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Atticus Review Submissions

Atticus Review has published videopoetry in their Mixed Media section for over 10 years. The journal is currently calling for submissions of work for publication…

Atticus Review seeks all types of mixed media works for publication: videopoetry, short/experimental films, electronic/digital/interactive literature, visual artwork, animation, comics, audio soundscapes, sonic compositions, etc. If you like to push literary boundaries with alternative approaches, send us your best. We do accept previously published/screened work.

We potentially accept work with any theme, but upcoming themed issues are: The Internet (August 15th, 2022), Language (December 15th, 2022).

To submit, send an email with the subject “Mixed Media Submission” to mixedmedia@atticusreview.org. For video, audio, and interactive literature we prefer that you send links on Vimeo or YouTube or Soundcloud (or wherever the work is posted online) rather than send us files directly.

[ The Ferrovores ] by Ian Gibbins

Ian Gibbins‘ work is generally the first I mention when making the case for videopoetry as a genre in which “difficult” poems can become highly entertaining, even gripping. In Ian’s case, this has a lot to do with composing a groovy soundtrack. But his filming, text animation, and editing are all top-notch too. My only complaint here is that I wanted more ostrich emu.

Anyway, this one’s pretty high-concept, so I’d better reproduce the description on Vimeo:

“this time, this place… beyond open circulation closed reciprocity… closed hydration spheres wrought cast smithed… this is what we are what we eat … ”

Iron is the most common metal on earth. Indeed, it forms much of the molten core of the planet which in turn generates the earth’s magnetic poles. The red soils of the world are due to iron. At a biochemical level, iron is essential for human life, amongst other things, making our blood red. In the societal domain, iron is essential for manufacturing, electricity generation, and much more. Certain bacteria can derive energy for life directly from dissolved iron compounds (“rust”) rather than from oxygen as we do. Perhaps, at some time in the future, we, our descendants, the Ferrovores, may need to do the same.

Filmed mostly in the Southern Flinders Ranges, South Australia, in the midst of a multi-year drought.

A remix (2020) of the original version published in the Atticus Review (July, 2020).

Here’s that older version at Atticus Review. And Ian shared the complete text in a blog post.

Twenty Times by Caroline Rumley

This deservedly won the Audience Award at the 2020 REELpoetry/Houston TX festival in January, where I first saw it and was moved by the juxtaposition of disturbing imagery — either actual police body camera footage, or a very good simulacrum of it — with the speaker’s sedate description of her own backyard: a powerful indictment of the racism and class divisions permeating American society, where Black men risk death by police or vigilante shooting every time they go out the door, even into their own grandmother’s backyard. Rest in peace, Stephon Clark. I wish this videopoem didn’t still feel so necessary and relevant.

Twenty Times was runner-up in the Atticus Review 2019 Videopoem Contest. Marc Neys, the contest judge, wrote:

“Twenty Times” is a powerful political and poetic video. The use of ‘lo-fi’ imagery adds to the suspense and darkness of the video. The contrast with the every day life described in the poem sets the perfect base for the message.

Click through for a bio of Rumley, and visit her website for links to all her films.

Winners of Atticus Review Videopoetry Contest

Congratulations to the Atticus Review Videopoetry Contest winners!

Top prize goes to Susanne Wiegner for Contemplation is Watching (below), from a poem by Robert Lax. Read comments from the judge, Marc Neys, and discover the three other prize winners here.

Call for Entries: Atticus Review’s 2nd Annual Videopoem Contest

banner for the Second Annual Atticus Review Videopoem Contest

This week Atticus Review, one of the best online magazines to regularly feature videopoems, poetry films, and other multimedia literary works, announced that their second annual videopoem contest is open for submissions. Marc Neys AKA Swoon is the judge.

Atticus Review is happy to announce our second annual Videopoem Contest judged by Swoon. You can submit up to 3 videopoems. The cost for entry is $10. You may submit video files or links to Vimeo or YouTube pages. Please no submissions from former students or close acquaintances of the Contest Judge. The videopoems can be previously published.


First Prize: $250 & Publication
Second Prize: $50 & Publication
Third Prize: Publication
Deadline: January 12th, 20120
Winner Announced: January 31st, 2020


Marc Neys / Swoon / No One


No One is a composer, Swoon a video-artist, and both personas reside in Marc Neys from Belgium.


As one of the leading and most prolific figures in modern videopoetry he made videopoems for and with writers from all over the globe. He inspired new creators through his workshops and showcases on videopoetry.


He creates works with a focus on the purely poetic quality of the moving image in relation to the spoken or written poem. A sophisticated interplay of constructed soundscapes and images with personal reflections. Through a visual language and references to his everyday life, he creates a framework in which the poems come to a different development.


He released 3 CDs over the last two years and his videos have been selected and featured at festivals all over the world.



Marc follows Moving Poems’ own Marie Craven, who judged the contest last year. (Here are the results.) Marc wrote about his philosophy on judging poetry film contests after his experience on the ZEBRA jury in 2016.

Hexapod by Ian Gibbins

This two-year-old videopoem by the Australian polymath Ian Gibbins is more relevant than ever, with this past week’s dire new report on the worldwide collapse of insect populations, which found that “More than 40% of insect species are declining and a third are endangered… The rate of extinction is eight times faster than that of mammals, birds and reptiles. The total mass of insects is falling by a precipitous 2.5% a year, according to the best data available, suggesting they could vanish within a century.”

Compared with that forecast, Gibbins sounds down-right optimistic. Here’s how he describes the film on Vimeo:

“nearly extinct … we burrow… far from toxic miasmata … we will wait … once more fill the skies…”

Brooding, breeding underground, the insects wait until the time is right to escape the confines of gravity and environmental degradation.

Hexapod was short-listed and screened at 5th Ó Bhéal Poetry-Film Competition, Cork, Ireland, 2017, as part of the IndieCork Film Festival.

It was screened at the 6th International Video Poetry Festival, Athens, January, 2018 and published on-line at Atticus Review in February, 2019.

Do visit the Atticus Review for additional process notes.

Judging the first Atticus Videopoetry Contest

Atticus Review is one of a small number of poetry journals worldwide that regularly features videopoetry as part of its online presence. Edited by David Olimpio, it has been published from the USA since 2010, gathering a large readership. Videos are featured in the ‘mixed media‘ section, edited by Matt Mullins, a maker of outstanding videopoems himself. Many interesting hybrids of poetry and video have appeared there since this kind of work became part of Atticus in 2011. Towards the end of 2018, the announcement was made that the journal would for the first time stage a videopoetry contest, and calls for entries went out internationally. I was honoured to be invited to judge via the internet, from where I live in Queensland, Australia.

By the submissions deadline in early December, 115 poetry videos from different parts of the world had been sent to us. It was a pleasure to view all the work. I found quality in most of it. In fact, as a film-maker myself, the rich creativity of my peers was generally humbling (in a good way). The diversity and innovation of subjects and approaches inspired me. So it was a challenge to select only four awarded videos. These were published in Atticus Review on 11 January, along with some commentary on each of them from me, and further information about the film-makers and poets involved. They are best viewed on their respective pages on the Atticus site. Follow the links below to watch and learn more.

Things I Found in the Hedge (first prize)
Kathryn L. Darnell (director, animation)
Lucy English (writer, voice)

Qué Es El Amor (What Is Love) (second prize)
Eduardo Yagüe (director)
Lucy English (writer)
Spain / UK

The Whole Speaks (third prize)
Caroline Rumley (director)
Nelms Creekmur (writer, voice)

The Cleanest Hands (honourable mention)
Amy Bailey (director, writer, voice)

The Atticus contest will continue to happen yearly, a welcome addition to the international calendar of events surrounding videopoetry. To be among the first to find out when the next call for submissions goes out, and to receive regular news of ongoing publications in the journal, subscribe to email notifications.


I’m taking the opportunity now to share some more of the videos sent in to us. While they were not awarded in the contest, I find each of them uniquely inspired. They are presented here in the sequence I think is most conducive to viewing and appreciating each of them.

Things About Myself and the World That I Will and Won’t Explain to My Year-Old Daughter When She’s Older

Victor A. Guzman (director)
Rich Ferguson (writer, performer)


Tisha Deb Pillai (animator)
Fiona Tinwei Lam (writer)


Jane Glennie (director, voice)
Lucy English (writer, voice)

Sea Inside Me

Brendan Bonsack (director)
Amy Bodossian (writer, performer)

Dog Daze

Ian Gibbins (writer, director, voice, music)

Song for Hellos and Goodbyes

Tommy Becker (writer, director, music, performer)


Mark Niehus (writer, director, music)

The Names of Trees

Pam Falkenberg & Jack Cochran (directors)
Lucy English (writer, voice)

small lines on the great earth

Edward O’Donnelly (director)
Malcolm Ritchie (writer, performer)

My Trauma

(turn on ‘closed captions’ for subtitles)
Yves Bommenel (writer, director, performer)

There are yet more videos I would happily share from the contest submissions, by artists whose work I admire. Alas, too many for one article.


I’ve now related my enthusiasm for the journal, the contest, the work received, the process of viewing and the honour of judging. So it may seem strange when I say that, in general, I’m not the biggest fan of competitions in the arts.

The arts can never be judged in a truly objective way, in the manner of sporting achievements, for example, that can be decided on measurable microseconds in a race. As I see it, the best we can do when adjudicating the arts is to be as impartial as possible in applying our personal preferences. Our individual sensibilities will have been formed from a combination of direct experiences in life, what we have learned in formal and informal cultural and educational settings, our raw responses to other work as audience members over time, and possibly our experience of participating in the creation process itself, including philosophies and methods we have developed. We will likely be affected by how these influences come together at the particular time when we are making our decisions, which might be different in another month, year or decade. Other factors might feed into this process, whether we are judges in a competition, or simply making personal choices about what to watch and recommend as the ‘best’. There’s nothing absolute in the arts. In short, as I see it, the reception of work in this arena is essentially subjective.

As an artist, and as someone who has been a teacher, I am concerned with the psychological, emotional, and ego ramifications of ‘winning’ or ‘losing’ in relation to creativity (when I say ‘artist’ in this context, I mean film-maker and/or poet). Competitions by their nature focus most attention and reward on the winners. Although we might not want to admit it, the much greater number of participating artists can be left feeling disappointed and lacking to varying degrees. Depending on stage of experience as artists, along with levels of personal and creative development, this may have an impact on ability to function in our work. In some cases, it can lead to artistic growth and more satisfying outcomes. In others, it is simply discouraging of an artist’s practice. Perhaps my attitude is overly maternal in relation to adult people responsible for their own response to challenges. On the other hand, the arts are an area where personal vulnerabilities are often put on the line in a rather naked way, and so the person behind the work may well be more vulnerable in ability to process a perceived ‘failure’. In an era when mental illness has risen to epidemic proportions, coupled with higher rates of this long known to exist in the arts, I think giving some consideration to these issues is warranted.

Competitions in the arts might also be seen in some ways as another expression of competition in capitalism. This makes me wonder: do we really want to approach the arts as survival of the fittest, or else as a kind of lottery? If we are idealistic, there might be some discomfort in approaching the arts in this manner, especially if political resistance or advocacy form any part of the motivation for being involved.

Then there is the issue of entry fees for competitions. For some time I refused to enter any of my work in events that charged a fee to submit. Like so many artists, I have lived in relative poverty my whole life, and have already freely invested time, talent, passion, skill, and whatever limited resources I have available, to produce the work. Then again, I know that there are significant expenses involved in staging competitions as well, and that organisers are usually giving a great deal of their time for free, as well as their energy, dedication, passion and skills (but watch out for the profit-making motives of some events). Still, wherever possible, I think it would be best to avoid entry fees. My personal view is that competitions don’t need to offer cash prizes. Without these, entry fees may not be needed, or kept to a bare minimum. I believe the honour and attention focused on winning works is ultimately the most valuable and practical reward.

Having said all that, I’m not really ‘against’ competitions. The shades of ambivalence I feel are mostly about idealism versus practical realities on the ground. While I have some hesitations, I recognise the value of competitions for generating excitement in artists and audiences, and for focusing and growing an artistic culture. Ultimately, the more ways to highlight creative work we love, the better.

In the specific case of videopoetry competitions, my personal experience has been positive in almost all instances of submitting, and of having work celebrated or declined. Rejection letters have been respectful, sometimes even encouraging. I find the videopoetry community to be unusually supportive of artists on the whole. But from past experience on the broader film festival circuit, and what I know of other artists’ experiences, this is not always the case in the wider world of the arts, where personal creative work can be treated much more like pure commodity. So I’m offering what I’ve said here as food for thought about the staging of arts competitions in general, and to encourage ongoing care in the treatment of artists and their work.


Videopoetry appears to be ever-growing, with artists from many nations now engaged in the practice, and a collective body of work increasingly exhibited and appreciated worldwide. This hybrid of poetry and cinema (including all its various generic labels), has roots going back a long way in film history, especially in the areas of the experimental and avant garde. As Helen Dewbery has suggested in a recent article, its roots may be more ancient still, if we think of the genre as simply one of the myriad contemporary expressions of poetry itself. In this line of thinking, it might be said that poetry began as an oral tradition and has adapted to new technologies and approaches throughout history. Long may this fine lineage continue, in any of the old and new forms the future promises.

Atticus Review Videopoem Contest deadline approaches

Just a reminder for all my fellow procrastinators that the deadline for the Atticus Review‘s first annual videopoem contest is coming up on December 3. Atticus Review is one of the few major online literary magazines to make room for multimedia work over the years, and the judge for this first contest, the Australian experimental filmmaker Marie Craven, is one of the most original innovators in the genre, so you don’t want to miss this opportunity! Submit here.

Call for work: The Atticus Review Videopoem Contest

Atticus Review, one of the few major online literary magazines to consistently make room for poetry film and other mixed media work, this week announced a new videopoem contest.

Atticus Review is happy to announce our first annual Videopoem Contest judged by Marie Craven. You can submit up to 3 videopoems. The cost for entry is $15. You may submit video files or links to Vimeo or YouTube pages. Please no submissions from former students or close acquaintances of the Contest Judge. The videopoems can be previously published.

First Prize: $300
Second Prize: $75
Third Prize: $25

Deadline: December 3rd, 2018 Winner Announced: January 7th, 2019


A note about gifting of contest fees: We know contests can get expensive for writers. That’s why we’ve added ways for friends, family, or any kind of generous benefactor (we won’t ask questions!) to gift you a contest entry. A sponsor can make a one-time gift to you for your submission fee, or they can become a Patreon Supporter at the “Sustainer” level or above and then get in touch with us to request a free contest entry for a friend and send us your name and email address. Also, while we’re talking about Patreon, you can become a Patreon Supporter at the “Sustainer” level or above and you will be able to submit to any current or future Atticus Review videopoem contest for free as long as you remain a supporter. Also, you’d be helping us publish great writing and art.

About the judge: Marie Craven began making experimental and narrative shorts in the mid 1980s, working with super 8, 16mm and 35mm film formats. During the 1990s and into the 2000s her work was widely screened and awarded at major international film festivals. Since 2007, she has been working in digital media, mostly via internet collaboration with artists and musicians around the world. A central focus on video poetry began in 2014, and since that time she has made more than 60 videos with many poets from different countries. Her video poetry has since been screened at most of the film poetry festivals internationally, and featured in online journals. Over the decades, she has also been involved in teaching, seminars, reviewing and festival programming. Her recent videos can be found at http://vimeo.com/mariecraven

I like the idea of gifting someone else’s entry fee. And of course I’m chuffed to see such a good poetry filmmaker acting as judge.

American Bebop by R.W. Perkins

This is one of a series of three new “micro film-poems” by R.W. Perkins—his first poetry films in five years. Watch all three at the Atticus Review, which includes this artist statement:

Much of life comes down to the simple things, small in nature but complicated in terms of the inner workings of the mind. Most of my work centers around the effortless red-letter moments of life, where the heart seems to linger. I create poetic snapshots of the past facing the present in a subtle attempt to draw attention to where we are culturally at this moment in our history. My poetry and films harken back to my Texas roots and friends and family in rural Colorado, bringing a touch of surrealism to my small town recollections, highlighting the occasions that seem to bind us emotionally and culturally.

Perkins is also the organizer and curator of the Juteback Poetry Film Festival in Fort Collins, Colorado, which by the way is still open for submissions through August 19.

Living Image by Susie Welsh

A mixed-media work by Los Angeles-based writer and artist Susie Welsh, which came to my attention when it was featured at the Atticus Review back in November. Welsh had written:

The Living Image project began as a call-and-response between my writing and the paintings of visual artist, Bill Atwood. These static elements were then brought to life on camera through my collaborations with video artists, Billy Hunt and Brian Wimer, as well as musician, Deke Shipp.

The video is in six numbered parts: “The Source,” “Inverted,” “In Echo,” “Out of Blindness,” “The Witness” and “The Sphinx.” The poet’s face forms part of the screen/surface onto which images are projected, which is always an interesting effect but works especially well here, drawing attention to the hermetic and spell-like quality of the text — a text which, to be honest, I probably wouldn’t like very much on its own, laden as it is with modifiers and abstractions. But it works well in a videopoem that’s truly greater than the sum of its parts. The Vimeo description reads:

Living Image is a poetry film exploring the frustration and alienation inherent in the assumption of selfhood, as well as the possibility of extricating the power of consciousness from our self-conscious preoccupation.

Click through to Atticus Review to read a fuller artist’s statement, which delves into ancient Egyptian cosmology, as well as a bio of Welsh. And while you’re there, check out the guidelines for submission — mixed media editor Matt Mullins is always looking for new material.

Channel Swimmer by Jane Glennie

This author-made videopoem by British artist Jane Glennie was recently featured at Atticus Review. It’s kind of high-concept, but I think it works. Here’s the description from AR and Vimeo:

Channel Swimmer is a short ‘flicker’ film that examines repetitive and ambivalent relationships in matriarchal cycles through the generations from mother to daughter to mother. The film is inspired by two novels – ‘A Proper Marriage’ by Doris Lessing and ‘National Velvet’ by Enid Bagnold, and their main characters. Martha Quest in ‘A Proper Marriage’ is having her own child and questions the relationship between herself and her mother. While Velvet Brown is quietly encouraged by her mother (who is the ‘Channel Swimmer’ of the title – as those who swim the English Channel to France are known) in ‘National Velvet’, the climax of which is when the protagonist wins the famous Grand National steeplechase. The words in the soundtrack are collaged from these two books. The film is made from hundreds of original photographs taken on location on a racecourse and in the studio.

Atticus Review, incidentally, unveiled a spiffy new site design a month or two back, and the editors are always looking for good mixed media submissions. Be sure to bookmark and check the site regularly.