Nationality: United States

Crows by Lori Lamothe

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Lori Lamothe is the latest poet to have work added to The Poetry Storehouse, which is where Australian multimedia artist Jutta Pryor found this poem (originally published in Third Coast) and the reading by Nic Sebastian. Pryor is responsible not only for the cinematography and direction but also for the very effective soundtrack.

Deaf Brown Gurl (La Morena Sorda) by Sabina England

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This is

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.

Click through and scroll down to the Long Biography to read about some of England’s other films. In a blog post announcing this film’s release, she wrote:

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)

Monster Movie by Matt Mullins

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A new author-made videopoem from Matt Mullins. Poet as Godzilla (rather than poet as god, à la Vicente Huidobro) is definitely a concept I can get behind. For the first couple of minutes, I was puzzled by all the different screen arrangements, but it eventually made sense… in fact, using videopoetry to critique movie making and movie watching is something that should happen more often, I think.

To / For by Luisa A. Igloria

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A text-on-screen-style videopoem by Swoon (Marc Neys) with a text from Night Willow, a 2014 collection of prose poems by Luisa A. Igloria. Back in September, Marc blogged some process notes about the video, calling it “The latest experiment in my series of videos where I re-think the relationship of image, sound, and text”.

Combining lines from the poem with the suitable footage, trying out different fonts and sizes for the text on screen, placement of words… It’s a puzzling way of editing.
I’m not only editing film anymore, I’m carefully trying to blend sound, image and text in one cut. It feels more like composing. It makes me rethink the way I worked (and still work) with audible videopoems.

These ‘film Compositions’ are meant to be played full screen and loud!

Marc talked about this style of editing in a brief interview I filmed for Moving Poems, Swoon on finding a new angle in videopoetry composition.

And God… by Eric Blanchard

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Australian filmmaker Marie Craven demonstrates one way to get away with out-right illustration in a videopoem. Had she used footage of pinball games in a poem that references pinball, it would’ve seemed merely redundant, I think. But instead she hit upon the idea of using colorful still images (by Donald Bell) alternating with dark, silent-film-like title cards bearing the lines of the poem. Cut these images in time with up-tempo, pinball-esque music by CIRC, and rather than simply depicting a game of pinball, the video actually enacts or reproduces the effect of a highly kinetic ball careening around in an inert cabinet. “The whole thing / goes tilt.” And the poem is raised to a new level, I think.

The text by Eric Blanchard, first published in Pudding Magazine, was sourced from The Poetry Storehouse.

Mule & Pear: two videopoems by Rachel Eliza Griffiths

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Rachel Eliza Griffiths has made poetry book trailer-style videopoems for a couple of other poets, but this one from 2011 was for her own collection, and Roxane Gay, writing at HTML Giant, was impressed:

Mule & Pear is a new book of poetry by Rachel Eliza Griffiths and has a book trailer I really love which is saying something because I do not care for book trailers.

This Dust Road: Self Portrait is an excerpt from the final poem in Mule & Pear. According to the publisher’s description,

These poems speak to us with voices borrowed from the pages of novels of Alice Walker, Jean Toomer, and Toni Morrison—voices that still have more to say, things to discuss. Each struggles beneath a yoke of dreaming, loving, and suffering. These characters converse not just with the reader but also with each other, talking amongst themselves, offering up their secrets and hard-won words of wisdom, an everlasting conversation through which these poems voice a shared human experience.

Three haiku by Angie Werren

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These are three, seven and twelve from Angie Werren‘s “twenty seconds of haiku” series, a deliberately low-tech approach to videohaiku that’s brilliant when it works. One big advantage Werren has over most other filmmakers, amateur or professional, who attempt videohaiku: she understands what English-language haiku — and micropoetry in general — is all about. Spend some time at her blog Feathers and you’ll see what I mean.

Watch all 13 videos in the “twenty seconds” series on Vimeo. Six also appeared in the new online literary journal Gnarled Oak (which is very videopoetry-friendly, by the way).

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