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Stan Brakhage - The Art of Seeing
Stan Brakhage - The Art of Seeing
Reading for ArtS 3603/5630 Experimental Video Art for Monday 01.24.2011 This article is posted at the below URL and includes video examples of his films. http://www.legacy.com/ns/news-story.aspx?id=218&t=stan-brakhage--the-art-of- seeing
acclaim and reaching a broader audience and his filmmaking style and artistic preoccupations began to evolve. He started engaging in more formal experimentalism and utilized increasingly abstract imagery. One of his most famous films, 1963s Mothlight was created without the use of a camera at all, but constructed by assembling collected moth wings, flower petals and other detritus and pasting them between two strips of mylar, a process Brakhage has described as using the apparatus of the cinema to reanimate the dead. In 1961, he began his most ambitious work to date, shooting what would turn out to be the five-film, 74-minute Dog Star Man cycle, a mythic and highly personal exploration of man, nature and the universe that some critics would compare to the work of James Joyce and Ezra Pound. The film would utilize all the formal techniques hed been exploring over the previous decade multiple superimpositions, use of distorted lenses, rapid cutting, rhythmic repetition, shots deliberately out of focus, the use of film negative, painting on film in the creation of an abstract collage which nonetheless featured the closest Brakhage ever got to a plot (the film may ostensibly be said to be about a man going up a hill to chop down a tree).
Like Jackson Pollock, (one of his earliest painterly heroes), as Brakhages career progressed he began moving away from representational imagery altogether. During the latter half of his career, he largely stopped using a camera and instead painted directly onto film, an incredibly painstaking process when one considers as many as 24 separate 16 or 35mm paintings would be needed to for each second of screen time. Brakhage taught film at both The Art Institute of Chicago and later the University of Colorado, and would live to see many of the formal innovations of the avant-garde film movement co-opted found footage collage and rapid cutting becoming a staple of MTV, for instance, or the hand-scratched titles hed pioneered appearing in the credit sequence of Seven while the impetus behind such techniques went largely unnoticed by the culture at large. Honored as the central figure of American experimental film in the 20th century (experimental being a term he detested, as did he descriptions of his films as hypnotic) with regular MoMA and international film festival showings, a handful of biographies and critical appreciations in print, and a collection of his works given the canonical Criterion DVD treatment and Dog Star Man included in the Library of Congress National Film Registry, Brakhage still seemed unsure of his legacy. I have no certitudes, he said in a 1997 interview, some six years before his death of bladder cancer. Im often in the deepest doubt that maybe everything Ive
done, and the whole independent film movement, or the entire idea of film as an art is just a passing madness. If thats so, I have come to an age and a time in my life where that would certainly be bearable, because I would still have left an extraordinary number of beautiful and wonderful people that have given themselves to this possibility. And we have had our dance, whether we were right or wrong.