Abstract
The article examines the issue of the aesthetic impact of video poetry on the receiving public. Since video poetry is a relatively new phenomenon, it has not yet been fully studied in terms of suggestiveness. At the beginning, we give a classification of video poetic texts according to formal criteria – declarative, figurative and plot video poetry. Each of these types of poetry uses different methods to enhance the aesthetic effect of the image in the text. We use examples from the video poetry festival “Videostikhiya” for discussion. Next, a distinction is made between video poetry and a music video. Despite their similarities and the apparent secondary nature of the former in relation to the latter, these types of art use different methods to achieve an emotional and aesthetic reaction: a music video enhances the impression of the musical accompaniment, and in video poetry, visual accompaniment is used to enhance the text itself. We also explain the advantage of this approach for video poetry texts, since it makes it easier to understand the image in the poem and contributes to a more comprehensible and clear dialogue between the author and the receiving subject. However, video poetry can eliminate the interpretive aspect of interacting with the text by providing a ready-made interpretation that requires the audience to make little effort to understand. In the end, we conclude that despite the secondary means that video poetry has at its disposal, it still leaves a lot of room for experimentation and the new aesthetic impact lies in the use of the arsenal of cinema to emphasize what is said, and not how, in contrast to the abovementioned music videos. Such understanding may be useful in the future when studying the means by which the public will receive one or another aesthetic reaction when interacting with video poetry.
Keywords
Video poetry, aesthetic impact, visual, suggestiveness, image, media culture, hybridity.