Word: video
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Dates: during 1990-1999
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...Video and performance artist Kip Fulbeck offers a similarly vivid perspective with his piece "Some Questions for 28 Kisses," although his offering is less a video performance of poetry and more a creative film with a poetic soundtrack. "28 Kisses" offers a montage of visual and aural images (including film clips and written and spoken words) all of which depict stereotypes of Asian men and women, especially in their sexual interactions. The clips, for instance, all feature scenes in which white men and Asian women are embracing. Meanwhile, questions roll across the bottom of the screen: "Do they really have...
...fault with Fulbeck's film as a whole: too often important ideas are lost as the viewer frantically tries to make sense of the disorder of processing three different types of information all at once. Most annoyingly, two voices can almost always be heard in the soundtrack to the video, reciting different speeches simultaneously, and a great deal of the effect of either speech dissipates in this technique...
...idea, the film interposes footage of preadolescent children diving into a swimming pool with Sharon Olds' recitation of her poem of the same name. But "Sex Without Love" is not so sophisticated cinematically as the other two films shown, and the result seems a bit more like a home video soundtracked with poetry than an actual cohesive performance. In addition, Olds' words are spoken much too solemnly for the context of the visual images and, indeed, for the message of the poem itself. With lines like "faces red as steak" and "gliding over each other like ice-skaters over...
...have only featured these three short films for one evening (in most cases with live presentations by the artists themselves), but the indication was clear: spoken-word, poetry slamming and video-art are fast making their way into the art-world's equivalent of mainstream culture. Unfortunately, though, the performance also offered a warning about the complexities of adapting literature into a visual medium...
Watching Year of the Horse makes it clear why he doesn't need to answer the question. Although the movie has a very stylized look--Jarmusch uses an array of both color and black and white film stock, including super 8, 16 mm, video, and even animation--it is anything but a pretentious portrait of one of the world's most unpretentious, hard-rocking bands...