Uite cum ne mai rotunjim / See how we complete ourselves by Doina Ioanid

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Marc Neys (A.K.A. Swoon) writes in a blog post about this video that it grew out of a face-to-face meeting with the author, Romanian poet Doina Ioanid, at the Felix Poetry Festival in Antwerp earlier this year.

After the festival I asked her and her translator Jan Mysjkin if I could make a video for one of my favourites of her performance [...] The images of this piece were taken from ‘Lost landscapes of Detroit’ (Prelinger Archives) and I re-edited them, adding an extra layer of colour and light.
The result is a short (moody) piece.

The reading is by the author, the English translation is by Jan H. Mysjkin, and there are two other versions, one with Dutch titling and one with French.

To me, the ability to present a poem in multiple languages is one of the best and most under-appreciated uses for videopoetry/filmpoetry, which is itself already something of a translation. I’ve always loved bilingual editions of poetry with the original language on the facing page, but it’s so much better to be able to hear the original while seeing an English version, the two linked and in some ways brought closer together by a filmmaker’s vision (usually including a good soundtrack, as here).

Ice Hotel by Gaia Holmes

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James Starkie directs. “Created as part of a collaboration between Bokeh Yeah! and Comma Press, based on a poem by Gaia Holmes.”

Jesse James by GennaRose Nethercott

Performance poems illustrated with live-action sequences aren’t perhaps as common as they should be. This is a particularly well-made example of the genre. In the too-brief Vimeo description, the video is credited equally to Wyatt Andrews (who also plays Jesse James), GennaRose Nethercott (the poet) and Ian McPherson.

Take Me to the City by Lucy English

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A film by Jon Conway of immprint graphic design, who notes:

The poem, to me is a description of memories of a ‘City.’ As I read I felt as though the poet was conversing directly with me about her experiences. I tried to visualise what I saw, and how the words themselves impacted the poem. By combining colours, imagery, typography and audio spectrums, the piece reacts with the words of the poem, creating new colours, and visuals. I like to think that what the piece looks like is similar to the imagery our mind creates when we listen to a story for the first time.

Performance poet and novelist Lucy English, a Reader in Creative Writing at Bath-Spa University, is co-organizer of the Liberated Words Poetry Film Festival.

Poem (“The spirit/ likes to dress up like this”) by Mary Oliver

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Directed by Chloe Stites; shot and edited by Travis Stewart. According to the credits, this was made for “a special presentation by Denise Stewart at Bay Arts” — I’m guessing July’s show “The Dress Says It All“: “Women artists give tribute to ‘the dress’ in works of art that come alive through words of their own.”

A Noiseless Patient Spider by Walt Whitman

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A new video by Nic Sebastian with “Music by GregorianMusic at SoundCloud, concept inspired by Swoon.” (Links added.)

When Walt Whitman Was a Little Girl by M.C. Biegner

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A gently surreal, subversive and affecting film by Jim Haverkamp, with narration adapted and lightly condensed from a prose poem by M.C. Biegner. Here’s how Haverkamp describes it on the front page of his website:

Not your typical History Channel biography, When Walt Whitman Was a Little Girl tells the startling, unuttered truth about America’s good gray poet. Starting out as an ordinary nine year old girl, Walt is soon catapulted into the world with her senses ablaze.

Based on a prose poem by M.C. Biegner, the film mixes drama, dance, puppetry, and oddball humor to portray the world through the eyes of a ‘sensitive kid.’ Walt awakens to the mysteries and wonder of nature, leaves her home to seek fame and adventure, is plunged into the horror of war, and finally begins to understand the unspoken poetry of childhood.

In addition to winning a raft of film festival awards, it was featured in the Summer/Fall 2013 issue of TriQuarterly.