~ Video Library ~

Samurai Song by Robert Pinsky

Robert Pinsky recites his poem to the ceiling of an elevator for Dutch television. Here’s the text.

Two Theories by Linh Dinh

Linh Dinh’s gritty, low-tech video poems are hit or miss with me; this one was a definite hit. “From the collection Borderless Bodies (Factory School 2006).”

Losing My Religion by Ren Powell

One of my favorite animated poems by Ren Powell.

Nothing Gold Can Stay by Robert Frost

http://www.vimeo.com/6053847

Robert Frost’s famous poem admirably envideoed by film student Jon Mitchell. Since it’s out of copyright, here’s the text:

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

There are, as one might easily imagine, skads of Robert Frost videos on the web. The problem is that almost all of them suck.

Constellations by Todd Boss

Angella Kassube animates a poem by Todd Boss. The poem can also be found in higher-quality video and text forms at the new site MotionPoems.com (no direct links available due to Flash overkill).

The Dragonfly by Louise Bogan

Louise Bogan reads her poem in this montage by Josep Porcar for the Catalan website Blocs de Lletres. Porcar took the footage from another film on Vimeo: Mary, written and directed by Mel Eslyn. For the text of the poem, see here.

Lady Lazarus by Sylvia Plath

Sylvia Plath’s own reading of her poem in a video by mishima1970, who seems to specialize in Plath video poems.

Tongues Have No Bones by Kyi May Kaung

An excerpt from a 30-minute film by Lisa DeLillo with poetry by expatriate Burmese writer Kyi May Kaung. There’s also a second excerpt on YouTube, which includes a prose intro on Burmese politics and censorship, but I preferred this selection for its striking scenes of puppets and dancers miming puppets.

The full-length film was made in 2001, and DeLillo’s website quotes a review by Art Jones from Shout magazine:

To get at what’s real, “Tongues” focuses on that which can’t be subjugated. Social indictments sprout from the small, personal anecdotes of student leaders. The savaging of national character unfolds in the words of noted poet Kyi May Kaung, now a producer with Radio Free Asia. The horrors of “freedom lost” find voice in Daw Aung San Suu Kyi, Nobel Peace Prize winner and repeated recipient of Burmese house arrest. Yet most irrepressible are “Tongues” images of Burmese rivers. The water providing life is the same water choked with the blood of civilian casualties, water that DiLillo uses as a constant mirror of all the regime would like hidden.

The Killing of the Trees by Lucille Clifton

Lucille Clifton in a 1990 public reading, worth watching not just for the excellent reading but for the lengthy introduction as well.

Yoing by Mikki LeMoine

http://blip.tv/the-faux-press-blip-tv-division/yoing-a-film-poem-234109

A 30-second, 35-mm film by Jan McLaughlin based on a poem by Mikki LeMoine. More information at the Blip.tv page.

The Menage by Carl Rakoski

A poem by Carl Rakoski, read and illustrated by poet Anne Waldman and film artist Ed Bowes. I especially liked the sparing use of song.

The Fish by Marianne Moore

“An experimental video based on a Marianne Moore poem,” says Erik Carlson. The voice is that of the poet. I think the video really gets inside the modernist worldview, so to me it’s a good match.

The poem should be public domain now, I believe, so here’s the text:

The Fish

wade
through black jade.
Of the crow-blue mussel-shells, one keeps
adjusting the ash-heaps;
opening and shutting itself like

an
injured fan.
The barnacles which encrust the side
of the wave, cannot hide
there for the submerged shafts of the

sun,
split like spun
glass, move themselves with spotlight swiftness
into the crevices —
in and out, illuminating

the
turquoise sea
of bodies. The water drives a wedge
of iron throught the iron edge
of the cliff; whereupon the stars,

pink
rice-grains, ink-
bespattered jelly fish, crabs like green
lilies, and submarine
toadstools, slide each on the other.

All
external
marks of abuse are present on this
defiant edifice —
all the physical features of

ac-
cident — lack
of cornice, dynamite grooves, burns, and
hatchet strokes, these things stand
out on it; the chasm-side is

dead.
Repeated
evidence has proved that it can live
on what can not revive
its youth. The sea grows old in it.