Filmmaker and poet Timothy David Orme notes in a webpage for the film:
“Septate” is a short experimental poem film that examines the spaces and tensions between images and abstraction via hundreds of hand painted frames.
http://vimeo.com/45091833
Poet and filmmaker R.W. Perkins writes:
The Laundry Room Supposition is an artistic look at an average moment, inside the mind of a typical male toiling over his life, responsibilities, and what is to be.
This is Perkins’ 5th videopoem, a follow-up to “Profile” and “Over Breakfast.”
Another striking animated poem from artist and wordsmith Martha McCollough. “All the images in this video are collaged from paintings of mine,” she notes.
Poet, blogger, and high school English teacher Peter Stephens explained in a comment to his blog post:
Teachers return to school today. In celebration, I exercised the film rights to my last three tweets.
Follow Peter’s literary tweets @SlowReads.
According to the Vimeo desciption, “Costa Rica” appears in Zachary Schomburg’s latest collection, Fjords (see the review by J.A. Taylor at The Nervous Breakdown). Not sure how I missed this when he uploaded it 8 months ago, but it’s as good as any poem-film he’s ever made, proving once again that Schomburg is not just a inventive poet but one of our most adept video interpreters of his own work.
Martha McCollough notes that this is
A revision of my first video from the Grey Vacation project. Sinister girl detectives
McCollough has elsewhere described Grey Vacation as an erasure project, so this is essentially found poetry, I guess (though I would argue that to a certain extent all poetry is found poetry).
Peter Stephens says in a blog post introducing the video:
I had a nice day Monday hiking around the Appalachian Trail’s Roller Coaster off of Bears Den. I used my phone there to shoot this forty-second videopoem.
He added in a comment:
My first videopoem in over a year. Forty seconds long and a single shoot, so it’s not like it killed me or nothing.
This charming videopoem using (I presume) archival footage is a video trailer for a chapbook by B.C. Edwards, To Mend Small Children, from a new publisher called Augury Books.
This is just about the most inventive typographic animation I’ve even seen — a gorgeous and moving tribute to the power of Polish poetry by American-Irish poet and artist Alice Lyons and Irish artist Orla Mc Hardy. The film has its own website at thepolishlanguage.com, whence the following description:
The Polish Language is an animated film-poem about the subversive force of art and the renewal of poetry in the whispery language of Polish.
Based on the poem of the same title, the film pays homage to the revitalization of poetry in the Polish language in the 20th century. Using hand-drawn, stop-motion and time-lapse animation techniques, the poem unfolds onscreen, with typography as a key visual element. It visual style is loosely based on underground publications in Poland in the 1970s and 1980s, known as Bibula. A chorus of voices sampling poems in Polish, woven together with original music by sound designer Justin Spooner, combine to create a powerful score in a film of ’emotional depth and technical sophistication’ (Jury, Galway Film Fleadh 2009, award for Best Animation).
The Polish Language is at once a playful and solemn journey into the sensuality, beauty and power of language.
Lyons wrote the poem, while Mc Hardy took the lead on the animation. For full credits and a list of screenings, see the website’s About page. The poets sampled in the soundtrack are Tadeusz Różewicz, Zbigniew Herbert and Wisława Szymborska.
http://www.youtube.com/watch?v=OpwahVK9QCg
The poem by London writer Mikey Fatboy Delgado is performed by Foy Migado and Kemoe Hopscotch. See YouTube for the text of the poem.
http://vimeo.com/12127670
Thare are Chapters 6, 8, 11, 20 and 21 of Mark G. Williams‘ erasure-poetry project The Disappearing Line, which he described in an email as follows:
These evolved from using white-out to turn junk mail into found poetry; currently and with these I used popular novels, working backwards from two such novels, one word at a time and making sure plenty of space separates my choices to avoid ‘stealing’ phrases, and working until I get 100-word sentences. I count on short-term memory loss and the use of the text of others to force out phrases and sentences that I likely would never have heard or written otherwise.
Chapter 20 was part of a display at the Los Angeles Center for Digital Art called Looking Forward: Ten Artists to Watch, from June 14–July 7, 2012. Watch all 30 chapters on Mark’s Vimeo channel.
Martha McCollough writes: “A love poem in the voice of a surveillance satellite. Built in aftereffects, Sound design in Logic.”