If Maya Deren invented the American avant-garde cinema,
Stan Brakhage realized its potential. Unquestionably the most important
living avant-garde filmmaker, Brakhage single-handedly transformed the
schism separating the avant-garde from classical filmmaking into a chasm.
And the ultimate consequences have yet to be resolved; his films appear
nearly as radical today as the day he made them.
Brakhage was born
in 1933, and made his first film, Interim (1952), at 19. Notably
prolific, he has completed several films most years since. To date, his
filmography lists over 300 titles, ranging in length from a few seconds to
several hours.
Born in Kansas City, Missouri, attended high school
in Central City, Colorado. He briefly attended Dartmouth College then left
for San Francisco, where he enrolled at the California School of Fine Arts
(now the San Francisco Art Institute). He had hoped to study under Sidney
Peterson., but unfortunately, Peterson had left the school and the film
program was no more, so Brakhage moved on.
Like Deren, Brakhage
came to understand film through poetry, and his earliest films do resemble
those of Deren and her contemporaries. The early American avant-garde
filmmakers tended to borrow liberally from the German Expressionists and
Surrealists: mannered acting, symbolism/non sequitur, non-naturalistic
lighting and psychosexual themes were common. Still fundamentally
story-oriented, these films tend to use a loose, non-linear narrative and
dramatic situations to establish metaphorical relationships between
images. Deren's films are closest to those of the Surrealists: though she
rejects their often cynical nihilism, her films are steeped in portentous
Freudian symbolism.
Brakhage's early films are more primal. There
is no evidence of the Expressionist-inspired preciousness of the pre-WWII
American avant-garde filmmakers, and his invocation of Freudian ideas,
while omnipresent, is much blunter than Deren's. For Deren's cerebral
idealism, Brakhage substitutes a rawer, psychologized version of reality.
Many of Brakhage's films from this period are very good, but they are
overshadowed today by the films they begat.
While Brakhage's early
films stress psychological themes--the conflict between wish-dream and
reality, for example--and retain a strongly dramatic element, they provide
frequent glimpses of the formal leap that soon followed.
Despite a
rapidly deepening reservoir of ideas, avant-garde film retained a strong
connection to the commercial cinema. European avant-garde filmmakers had
long made liberal use of photographic effects and trick photography. But
nothing they did formally was at all unfamiliar to the commercial cinema,
which was quick to pick up on their ideas. But if strange photographic
effects are one thing, turning celluloid into a plastic medium was
something else altogether.
Brakhage was among
the first filmmakers to physically alter the filmstrip itself for
metaphorical effect. The most striking example of this technique in his
early films occurs in Reflections on Black (1955), which imagines
the dream-vision of a blind man as he walks through a city, climbs the
stairs of his apartment building and arrives home. Brakhage signals the
blindness of his protagonist by physically scratching out his eyes, and
splices in bits of film negative to convey the sense of experience the
world as a blind man might, not as something seen, but something
pictured.
Shortly before making Reflections of Black,
Brakhage moved to New York City. That same year, the film critic Parker
Tyler introduced Brakhage to Joseph Cornell, who commissioned him to shoot
a film of the soon to be dismantled Third Avenue El. Working for the first
time without actors or plot, Brakhage began to focus on the expressive
qualities of the medium itself. The film which resulted, Wonder
Ring (1955), represents Brakhage's first step toward his radical
reconception of the cinema. There is no story, no protagonist, no linear
narrative other than the train itself, traveling endlessly along its
track. It is a perfect expression of the world defined by the train, and a
peculiarly apposite metaphor for the bare logic of narrative
itself.
Imagine an eye unruled by man-made laws of
perspective, an eye unprejudiced by compositional logic, and eye which
does not respond to the name of everything but which must know each
object encountered in life through an adventure of perception. How
many colors are there in a field of grass to the crawling baby unaware
of 'Green'? How many rainbows can light create for the untutored eye?
How aware of variations in heat waves can that eye be? Imagine a world
alive with incomprehensible objects and shimmering with an endless
variety of movement and innumerable gradations of color. Imagine a
world before the 'beginning was the
word.'
With this
opening paragraph to his seminal manifesto Metaphors on Vision,
Brakhage called into being an entirely new kind of cinema, where none had
existed previously. Suddenly, an epistemological question loomed where
none had before: What is the nature of the relationship between the moving
image and the world, and how might it be represented? Brakhage intended to
film not the world itself, but the act of seeing the world. The
vast majority of Brakhage's films are entirely silent. When you watch his
films, you are asked to look, and look closely. Where his predecessors
used metaphor as a means of relating images to one another, Brakhage's
films were themselves expressions of a single, great metaphor: visual
perception.
These questions were by no means unique to
Brakhage--they were in fact the catalyst for modern art--but he was the
first to realize their implications for the cinema in a body of truly
great works of art. In Anticipation of the Night (1958), one sees
Brakhage's first clearly articulated expression of his concept of the
vision of the 'untutored eye.' While retaining the barest elements of
narrative, in this work Brakhage entirely dispenses with the drama, in
order to better capture raw experience. The 'shooting script' for the 40
minute film consists of a list of 16 concepts, rather than specific shots.
Where his earlier films approximated dreams, Anticipation of the Night
captures the dreamlike quality of raw experience, the world as it
happens and is taken in and understood, willy-nilly.
While making
Anticipation of the Night, Brakhage married Jane Collum, who was to
become his muse, and the primary subject of his films for many years.
Easily the best known of these is Window, Water, Baby, Moving
(1959), a document of Jane's pregnancy and the birth of their first child.
Family, and the rituals of family life, became the predominant themes of
Brakhage's films for many years. Birth, sex, and death are the three
touchstones of all of his films. In Thigh, Line, Lyre, Triangular
(1961), Brakhage again documents the birth of one of his children, and
their passage through infancy and childhood is a consistent theme. Several
of Brakhage's films focus on sexual relations, not only between a man and
wife, but among friends, and the proto-sexual aspects of childhood. In
other films he examines the rituals surrounding death and the body which
remains after the being has departed. Sirius Remembered (1959),
which documents the gradual dissolution of the corpse of the family dog,
and The Dead (1960), made in P鑢e Lachaise cemetery in Paris,
prefigure several later films which return to this same
theme.
Brakhage's most
ambitious projects of the early '60s were Dog Star Man (1961-64)
and The Art of Vision (1961-64), essentially one film articulated
two different ways. Dog Star Man definitively marks the transition
from a lyrical style, centered on individual experience, to a more epic
style, with a focus on broad metaphysical themes. Roughly speaking, the
film expresses a mythic conception of the struggle and fall of Man. Made
in four parts, with a prelude, Dog Star Man incorporates many
layers of superimposition and a dense, rapid editing pattern. The Art
of Vision consists of exactly the same material as Dog Star
Man, but separates the superimposed reels of film in various
combinations. As the elements of the film gradually build and cascade into
one another, one begins to see the connections between the elements more
and more clearly, how and why certain themes are repeated, and the
simultaneously epic and analytic quality of the film itself.
Since
completing The Art of Vision, Brakhage's films have become
consistently more metaphysical. Even his celebrated Pittsburgh trilogy,
completed in 1971, which purported to document three city institutions, at
its core deals with metaphysical questions of Being. The three films:
Eyes, Deus Ex, and The Act of Seeing With One's Own
Eyes, document the police, a hospital and a morgue, respectively. All
focus on the mechanics of the body: how it is ordered in life, how it is
repaired when broken, and what remains when the person who animates it has
perished. The key image of The Act of Seeing With One's Own Eyes is
quite likely the bluntest statement on the human condition ever filmed. In
the course of an autopsy, the skin around the scalp is slit with a
scalpel, and in preparation for exposing and examining the brain, the face
of each cadaver is literally peeled off, like a mask, revealing the raw
meat beneath. That image, once seen, will never leave
you.
The feature-length The Text of Light (1974)
consists entirely of abstracted patterns of light photographed through a
thick, deep-green ashtray. Anticipating his non-photographic abstract
films of the '80s and '90s, it reduces photography to its ratio ultima,
the influence of light on photographic emulsion.
...in photographing this ashtray for instance, I'm
sitting for hours to get 30 seconds of film. I'm sitting watching
what's happening and clicking a frame, and sitting and watching, and
further than that, I had shot several hundred feet and they seemed
dead. They didn't reflect at all my excitement and emotion and
feeling. They had no anima in them, except for two or three shots
where the lens which was on a tripod, pressed against the desk, had
jerked. Those were just random, but what gave me the clue. What I
began doing was always holding the camera in hand. For hours.
Clicking. Waiting. Seeing what the sun did to the scene. As I saw what
was happening in the frame to these little particles of light,
changing, I would shoot the camera very slightly.
In recent years,
Brakhage has focused largely on painting, scratching and drawing directly
on the surface of the film strip itself. In eschewing photography
altogether he focuses more directly on the bare act of perception. These
films recall the paintings of abstract expressionists like Pollock, Klein,
Motherwell and Rothko, and pack the same visceral punch. If you've ever
stood in front of a great Rothko, and felt yourself falling in, the
experience of watching the best of Brakhage's hand-painted films is very
similar.
I now no longer photograph, but rather paint upon clear strips
of film – essentially freeing myself from the dilemmas of
re-presentation. I aspire to a visual music, a 'music' for the eyes
(as my films are entirely without sound-tracks these days). Just as a
composer can be said to work primarily with 'musical ideas,' I can be
said to work with the ideas intrinsic to film, which is the only
medium capable of making paradigmatic 'closure' apropos Primal Sight.
A composer most usually creates parallels to the surroundings of the
inner ear--the primary thoughts of sounds. I, similarly, now work with
the electric synapses of thought to achieve overall cathexis paradigms
separate from but 'at one' with the inner lights, the Light, at
source, of being human.
Stan Brakhage
died of cancer on March 8, 2003, in Victoria, British Columbia, Canada.
The Museum of Modern Art in New York City is in the process of preserving
all of his films. His last finished film, Stan's Window, is a
photographed self-portrait. Brakhage left behind the beginning of another
film, The Chinese Series, composed of 35mm black leader he had
scratched with his fingernails. The film was to end wherever he stopped
scratching.
Brian Frye, Spetember 2002
Filmography
Interim (1952) 25.5 min 16mm
The Boy and the Sea (1953)
Unglassed Windows
Cast a Terrible Reflection (1953)
Desistfilm
(1954) 7 min 16mm
The Extraordinary Child
(1954)
The Way to Shadow Garden (1954) 10 min
16mm
Gnir Rednow (1955-196?) 6 min 16mm (made with
Joseph Cornell)
In Between (1955) 10 min
16mm
Reflections on Black (1955) 12 min
16mm
"Tower House" (photographed for Joseph Cornell
under working titles Bolts of Melody and Portrait of Julie;
finally became Cornell's Centuries of June, 1955-196?) 11 min
16mm
Untitled Film of Geoffery Holder's Wedding
(1955) made with Larry Jordan
Wonder Ring
(1955)
Flesh of Morning (1956/1986) 25 min
16mm
Nightcats (1956) 8 min 16mm
Zone
Moment (1956)
Daybreak and Whiteye (1957) 8
min 16mm
Loving (1957) 6 min
16mm
Anticipation of the Night (1958) 42 min
16mm
Cat's Cradle (1959) 6 min
16mm
Sirius Remembered (1959) 12 min
16mm
Wedlock House: An Intercourse (1959) 11 min
16mm
Window, Water, Baby, Moving (1959) 12 min
16mm
The Dead (1960) 11 min 16mm
Dog
Star Man: Prelude (1961) 25 mins
Thigh,
Line, Lyre, Triangular (1961) 5 min 16mm
Blue
Moses (1962) 11 min 16mm
Dog Star Man:
Part I (1962) 30 mins
Films by Stan
Brakhage: An Avant-Garde Home Movie (1962) 4 min
16mm
Silent Sound Sense Stars Subotnick and Sender
(1962)
Dog Star Man: Part II (1963) 7
mins
"Meat Jewel" (incorporated into
Dog Star Man: Part II, 1963)
Mothlight (1963)
4 min 16mm
Oh Life--A Woe Story--The A Test News
(1963) 5 min 16mm
Dog Star Man: Part III (1964) 11
mins
Dog Star Man: Part IV (1964) 5
mins
Song I (1964) 4 min 8mm
Songs II
& III (1964) 7 min 8mm
Song IV (1964) 4
min 8mm
Song V (1964) 7 min 8mm
Songs VI
& VII (1964) 7 min 8mm
Song VIII (1964) 4
min 8mm
The Art of Vision (derived from Dog Star
Man, 1965)
Black Vision (1965) 2:45
min
Fire of Waters (1965) 10 min 16mm
Pasht (1965) 5 min 16mm
Songs IX &
X (1965) 10 min 8mm
Song XI (1965) 6 min
8mm
Song XII (1965) 6 min 8mm
Song
XIII (1965) 6 min 8mm
Song XIV (1965) 3 min
8mm
Song XVI (1965) 8 min 8mm
Songs XVII
& XVIII (1965) 7 min 8mm
Songs XIX & XX (1965) 8 min
8mm
Three Films: Blue White, Blood's Tone, Vein
(1965) 10 min 16mm
Two: Creeley/McClure (1965) 5 min
16mm (also incorporated in 15 Song Traits)
Songs XXI
& XXII (1966) 8 min 8mm
23rd Psalm Branch: Part I
(1966/78) 30 min 16mm
Songs XXIV & XXV
(1967) 10 min 8mm
Song XXVI (1967) 8 min
8mm
XV Song Traits (1967-86) 47 min
16mm
Scenes from Under Childhood Section No.1 (1967)
25 min 16mm
23rd Psalm Branch: Part II and Coda
(1967) 30 min 16mm
The Horseman, the Woman, and the
Moth (1968) 26 min 16mm
Lovemaking
(1968)
My Mountain Song 27 (1968) 26 min
Song XXVIII (1968) 4 min 8mm
American 30's
Song (1969)
Scenes from Under Childhood Section
No.2 (1969) 40 min 16mm
Scenes from Under Childhood
Section No.3 (1969) 25 min 16mm
Song XXVII (Part II)
Rivers (1969) 36 min
Song XXIX (1969) 4 min
8mm
Window Suite of Children's Songs
(1969)
The Animals of Eden and After (1970) 35 min
16mm
The Machine of Eden (1970) 14 min
16mm
Scenes from Under Childhood Section No.4 (1970)
45 min 16mm
Sexual Meditation No. 1: Motel (1970) 6
min 8mm, (1980) 16mm
The Weir-Falcon Saga (1970) 30
min 16mm
The Act of Seeing With One's Own Eyes (1971)
32 min 16mm
Angels (1971) 2 min
16mm
Deus Ex (1971) 35 min
16mm
Door (1971) 2 min 16mm
Eyes
(1971) 35 min 16mm
Fox Fire Child Watch (1971) 3 min
16mm
The Peaceable Kingdom (1971) 8 min
16mm
Sexual Meditation: Room with View (1971) 4 min
16mm
The Trip to Door (1971)
Western
History (1971) 8 min 16mm
Eye Myth (1972)
begun in 1968 as sketch for The Horseman, The Woman and The Moth,
16mm version)
The Presence (1972) 3.5 min 16mm
The Process (1972) 13.5 min 16mm
The
Riddle of Lumen (1972) 17 min 16mm
Sexual Meditation:
Faun's Room Yale (1972) 3 min 16mm
Sexual Meditation:
Hotel (1972) 8 min 16mm
Sexual Meditation: Office
Suite (1972) 4 min 16mm
Sexual Meditation: Open
Field (1972) 8 min 16mm
The Shores of Phos: A
Fable (1972) 10 min 16mm
The Wold Shadow
(1972) 16mm
Gift (1973)
Sincerity
I (1973) 27 min 16mm
The Women
(1973)
Aquarien (1974) 5 min
16mm
Clancy (1974) 4.5 min
16mm
Dominion (1974) 4 min
16mm
Flight (1974) 5.5 min 16mm
"He Was
Born, He Suffered, He Died" (1974) 7.5 min 16mm
Hymn
to Her (1974) 2.5 min 16mm
Skein (1974) 5 min
16mm
Sol (1974) 4 min 16mm
Star
Garden (1974) 22 min 16mm
The Stars Are
Beautiful (1974) 19 min 16mm
The Text of
Light (1974) 71 min 16mm
Short Films 1975
#1-10 (1975) 40 min 16mm
#1 2:45 min
16mm
#2 2:45 min 16mm
#3 1:45min
16mm
#4 1:45 min 16mm
#5 2:45 min
16mm
#6 6 min 16mm
#7 3 min
16mm
#8 2.5 min 16mm
#9 6 min
16mm
#10 6 min 16mm
Sincerity II
(1975) 40 min 16mm
Absence (1976) 8 min S8mm
Airs (1976) 20 min S8mm (also 16mm)
The
Dream, NYC, The Return, The Flower (1976) 24.5 min S8mm (also
16mm)
Desert (1976) S8mm (also
16mm)
Gadflies (1976) 12.5 min S8mm (also
16mm)
Highs (1976) 16.5 min S8mm (also
16mm)
Rembrandt, Etc. and Jane (1976) 17.5 min
S8mm
Short Films: 1976 (1976) 25 min
16mm
Tragoedia (1976) 35 min
16mm
Trio (1976) 6.5 min S8mm (also
16mm)
Window (1976) 10.5 min S8mm (also
16mm)
The Domain of the Moment (1977) 18 min
16mm
The Governor (1977) 60 min
16mm
Soldiers and Other Cosmic Objects (1977)
20:45min 16mm
Bird (1978) 4 min
16min
Burial Path (1978) 15 min
16mm
Centre (1978) 13 min
16mm
Duplicity (1978) 23 min
16mm
Duplicity II (1978) 20 min
16mm
Nightmare Series (1978) 20 min
16mm
Purity and After (1978) 5 min
16mm
Sincerity III (1978) 35 min
16mm
Sluice (1978) 6 min
16mm
Thot Fal'n (1978) 9 min
16mm
@ (1979) 6 min 16mm
Creation
(1979) 17 min 16mm
Roman Numeral Series: I
(1979) 6 min 16mm
Roman Numeral Series: II (1979) 7
min 16mm
Arabic 1 (1980) 5.5 min
16mm
Arabic 2 (1980) 7 min 16mm
Arabic
3 (1980) 10.5 min 16mm
Duplicity III (1980)
30 min
Made Manifest (1980) 12 min
16mm
Murder Psalm (1980) 16 min
16mm
Other (1980) 16mm
Roman Numeral
Series: III (1980) 2 min 16mm
Roman Numeral Series:
IV (1980) 2 min 16mm
Roman Numeral Series: V
(1980) 3 min 16mm
Roman Numeral Series:
VI (1980) 13 min 16mm
Roman Numeral Series:
VII (1980) 5 min 16mm
Roman Numeral Series:
VIII (1980) 4 min 16mm
Roman Numeral
Series: IX (1980) 2 min
16mm
Salome (1980) 3
min
Aftermath (1981) 8 min 16mm
Arabic
4 (1981) 10 min 16mm
Arabic 5 (1981) 5 min
16mm
Arabic 6 (1981) 11 min 16mm
Arabic
7 (1981) 11 min 16mm
Arabic 8 (1981) 7 min
16mm
Arabic 9 (1981) 12 min 16mm
Arabic
0+10 (1981) 32 min 16mm
Arabic 11 (1981) 10.5
min 16mm
Arabic 12 (1981) 27 min
16mm
Arabic 13 (1981) 5 min 16mm
Arabic
14 (1981) 5.5 min 16mm
Arabic 15 (1981) 7.5
min 16mm
Arabic 16 (1981) 8.5 min
16mm
Arabic 17 (1981) 8 min
16mm
Arabic 18 (1981) 8.5 min
16mm
Arabic
19 (1981) 9 min 16mm
Eye Myth (1981) original
35mm version
The
Garden of Earthly Delights (1981) 2.5 min
16mm
Nodes (1981) 3 min 16mm
RR
(1981) 8 min 16mm
Unconscious London Strata (1981) 22
min 16mm
Egyptian Series (1983) 17 min
16mm
Hell Spit Flexion (1983) 1 min
16mm
Tortured
Dust (1984) 88.5 min 16mm
Tortured Dust (Part
I-IV) (1984) 90 min 16mm
Jane (1985) 13 min
16mm
Caswallon Trilogy (1986) 10 min
16mm
Confession (1986) 27 min
16mm
Fireloop (1986)
The Loom
(1986) 50 min 16mm
Night Music (1986) 30 sec
16mm
The Dante Quartet (1987) 8 min
16mm
Faustfilm: An Opera: Part 1 (1987) 50 min
16mm
Kindering (1987) 3 min 16mm
Faust
3: Candida Albacore (1988) 25 min 16mm
Faust's Other:
An Idyll (1988) 45 min 16mm
I . . . Dreaming
(1988) 8 min 16mm
Loud Visual Noises (1988) 2.5 min
16mm (also a sound version)
Marilyn's Window (1988) 4
min 16mm
Matins (1988) 2.5 min 16mm
Rage
Net (1988) 30 sec 16mm
Visions in Meditation
#1 (1988) 20 min 16mm
Babylon Series #1
(1989) 6 min 16mm
Faust 4 (1989) 36 min
16mm
Visions in Meditation #2: Mesa Verde (1989) 17
min 16mm
Babylon Series #2 (1990) 5 min
16mm
Babylon Series #3 (1990) 6 min
16mm
City Streaming (1990) 25 min
16mm
Glaze of Cathexis (1990) 30 sec
16mm
Passage Through: A Ritual (1990) 33 min
16mm
The Thatch of Night (1990) 10 min
16mm
Visions in Meditation #3: Plato's Cave (1990) 18
min 16mm
Visions in Meditation #4: D.H. Lawrence
(1990) 19 min 16mm
Agnus Dei Kinder Synapse (1991)
4.5 min 16mm
A Child's Garden and the Serious Sea
(1991) 80 min 16mm
Christ Mass Sex Dance (1991) 5.5
min 16mm
Delicacies of Molton Horror Synapse (1991)
10 min 16mm
Vision of the Fire Tree (1991)
16mm
Boulder Blues and Pearls and . . . (1992) 20 min
16mm
Crack Glass Eulogy (1992) 6 min
16mm
Untitled (For Marilyn) (1992) 11 min
16mm
Autumnal (1993) 5 min 16mm
Blossom:
Gift/Favor (1993) 30 sec 16mm
Ephemeral
Solidity (1993) 4.5 min 16mm
The Harrowing
(1993) 3 min 16mm
Stellar (1993) 2.5 min
16mm
Study in Color and Black and White (1993) 2.5
min 16mm
Three Homerics (1993) 6 min
16mm
Tryst Haunt (1993) 3 min 16mm
Black
Ice (1994) 2.5 min 16mm
Cannot Exist (1994) 2
min 16mm
Cannot Not Exist (1994) 10 min
16mm
Chartres Series (1994) 9 min
16mm
Elementary Phases (1994) 38 min 16mm (made with
Phil Solomon)
First Hymn to the Night--Novalis
(1994) 3 min 16mm
The Mammals of Victoria (1994) 30
min 16mm
Naughts (1994) 5.5 min
16min
Paranoia Corridore (1994) 3 min
16mm
Earthen Aerie (1995) 2.5 min 16mm
I
Take These Truths (1995) 35 min 16mm
I . . .
(1995) 40 min 16mm
In Consideration of Pompeii
(1995) 5 min 16mm
We Hold These (1995) 12 min
16mm
Beautiful Funerals (1996)
Blue
Value (1996)
Concrescence (1996)
The Fur of Home (1996)
Polite
Madness (1996)
Prelude 1 (1996)
Prelude 2 (1996)
Prelude 3
(1996)
Prelude 4 (1996)
Prelude
5 (1996)
Prelude 6 (1996)
Prelude 7 (1996)
Prelude 8
(1996)
Prelude 9 (1996)
Prelude
10 (1996)
Prelude 11 (1996)
Prelude 12 (1996)
Prelude 13
(1996)
Prelude 14 (1996)
Prelude
15 (1996)
Prelude 16 (1996)
Prelude 17 (1996)
Prelude 18
(1996)
Prelude 19 (1996)
Prelude
20 (1996)
Prelude 21 (1996)
Prelude 22 (1996)
Prelude 23
(1996)
Prelude 24 (1996)
Sexual
Saga (1996)
Shockingly Hot (1996)
Two Found Objects of Charles Boultenhouse (1996)
The Cat of the Worm's Green Realm (1997)
Commingled Containers
(1997)
Divertimento (1997)
Self
Song/Death Song (1997)
Yggdrasill: Whose Roots Are
Stars in the Human Mind (1997)
...Reel One (1998)
...Reel Two (1998)
...Reel
Three (1998)
...Reel Four (1998)
...Reel
Five (1999)
Female Mystique and Spare Leaves (1998)
Alternating Currents
(1999)
The Birds
of Paradise (1999)
Cloud Chamber (1999)
Coupling (1999)
Cricket Requiem
(1999)
The Dark Tower (1999)
The Earthsong of
the Cricket (1999)
The Lion and the Zebra Make God's
Raw Jewels (1999)
Moilsome Toilsome
(1999)
Persian Series #1 (1999)
Persian
Series #2 (1999)
Persian Series #3 (1999)
Persian Series #4 (1999)
Persian
Series #5 (1999)
Seasons... (1999)
Stately Mansions Did Decree (1999)
Worm and Web Love (1999)
Dance
(2000)
The God of Day Had Gone Down Upon Him (2000)
Persian Series #10 (2000)
Persian
Series #11 (2000)
Persian Series #6 (2000)
Persian Series #7 (2000)
Persian
Series #8 (2000)
Persian Series #9
(2000)
Water for Maya (2000)
Baby
Jesus (2001)
Christ on Cross (2001)
In Jesus Name (2001)
Jesus
Wept (2001)
Micro-Garden (2001)
Rounds (2001)
Persian Series
#13 (2001)
Persian Series #14 (2001)
Persian Series #15 (2001)
Persian
Series #16 (2001)
Persian Series #17 (2001)
Persian Series #18 (2001)
Lovesong (2001)
Lovesong 2
(2001)
Occam's Thread (2001)
Ascension (2002)
Dark Night of the
Soul (2002)
Lovesong 3
(2002)
Lovesong 4 (2002)
Lovesong
5 (2002)
Lovesong 6
(2002)
Select Bibliography
Gerald R. Barrett & Wendy Brabner, Stan Brakhage: A Guide
to References and Resources, G.K. Hall, 1983
Stan
Brakhage, Metaphors on Vision, Arthouse Inc., 1976 (second
edition)
Stan Brakhage, The Brakhage lectures: Georges M鈋li醗s,
David Wark, Griffith, Carl Theodor Dreyer, Sergei Eisenstein, The Good
Lion, 1972
Stan Brakhage, Film at Wit's End: Eight
Avant-Garde Filmmakers, McPherson & Co., 1989
Stan Brakhage
& Tamarra Kaida, I--Sleeping: Being a Dream Journal and
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P. Adams Sitney, Visionary Film,
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Nature: A Conversation With Stan Brakhage, Blumarts,
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From Senses
of Cinema