Word: visualizes
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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...
...which he remarks, "My dad's white. My mom's Asian. What am I supposed to think about these images?" This final speech, discussing the necessity of art to sometimes infuriate to achieve its purpose, accrues even greater vehemence: it's spoken alone, apart from the plethora of visual images and overlapping speech which compose the rest of the piece...
...recent years, the distinct art forms of "poetry slamming" and "spoken-word" have moved out of coffee houses and into the mainstream, heralding a convergence of poetry with performance. Unfortunately, those who explore poetry through visual media always run the risk of yielding a result at odds with the poem's intended message; or, even worse, one that reflects badly on the poem itself. A casual viewing of the films exhibited in the Museum of Fine Arts October 16 program, "Poetry on Film and in Performance," indicated that a fine line still exists in the video arts world between visualizing...
...Francisco Film Festival, the National Poetry Film Festival and the Los Angeles Independent Film Festival, offer hope that poetry can be successfully and responsibly integrated with film. Their representation of Patricia Smith's "The Undertaker," in a film of the same name, is a wildly successful example of how visual imagery can reinforce the spoken word...
...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 the ice," the piece deserves a more upbeat rendition, reflective of the complexities of young love, than the priestly tone it receives...