Like an Academy Award nominated student film created on Adderall, Death Poem takes the viewer to the furthest reaches of their brains. Pushing the limits of God’s imagination. Never before have you seen so much blasphemy in one video. Death Poem will make you believe in God, then believe in yourself.
Poem By Aimee Noelle @coconutskinss
nostalgia seems silly today,
soon my bones
will be the reason
me and the bees
in a poor prophet’s pockets,
my organs have turned to
death keeps happening like blinking does–
once those eyelashes
flutter for the last time,
the spark exits
out of the mouth and eyes and ears
and nose and
death hangs around
like raindrops on windows,
like smoke lingers
in a closed car. coming into
focus like an out of
date photograph; dissolving back
dead is like leaving the eye doctor with
new glasses so everything is
heightened to the point of sublimity,
to the point of obscenity,
because the ground seems further
away than it used
instead of seeing colors,
you taste them.
instead of needing air,
you sip light.
everything ends everything begins everything ends everything begins
and so on
they say that there are as many
galaxies as there are grains of sand
on all the beaches in the world.
salsa dancing with the dead.
no skeleton to get tired,
outer space wearing
coconut is falling
from the sky on jupiter,
you were here.
Holes in the Mountain is a poetry film by Kai Carlson-Wee, shot during a freight hopping trip with Kai and his brother from Oakland to Portland, summer 2014. Through video, photography, poetry, and music, the film creates an associative narrative structure that seeks to explore rural American landscapes, spiritual poverty, and the experience of traveling by freight.
Poem originally appeared in The Missouri Review, Spring 2014
Winner of the PBS New York Reel 13 Short of the Week Contest
Featured on Poetry Film, Daily Shorts Pick, Litseen
Written and Directed by Kai Carlson-Wee
Filmed by Kai and Anders Carlson-Wee
Photos by Kai Carlson-Wee
Music by Seth Thomas
Inspired by the poem of Rye High, an urban ode to loneliness, city lights, and love.
Directed by Henri Gander
Poem by Rye High
Music : “Threnody” by Goldmund
Written and performed by Igor Oro
Shot in NYC
Interpreting the unspoken disappointment in someone’s face when they are afraid of seasoning your wound.
Jade Anouka: Poem and Narration
Michael Dickes: Camera, Concept, and Audio/Video Editing
Shot on location at 59E59 Theater, NYC with 1 camera & 1 lightbulb on a wire.
MARC NEYS IN FRONT OF THE CAMERA: THE SWOON INTERVIEWS
OCTOBER 11, 2014
by Dave Bonta
I visited Marc Neys this past July mostly for a social visit. We’d really hit it off the year before at the Filmpoem Festival in Dunbar, Scotland. Also, I’m a big fan of strange beers and Medieval history, and Belgium has plenty of both. (See my photo essay at Via Negativa, “Embodied Belgium.”)
But I certainly didn’t want to let the week go by without filming the filmmaker and getting Marc to talk about how he makes his videopoems. After all, he’s one of the most productive poetry filmmakers in the world right now; his work as Swoon is inescapable at international poetry film festivals, not to mention at Moving Poems.
Fortunately, Marc was game. I originally thought I would make a single, twenty-minute video — I’d shoot a couple hours’ worth of footage, then edit and condense the hell out of it. The problem is that Marc really had a lot of interesting things to say, and what I’ve ended up with instead is a 42-minute documentary split into four, semi-independent sections. These can be watched in any order, I think. I’ve put them all into an album on Vimeo for easy linking and sharing.
I’ve also added closed captioning to each of the four videos, as I do with all Moving Poems productions these days, to make them as accessible as possible — but also to facilitate translating. If anyone would like to translate the videos into other languages, please get in touch. Vimeo will host and serve as many subtitle files as we want to upload.
Swoon on Sound
Marc explains how he creates the soundscapes he uses in his videopoems and other projects, despite not being a musician. He then takes us up into the bell tower of the cathedral in Mechelen, Belgium, famed for its massive carillon.
Swoon at Home
Where the handle Swoon comes from, and why Marc’s home and city double as a film set for many of his videopoems.
Swoon’s Secrets to Filming No-Budget Videopoems
If you only have time to watch one of these, watch this one. Marc lays out his basic DIY approach to making art, talking about the usefulness of water footage and other home-made filter effects, filming to music, cheap editing software, and more.
Swoon on finding a new angle in videopoetry composition
Marc talks about a new direction he’s recently taken: composing videopoems with the poem in text on the screen rather than in the soundtrack. Along the way, he talks about the influence of theater and classic film, and why he never follows scripts and works mostly by instinct.