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"Brakhage, Stan"
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Stan Brakhage in Rolling Stock, 1980-1990
\"Filmmaker Stan Brakhage has long been known as a giant of experimental cinema, but this collection shows him in a completely new light--as a writer. Throughout the 1980s, Brakhage contributed to the Boulder literary magazine Rolling Stock, mostly with reports from the Telluride Film Festival. These reports show that Brakhage was keenly interested in world cinema and was eager to meet and exchange views with filmmakers of different stripes.\"-- From publisher's website.
Book
Stan Brakhage the realm buster
Stan Brakhage's body of work counts as one of the most important within post-war avant-garde cinema, and yet it has rarely been given the attention it deserves. Over the years, though, diverse and original reflections have developed, distancing his figure little by little from critical categories. This collection of newly commissioned essays, plus some important reprinted work, queries some of the consensus on Brakhage's films. In particular, many of these essays revolve around the controversial issues of representation and perception.
This project sets out from the assumption that Brakhage's art is articulated primarily through opposing tensions, which donate his figure and films an extraordinary depth, even as they evince fleetingness, elusivity and paradoxicality. This collection aims not only to clarify aspects of Brakhage's art, but also to show how his work is involved in a constant mediation between antinomies and opposites. At the same time, his art presents a multifaceted object endlessly posing new questions to the viewer, for which no point of entry or perspective is preferred in respect to the others. Acknowledging this, this volume hopes that the experience of his films will be revitalised.
Featuring topics as diverse as the technical and semantic ambiguity of blacks, the fissures in mimetic representation of the 'it' within the 'itself' of an image, the film-maker as practical psychologist through cognitive theories, the critique of ocularcentrism by mingling sight with other senses such as touch, films that can actually philosophise in a Wittgensteinian way, political guilt and collusion in aesthetic forms, a disjunctive, reflexive, and phenomenological temporality realising Deleuze's image-time, and the echoes of Ezra Pound and pneumophantasmology in the quest of art as spiritual revelation; this book addresses not only scholars, but also is a thorough and thought-provoking introduction for the uninitiated.
Contributors include:
eBook
Philosophy in Stan Brakhage's Dog Star Man : world, metaphor, interpretation
This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ric¶urian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage's Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked on celluloid and used frames as canvases, as well as his choice to make the film without dialogue and sound, exhort the interpreter to directly question the philosophical language of moving images.
Book
The Films of Stan Brakhage in the American Tradition of Ezra Pound, Gertrude Stein and Charles Olson
Since the late 1950s Stan Brakhage has been in the forefront of independent filmmaking. His body of work — some seventy hours — is one of the largest of any filmmaker in the history of cinema, and one of the most diverse. Probably the most widely quoted experimental filmmaker in history, his films typify the independent cinema. Until now, despite well-deserved acclaim, there has been no comprehensive study of Brakhage's oeuvre. The Films of Stan Brakhage in the American Tradition fills this void. R. Bruce Elder delineates the aesthetic parallels between Brakhage's films and a broad spectrum of American art from the 1920s through the 1960s. This book is certain to stir the passions of those interested in artistic critique and interpretation in its broadest terms.
eBook
Stan Brakhage
Stan Brakhage: Filmmakeris a collection of essays, photographs, personal statements, and reminiscences about the celebrated avant-garde filmmaker who died in 2003. The director of nearly four hundred short films, includingDog Star Man,Parts I-IV, and theRoman Numeral Series, Brakhage is widely recognized as one of the great artists of the medium. His shorts eschewed traditional narrative structure, and his innovations in fast cutting, hand-held camerawork, and multiple superimpositions created an unprecedentedly rich texture of images that provided the vocabulary for the explosion of independent filmmaking in the 1960s.Stan Brakhage: Filmmakerchronicles both the director's personal and formal development. The essays in this book-by historians, filmmakers, and other artists-assess Brakhage's contributions to the aesthetic and political history of filmmaking, from his emergence on the film scene and the establishment of his reputation, to the early-1980s. The result is a remarkable tribute to this lyrical, visionary artist.
eBook
Edith Kramer on Mark Toscano's \Archiving Brakhage\
\"Archiving Brakhage\" was published in November 2006, one year after my retirement: which is to say, I do not recall reading it when it first appeared, and only discovered the article in the course of browsing through online back issues for this assignment. [...]it provides anyone, with or without previous knowledge of Brakhage's films, considerable insight into his work: access to his innovative techniques, aesthetic choices, an appreciation of the economy of a no-budget but prolific filmmaker, as well as the special relationship between filmmaker and laboratory. [...]the size, breadth, and diversity of Brakhage's output make him a near-perfect exemplar of the many different tribulations faced by a preservationist of experimental film work.\" [...]of this incredibly intense assembly of his films, the originals are sometimes quite fragile. Though he acknowledged their mediocrity, Stan approved and released these prints, likely due to a combination of his faith and emotional investment in the lab, and his lack of time and resources to endure the massive undertaking of challenging the lab's substandard work and/or changing labs altogether.
Journal Article
In the Flesh: Balázs, Brakhage, and the Anatomy of Filmic Gesture
In considering the foundational rapport between film and gesture, one of film’s early theorists turns out to have untimely pertinence: Béla Balázs. Like other European writers of his era, Balázs theorized cinema in a utopian voice. He saw the visual language of film as rediscovering a lost language of gestures and facial expressions, which promised to restore modern civilization to a prelapsarian state of total, mutual legibility. Acknowledging all that is retrograde and all that remains relevant in Balázs’s early film theory, what remains especially generative in this light is his account of gesture’s focalization via unconscious somatic signals. Film seems to discover a primal authenticity in our most unmeant, unconscious tics—a form of significance or communication unmediated by semiotic codes and ideological influences. But because these somatic meanings obviate the relevance of an actor’s well-honed skill or expressive intent, they disrupt the anthropocentric framework that Balázs’s aesthetic theory appears to serve. This tension between conscious and unconscious signaling becomes less troubling if gestures are considered not only as vehicles for conveying psychic interiority but also as media for negotiating vital relationships. As I will develop in my extended discussion of The Act of Seeing with One’s Own Eyes, the formal and tonal qualities of this particular film prove to be an apt venue of display for gestures of this sort, articulating relational meaning through an exploration of shared space. Through a series of mobile, responsive body movements—body movements that finally reach the viewer as gestures borne by the somatic camera—Brakhage discovers and models his visual style on a suite of sympathetic postmortem gestures.
Journal Article
Brakhage and the Birth of Silence
Discussions of \"silent cinema\" have generally focused on films made during the silent era (1894–1929). Even after the spread of synchronized sound, however, several experimental filmmakers created films without soundtracks, purely visual experiences that challenged cinema's status as a multisensory medium. This article gives close attention to Stan Brakhage's 1959 film Window Water Baby Moving as a way of outlining some of the effects of cinematic silence, such as aesthetic ambiguity and a heightened awareness of cinema's visual rhythms.
Journal Article