ESSENTIAL BRAKHAGE SELECTED WRITINGS ON FILMMAKING PDF
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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In marked contrast to the overt symbolism of eslected that make explicit use of elaborate costuming are “contemporary ‘realist’ films, which aim to convey something of life ‘as it is'” The author intensively analyzes and interprets the flexibility and complexity of genres of acting, singing, dancing, staging, auteurship, romanticizing, diaspora and other textual contexts of several selected popular Bombay films screened over the last nine decades.
Essential Brakhage: Selected Writings on Filmmaking
In the course of making nearly films over the past 50 years, “Stan Brakhage” became synonymous with independent American filmmaking, particularly its avant-garde essentiap. All of these topics are embedded in the social context of each political period, and Hake is to be commended for her ability to summarize succinctly the most important elements of these issues in a clear and understandable manner.
Kubrick’s film presents an ordinary couple — Bill and Alice Harford played by real life couple Tom Cruise and Nicole Kidman — in a real city — New York by way of London backlots — in a dreamlike and stylized manner which initially seems at sselected with the banality of the film’s contents but is revealed as its perfect complement in Chion’s entrancing discussion.
Whilst this dichotomy does point to useful divisions, I think one could come up with a better term than “wish-fulfilment” for fiction filmmaking. There has never been a clear-cut demarcation between black British film and television stars with the possible exception of Paul Robeson, whose career peak was pre-television.
He writes, “the repeated screening of dissected images turns them into abstractions, into images without referent, into simulacrum” Blacks in the British Frame: The dog star man of the title climbs a snow-covered hill with a dog, occasionally falling. It is accepted now that film is far more than an aesthetic or merely entertaining object, and that law is much more than just a practical mechanism for resolving conflicts and coercing order.
Aritings of Brakhage’s films do have characters and stories; however, they are not realistic.
Unlike James Schamus’ rant about independent cinema — a piece that, despite its disgust at the current state of affairs, gives hope to the reader — Dixon’s essay amplifies the undertone of the book that leaves little room for new filmmakers and critics to do anything but long for the heyday of semiotics and the auteur theory.
To that end, perhaps what the nascent Hollywood Renaissance needs now is a rigorous re-translation of the Poetics, in the idiom of neo-Aristotelian screenwriting gurus like Syd Field, who have discerned a consistent form for successful screenplays. The relationship between documentary and knowledge is primarily aesthetic. While he may get such details wrong, Tierno’s instincts about the Poetics are mostly on target, and it’s hard to quarrel with his conjecture that Aristotle’s admiration for Oedipus Rex would translate into two thumbs-up for Citizen Kane.
Once again, Street argues that star status can influence costuming and that stars may actually use costume to escape type-casting, effectively “covering” the customary trappings of their usual identities. He criticises wholesale dismissals of narrative forms as reductive and simplistic, arguing — through a close analysis of films such as Ed Pincus’ Diaries and Tom Joslin and Peter Friedman’s Silverlake Life: The author draws on psychoanalytic film theory to interpret the meeting of localized mediations and melodramatic discourses of colonial literature in minor and a few major references of Indian cinema like, Madhumati and Mahal.
Kirsty rated it it was amazing Feb 24, A huge amount of research, including surveys, discussions and interviews with children, television executives and policy makers, was undertaken as part of a BBC commissioned project to investigate a number of highly controversial and ubiquitous issues that have surrounded children’s media for decades. His publications in this field include Art and Animation as guest editorUnderstanding AnimationAnimation and Americaand a forthcoming title British Animationas well as several shorter pieces.
But it is no easy task to provide context for a body of writing usurped from its original circumstance — especially when that body of writing belongs to Stan Brakhage, avant garde filmmaker and theorist.
Hake undermines the category by putting forward a great number of rhetorical questions on the definition of national cinema, and then refuses to answer them — “the following comprehensive overview of German cinema from the beginning to the present does not attempt to answer any of these questions” 6.
There are no discussion topics on this book yet. The image of “Mother” affirms law, dharma in terms of the colonial language of brotherhood, religion and the human race. Mothlight is therefore a film made without a camera and even without film.
Essential Brakhage : Stan Brakhage :
Matthews may be discussing some of the most popular films of the last twenty years, but her own distaste is barely veiled: The Indian gothic is exemplified as an articulation of the borrowed colonial elements of sentimentality, gothic romance, realism and Indian aesthetic theories and narratives of rebirth. Raising questions about a thorny concept but not answering them may be an intellectually honest approach, but it does not give the reader any confidence that what is to come will be worth reading.
Readers wishing that Chion had continued his remarks on the latter film have now had their wish granted. Yet one of Lane’s central arguments — that this mode was important in countering the rigidities of direct cinema — relies on envisioning the “other” of direct cinema in a simplistic manner. Although Wells rather modestly claims that these new generic categories should only be understood as “provisional engagements” with the topic, the originality of this work is sure to become a valued contribution in the fields of animation and of genre studies.
Lane, drawing on personal experience as a filmmaker, is excellent at analysing particular texts in rich detail, relating them to broader areas of autobiography as well as to the technological bases from which the filmmaker s work. The global academic exposure of the popular Bombay film, in spite of certain limitations of addressing the political economy of form, is a brilliant effort.
Both fields, besides their formal functions, served during the twentieth century as major cultural agents. Thus the tension between the commercial necessity of mass appeal and the desire to create independent film documents, present probably in almost any national cinema, receives attention throughout this chronicle, as do the rise and maintenance of star systems, the varieties of government influence evidenced by means of censorship, financial control, and political coercion, the role of genre in film history, technological developments, and the influence of Hollywood.
The book invites a sampling, or a scrambling of its order, and causes one to wonder if the film too would respond favorably to this reading strategy. The relationship to the represented material is of a different order: That of course is where a major argument lies: He is considered to be one of the most important figures in 20th-century experimental film.
He starts from the premise that filmed documentaries have never had any ontological claim on reality, beginning with an early documentary purporting to show live footage of a naval battle during the Spanish American war.
Molly may have money but she does not have aristocratic taste” Indeed, this is a point which Chion does not fully explicate here or in his comments at the end of Kubrick’s Cinema Odyssey. This major collection of writings draws primarily upon two long out-of-print books–Metaphors on Vision and Brakhage Scrapbook.
ESSENTIAL BRAKHAGE: Selected Writings on Filmmaking
Recognition that the camera need not be static, but might severally locate the viewer in the position of various characters within the narrative or might move closer to or further from the characters as they enacted their passions, or might view from aloft, from corners, or from low-down, is to privilege the spectator as a witness to the event.
His focus on Hollywood is also occasionally undermined by reference to British source materials that remove some of the immediacy of his argument even as they provide interesting insights into Britain and British audiences, for instance, as a secondary market for American films. Unique within film making, animation can operate at extremes of authorship: The collection’s inclusion of the voices and viewpoints of writers and producers active in the s and s is a boon for media historians, as well as engaging and interesting reading.
Frequently dismissed as nothing more than an entertainment form aimed at children, animation has rarely been considered worthy of sustained critical or academic attention. A strong chapter on Double Indemnity explains how that film can be read as a commentary on the sexual mores of the s, and recalls that Charles Brackett, Wilder’s usual writing partner, refused to work on a script he considered scandalously racy.
Similar social comment is attributed to each of the other films, with, in many cases, similar stories of attendant controversy: Due in large part to the new theoretical emphases placed on the examination of films here, Austin’s book provides some useful tools for future work in film studies.
The Rodney King video and textual analysis.