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.
|Published (Last):||18 September 2004|
|PDF File Size:||9.52 Mb|
|ePub File Size:||3.17 Mb|
|Price:||Free* [*Free Regsitration Required]|
The structure of his discussion is far more difficult to duplicate. And plot is everything. The author, Sarah Street, compares and contrasts different filmic versions of stories besides drawing on a range of in depth case studies to illustrate the arguments presented in the text.
Few films in recent memory have so successfully divided audiences into the camps of the devoted and the disgusted. Mothlight is therefore a film made without a camera and even without film.
Sommersby, on the other hand, “draws heavily upon earlier cinematic representations of history” 72turning it into a melodrama, rather than attempting to portray “history. This book would be important even if Brakhage were not such an engaging writer, but the eclectic range and concision of this collection make it an essential addition to the fklmmaking library of film classics by filmmakers.
In a recent article John Corner has argued that the autobiographical documentary is now largely a televisual, rather than cinematic, phenomenon, but Lane does not investigate in any detail the differences between working for distinct media. It is concerned with the sritings in which the film employs symbols to portray certain structural oppositions, e. The image of “Mother” affirms law, dharma in essntial of the colonial language of brotherhood, religion and the human race.
Essential Brakhage: Selected Writings on Filmmaking
By outlining the extensive history of Hollywood remakes in the wriitngs two chapters, Mazdon emphasizes the “remake” phenomenon as a salient part of these two countries’ complex relationship over the past century. Chion admits to doing both and uses this example to indicate that while concerned with the banal and the everyday as it documents how Bill and Alice both manage to brakhqge their time when not attending parties or arguing over fidelity, nothing brakkhage Kubrick’s film can be taken for granted or passed over.
The book is firmly placed within a cultural studies approach: Psychoanalysis helps retrace the oedipal imaging of film “Mother India”, which comes out conformist, yet defiantly subversive to meet the nationalist agenda in the interface between the secularist and fundamentalist tensions. Still, the book has long been influential by word-of-mouth, especially through its Renaissance misinterpretations.
That of course is where a major argument lies: Among the more interesting, challenging essays are: Discover pn to read next. Chion’s conclusions are in his introduction, and throughout his text. Despite animation’s prominent status in everyday seoected, 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.
He insists repeatedly on the importance of context when studying films this way, so it is surprising that he chooses Britain as the context for his investigation of these ostensibly American films.
Dog Star Man has no coherent narrative, with continuity achieved instead through recurring patterns and motifs.
Such flourishes, which also include memories of Bram Stoker’s Dracula and the importance of age and identity in creating viewing positions for Natural Born Killers, are common in Hollywood, Hype and Audiences and they provide for some of its most exciting insights.
The question of how one derives a sense of national identity through film is everywhere posed and nowhere answered in this book. No film or filmmaker of importance in mainstream film production is omitted. Those that believe children have no place in the programming debate are proved wrong by Davies’ findings in this chapter.
Overall, Lane’s book is a solid, interesting account of different forms of autobiographical documentary. William rated it it was amazing May 11, Brakhage examines filmmaking in relation to social and eslected co 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.
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.
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. Troy Kennedy Martin’s Edge of Darkness,” which applies notions of cultural geography to the analysis of the many narrative levels of the BBC drama series.
Remaking French Cinema, Lucy Mazdon argues that traditionally, critical se,ected to the Hollywood remake have depended on over-simplified binaries constructed around French “art” cinema and Hollywood “mass” productions, designating the former as “high” culture, and the latter as merely commercial. There are thirty- three chapters, but most are selectdd small bites of two pages or so after white-space.
Movies and Marketing in Hollywood,looks to make sense of the sleected nature of film marketing.
Early American Cinema in Transition: While detailed summaries of films make these essays comprehensible to readers unfamiliar with the films, they nevertheless appear to require a special interest in a particular seldcted work. Furthermore, the fil,making of costume in a diversity of media, such as television and theatre, is another related area worthy of research.
Bourne’s appendices are also problematic. Sadly, Tierno suffers from the rampant misconception that Greek tragedies do not have happy endings there are extant counter-examples.
Essential Brakhage : Stan Brakhage :
Sdlected viewer can only note the change by examining the woman’s nakedness and scrutinizing the film. Finally, audience activity is another important element to consider in the definition of documentary filmmaking.
Drawing instead on the concept of “deep structure” which permits animation to be uncoupled from the concerns of “live-action” genrification, Wells identifies and defines seven genres of animated film: 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 odds with the banality of the film’s contents but is revealed as its perfect complement in Chion’s entrancing discussion.