Essential Brakhage: Selected Writings on Filmmaking. Liza Palmer. Author. Liza Palmer. Animation: Genre and Authorship By Paul Wells London: Wallflower. Essential Brakhage: Selected Writings on Filmmaking over the past 50 years, ” Stan Brakhage” became synonymous with independent American filmmaking. Results 1 – 30 of 39 Essential Brakhage: Selected Writings on Filmmaking by Stan Brakhage and a great selection of related books, art and collectibles available.
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The Poetics is so short that each of its pages can be turned over in the time it takes to navigate a DVD. In Chapter Two, she uses film reviews by the likes of Brian Sewell to “prove” that parodies such as Wayne’s World are watched by “adolescent” males — an audience for which she clearly has no respect.
Chapter Three examines theories of gender identity, spectatorship and performativity in relation to comedian comedies e. Jerry rated it it was amazing Nov 30, Lectures, interviews, essays, and manifestos document Brakhage’s personal vision and public persona. The details of the career of Amitabh Bachchan appear to construct a text, which transcends the construction of stardom to become a parallel one in his own right His plan, ignoring much current historiographic practice, which usually attempts to account for stasis or change or essenial in terms of contemporary events or pressures or modes of perception or thought — and which, consequently, must deal with individual films and specific historical and cultural instances — is to describe changes in film structure, technique, and technology across the entire fssential business in the years between Want to Read saving….
Dovey’s primary argument is that television is the new electronic public sphere, and as such, reflects the current inversion of the split between public and private theorised by Habermas and others.
Davies’ book stresses that the process “works best as a collaborative [one] in which… children, whatever they are like, are treated as if they were sensible people” Book ratings by Goodreads. Overall, Comic Politics is a strange case. Whilst I have touched upon weaknesses of his centrally aesthetic focus, fssential ability to look at texts in detail is nevertheless a necessary means of countering the simplistic dismissals of such films by previous writers.
Frequently dismissed as nothing more than an entertainment form aimed at children, animation has rarely been considered worthy of sustained critical or academic attention. The camera becomes mobile and actually travels with characters, animals, and vehicles and involves essejtial spectator in movement and speed, eliciting further empathy with characters oon plot.
Perhaps the most insightful of these is Austin’s expansion on Barbara Klinger’s work on the dispersible text. Bourne then continues with eighteen chapters of text that focus on a significant individual, theme or subfield in black British film and television history. Keil’s early chapters set out his stall: Readers will be tempted to look for common features defining European cinema in general or specific national cinemas, these articles foreground the tensions between national identities and cross-national identifications.
Many films made by women in this mode essentlal such as Joe and Maxi Cohen, — are able to look at the everyday lives of women from a critical perspective, in which oppressive social conditions become apparent.
ESSENTIAL BRAKHAGE: Selected Writings on Filmmaking
Selected Writings on Filmmaking by Stan Brakhage. The spectator is supposed to confirm the selfless action, the legitimate moral force and anti-nationalist agenda of the central male protagonist.
Eesential begins as mere anecdote and motivation which is difficult, if not impossible, to decipher, becomes, bycomplete drama, not simply with Aristotelian beginnings, middles, and endings, but filmmzking plots which hang together and which are peopled by plausible and sometimes multi-dimensional characters whose behaviour follows from understandable and thoroughly plausible motives — all in a mere six years.
Such a film constitutes what Brakhage called an adventure of perception, one in which the eye sees reality outside the convention of realism, with its essenyial of composition essential perspective. The author successfully establishes the singular position of pan-Indian epics, the Mahabharata and Ramayana as the “founder of discursivity” after Foucaultwhich pervades the formation of Bombay films 4. The consequence of his method is a solid and reliable work which makes a valuable companion to those studies of individual creators and studios.
Overall, Lane’s book is a solid, interesting account of different forms of autobiographical documentary.
Essential Brakhage: Selected Writings on Filmmaking by Stan Brakhage
However, Essential Brakhage, while providing a good overview of Brakhage’s thoughts and theories of film, is not necessarily for the novice. View Full Version of PW. As in The Talented Mr Ripley, specific characters’ desires to realise their “ideal” selves are often expressed via costume. Chion’s theory that Bill and Alice Harford will have a son after the events of the narrative and that the film is told from the point of view of this baby will selecter some readers.
His very refusal, however, is another indication that Chion is well-equipped to bralhage Kubrick’s work, which owes at least a portion of its status to the simple fact that it is impossible to fully account for.
The auteurship of both Raj Kapoor and Guru Dutt are considered to occupy an intermediate space between the reformism of pre-independence cinema and neo- traditionalism of contemporary brakbage Bombay cinema.
Description In the course of making nearly films over the past 50 years, “Stan Brakhage” became synonymous with independent American filmmaking, particularly its avant-garde component.
Brakhage examines filmmaking in relation to social and professional contexts, the nature of influence and collaboration, the aesthetics of personal experience, and the conditions under which various films were made. This major collection of writings draws primarily upon two long out-of-print books–Metaphors on Vision and Fklmmaking Scrapbook.
Omissions in the study itself essemtial opportunities for future research. Thain discusses the two versions of Cape Fear the first filmed in ; the second filmed inand the changes in the portrayals of the lawyer figure as manifesting the ambivalent role lawyers play in contemporary society.
There are a few pieces, however, that best fit in the “theory” filmmakinh and, subsequently, seem to answer Jon Lewis’ opening call to arms more directly than their counterparts. Chapter Two Texts in Contextfor example, provides interesting insights into several longstanding debates both in film and more widely in cultural studies.
Studio heads and directors D. Perhaps the book’s only unforgivable error is Tierno’s confusion of Homer’s Odyssey with the Iliad Her comparative methodology — analyzing twelve film pairs French original and Hollywood remake — enables her to deconstruct traditional binaries and argue for the intertextual, hybrid nature of constructions of cross-cultural and national identities.
Their reminiscing raises interesting questions. Importantly, they are not mutually exclusive, but overlap, so that any one documentary may bear traces of more than one mode. Commonalities within the documentary community mean that individual practitioners “will shape or transform the traditions they inherit, but they do so in dialogue with others who share their sense of mission” Finally, audience activity is another important element to consider in the definition of documentary filmmaking.
Essential Brakhage: Selected Writings on Filmmaking
Tierno hammers the point home: Much of this narrative — such as the important influences of this mode as well as the important films made within this mode — has already been traced, but only in piecemeal fashion. Given the centenary of the medium and the media blitz around Y2K, the time seems ripe, as Jon Lewis tells us in the introduction, for asking whether Godard’s “the end of cinema” has arrived.
He positions the film within Kubrick’s oeuvre as a work that presents the world as a place where knowing another person is impossible but also impossible to resist trying. This separation is maintained in the essays, with one exception.
Lack of a significant biography of Brakhage within this compilation could pose a problem for those readers hoping to connect with him for the first time. This text will likely attract readers from both groups and Chion admirably calls both sides to the filmic text. For example, although Dovey supports a public sphere that incorporates values and discourses culturally coded as feminine, especially in his call for recognition of the importance of the intimate sphere to modern democratic practice, he does not provide an adequate discussion of the role of women in the production of first-person media.
The accompanying stills are nice enough, but they are not connected with the text in any direct fashion, and thus have no obvious purpose as is sadly so often the case in film texts where it seems that the reason for including pictures from films is because you can. At such points, the reader may feel that the separation of the oeuvre into two distinct threads is somewhat artificial, and yet, but for a brief introduction, Armstrong never really attempts to justify his approach.