~ March 2013 ~
Wild Geese by Mary Oliver
This is O wild goose da muller by Carmen PG Granxeiro:
Videoarte. Tres formas de escoitar. Tres formas de entender.
Videoart. Three ways to listen. Three ways to understand.
Videoarte. Tres formas de escuchar. Tres formas de entender.
Oliver’s most famous poem has been made into numerous videos for the web, most of them dreck. But I shared one other that I liked, a film by Justin DeWaard, back in 2010.
Ode to My Body by Scott Parson’s 12th Grade Class
This collaboratively written poem comes from Scott Parson’s 12th Grade Class at the Maplewood Career Center in Ravenna, Ohio. It was animated by Adam Rechtenwald from a design by Eric Stearns, and is part of the 2009-2010 edition — Peace Stanzas — of the Wick Poetry Center’s Traveling Stanzas program.
Cherry Tree by Robert Louis Stevenson
Stevenson’s dreamy lyrics juxtaposed with footage of a woman restocking a vending machine. Emily Tumbleson notes:
Footage taken on a Canon 7D. Poem by Robert Louis Stevenson from A Child’s Garden of Verses.
I am currently exploring the relationship between desire or aspiration, childhood nostalgia, and social or cultural context.
Landing Under Water, I See Roots by Annie Finch
A beautiful and, to my mind, highly effective book trailer for Spells: New and Selected Poems by Annie Finch, due out this month from Wesleyan University Press. U.K. animator Suzie Hanna describes their creative process in a note at Vimeo:
The film was made through a Transatlantic collaborative shared process. Annie sent her voice recording to me and I responded with clips of tests and animatics which I adjusted, extended or dumped in response to her reactions.
For the text of the poem (and audio of Finch’s reading), see poets.org.
The Woods by Aina Villanger
Another of Kristian Pedersen’s abstract animations, this time with words and voice by Aina Villanger. (There’s also a version without the subtitles.)
Winner of the Bergen Public Librarys poetry competition.
Produced by Gasspedal for Bergen Offentlige Bibliotek
Kate Greenstreet’s videopoetry featured at Connotation Press
Kate Greenstreet is one of my favorite videopoets, so I was pleased to see that Erica Goss had chosen to interview Greenstreet and analyze some of her films in her “Third Form” column at Connotation Press this month. Poet-filmmakers occupy a central place in the evolution of videopoetry, and Kate’s work is especially instructive in that regard since, as Goss points out, she comes from a visual arts background (and didn’t publish her first book of poetry until the age of 57).
It’s difficult to discuss the elements of Kate’s art separately from each other. To quote her from My Own Eyes, a short film by Max Greenstreet, Kate’s husband and frequent collaborator, “it’s made of pieces.” Kate’s work mixes up and layers the senses: you can hear the landscape and see the poems. “I think my work on the page is difficult for people,” she told me. “I don’t explain it.” The poems benefit from multiple readings, just as the videos stand up to multiple viewings. […]
Kate is the sole creator of the visual as well as the written parts of her work; therefore, her aesthetic is consistent throughout. From paintings to photographs to film to words, she maintains her sensitivity to the highly specific, suggestive detail, leaving the interpretation of a connected whole to the reader or viewer.
