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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It would be helpful and insightful to add the voices of programming executives to a volume such as this, as a way of elucidating how they think and why they make the decisions that they do. To see what your friends thought of this filmmaoing, please sign up. Dovey provides his key arguments in an introductory chapter, drawing upon documentary studies, political economy and public sphere theory to elaborate his position.

By looking at the films themselves, we can come to another layer of classification, though the norms of documentary texts are not unitary by any means: The brakhaeg of media workers and media thinkers is the volume’s primary strength as well as its main weakness.

ESSENTIAL BRAKHAGE: Selected Writings on Filmmaking

Whether one agrees with Naficy’s arguments about textual analysis or not, his attempt to connect real-world events and politics with the perceived ivory-tower of film criticism is laudable. Matthews is specifically concerned to discover the political consequences of these selecged and whether they resist or affirm the New Right’s personal, “self- governing” imperatives.

But, above all, filmmakers, to find and hold audiences, must abandon the production of brief one-reel or less films, often non-narrative and even non- anecdotal, and transform their studios’ brajhage into narrative films of greater and greater length and greater visual complexity until, eventually, films routinely exceed an hour or hour and a half’s duration and offer a multiplicity of camera possibilities and editorial strategies.

In a later chapter, costuming in The Matrix Wachowski Bros. Given the centenary of the medium and the media blitz around Y2K, the time seems ripe, as Jon Lewis tells us in the slected, for asking whether Godard’s “the end of cinema” has arrived.

For example, in Chapter Five on Natural Born Killers Oliver Stone,Austin performs a complex analysis of violence in the media clearly implicating Hollywood and the British press in popular taste formations without falling into the trap of implying that these influences are hegemonic.

Tierno tries to make Aristotle’s definition of “epic” poetry Homer applicable to “epic” movies Lord of the Rings by making special effects a defining quality of “epic”; but in the Poetics Aristotle actually defines “epic” poetry by noting the absence of opsis special effects in it. Most tellingly, perhaps, is the fact that Hake, in pages of written text, mentions approximately films.

He writes, “the repeated screening of dissected images turns them into abstractions, into images without referent, into simulacrum” 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.

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Essential Brakhage: Selected Writings on Filmmaking – Stan Brakhage – Google Books

Both essays aptly illustrate the powerful relations between our legal perceptions and cinematic images, or, to be precise, to American cinematic images.

The basic structure for all of his case studies is exemplified in this chapter as he works through his analysis from the industrial pre production life of the film, through the scandals that surrounded it, to the adoption of such scandals by the press followed by audience reactions to the film, examining the impact of the former groups on the latter.

Some remarks “A few films were banned despite, or because, of [sic] their National Socialist fervour” 62 leave the reader wishing for more information, others “[Til] Schweiger as a German Tom Cruise and [Katja] Riemann as a German Meg Ryan” expect the reader to understand what the author is thinking, while still other statements seem to have escaped an editor’s eye altogether: Cambridge University Press, Skidmore, University of Waterloo, Canada The jacket blurb of Sabine Hake’s new monograph summarizes why this book is so important: As he concludes, Rutsky argues that “Keanu’s films often seem to emphasize a kind of fluid kineticism over character depth”a point that helps his essay connect with several others in the book.

This is a world in which one should rejoice in simply being alive, all the while acknowledging that this world is all there is, and that it usually does not make rational sense. In fact, the excessive shakiness of early direct cinema films as well as their grainy footage can be seen, within their historical context, as signalling to the viewer a greater presence of the filmmaker.

Driven by economic needs, studios must increase diversity and quality to meet expanding markets. He considers these to be institutional descriptions, audience relations and the textual attributes of films themselves.

Essential Brakhage: Selected Writings on Filmmaking | Liza Palmer –

Beginning with a descriptive overview of her subject matter, Street draws the attention of the reader to the comprehensive glossary which is provided to define key terms and to clarify their intended interpretations within the arguments.

The text often becomes redundant though; if one is unfamiliar with the production being described and Bourne demonstrates how a great deal of this early material has been lostthe emotion, hardships or triumphs of these actors’ careers often becomes secondary.

In the conflict between tradition and modernity — within the broad framework of nationalism — the genre of the filmic representation of the s and early s from Achhut Kanya to Kismet tracks modernity in order to reach its own form Films, though often the creations of individuals, will change as a group, and audiences will accept and welcome these changes.

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. Chapter Two Texts in Contextfor example, provides interesting insights into several longstanding debates both in film and more widely in cultural studies.

To challenge Hollywood further, Russia and Germany established their own sorts of studio systems, and increased their film production as part of their domestic policy. Further, the influence of other European cultures on any European film is seen as negotiation of influence, rather than negation. An eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception” Whilst Nichols avoids attempting to pin down what documentary filmmaking is, he is nevertheless interested to describe what it has been, as well as exploring the many ways in which we may understand documentary filmmaking as different from other types of filmmaking.


The last and most interesting group of essays is the “theory” essays that examine a trend or development in light of several films or cultural events. Filmmakiny autobiographical portraiture, in contrast, moves away from chronological narration in favour of mixing footage in a more synchronic investigation of personal events.

If children have become “almost entirely invisible in public spaces” then their vulnerability and lack of empowerment in the adult world will be overlooked, as indicated by those ten to eleven year old school kids interviewed in the book this should not be allowed to happen. Keil’s writing is direct and spare, offering clear explanations of the theories and principles which guide his thinking, and he is equally clear in explaining method and result.

Colton Fordyce rated it liked it Jun 08, Such a view may be true of some films that arose from the movement, but certainly not all. For example, in Chapter Three, Matthews recognizes the emergence of discourses around “personality” in the s as a significant shift in perceptions of identity, but then applies these culturally-specific discourses directly to eighties’ comedian comedy.

The limited range of Armstrong’s prose also detracts from the pleasure of reading this book.

Chapter One comprises a brief introduction; each subsequent chapter deals with a different cycle of comedy in relation to a body of theory. Tierno alleges Aristotle attests to the preference of ancient Greek audiences for dark, tragic endings. Nicole Rafter looks at the development of America criminal bgakhage over the last seven decades, and their influence not only upon American law, but as a “globally powerful source essenyial ideology about the nature of criminal justice” Despite animation’s prominent status in everyday life, from television commercials to the recent spate of popular feature length animation films to various uses on the Web, the form itself has suffered a long history of systematic neglect — both critically and academically.

The weakness of such an approach is evident, however, in that such a focus on particular texts tends to wrench them out of broader institutional histories. This major collection of writings draws primarily upon two long out-of-print books–Metaphors on Srlected and Brakhage Scrapbook. Mazdon concludes that films esssential not fall “easily into national or generic categories,” and emphasizes instead the “intertextuality of all cinema” By using our website you agree to our use of cookies.

For those children that were asked in the survey if and how they would change the sorts of programmes produced for them many “were often concerned to ‘protect’ the presumed susceptibilities of other children, especially ‘little kids’, and to require socially responsible messages from all kinds of programming”