustrations and Nightlight Ghazal.