A videopoem by poet, teacher and musician Patricia Killelea using a text from her collection Counterglow. In an interview with Passages North, where she’s now the poetry editor, Killelea talked about the impetus behind her poetry videos:
I carry a video camera with me wherever I go—I think of it as my visual notebook. For a long time I theorized my poetry mostly in terms of sound and silence, but the more I started thinking about the relationship between my body and language, the more I wanted to create a multi-sensorial experience. We don’t experience language merely through sound or even visually on the page, but everywhere we go. I walk through the woods and I’m reminded of a story told to me by Oneida beadwork artist Karen Ann Hoffman, or I’m watching my bandmate Aubrey Hess cradle a jug of wine and it reminds me of thirst and insatiable longing. I think in terms of interwoven networks between words and images, sounds and movement and so my video poems are an attempt-in-progress to capture both my associative writing process as well as to situate my poetry in the actual, physical world of things.
a deconstruction of the white gaze in the portraiture of the black British working-class face; it makes a play on the response to particular black facial features as something sinister, a Hollywoodised alien threat, a dread, out of place, an omen of destruction etc.
The marriage between the poem and the film work as a self-proclamation of the beauty in the black British face and a release from perceived validation of the external gaze.
Although the marginalisation of ‘black’ features in modern aesthetics is a global conversation, this project centres around the aesthetics in the British working-class experience as it is one whose nuances are very much understood by me.
Watch all of his films on Vimeo.
A new videopoem from Meghan McDonald, a New York-based “Sound experimenter, visual poet, micro filmmaker and absurdist,” not to mention master of the succinct Twitter bio. Here’s the YouTube description:
“Woke Up Asleep” is a poetry video about awakening from the daily routines that seem to put us all in a fear-stricken daze. “The gutless” go on silently in order, but those who choose to step out of line are seen as mad.
This new videopoem from Melbourne-based poet and songwriter Brendan Bonsack deploys an expert remix of footage from the Prelinger Archive, with a surprising ending that makes one want to watch it all over again.
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.