Stan Brakhage

Cannibal! The Musical

Heading through Colorado Territory in search of gold and women, Alferd Packer and his group of bemused companions find themselves lost, starving and musically inspired by the obstacles they confront along the way, including a die-hard Confederate cyclops, a trio of surly trappers, a tribe of Japanese-speaking "Indians," and ultimately, each other.

Cat's Cradle

Images of two women, two men, and a gray cat form a montage of rapid bits of movement. A woman is in a bedroom, another wears an apron: they work with their hands, occasionally looking up. A man enters a room, a woman smiles. He sits, another man sits and smokes. The cat stretches. There are close-ups of each. The light is dim; a filter accentuates red. A bare foot stands on a satin sheet. A woman disrobes. She pets the cat. Preserved by the Academy Film Archive in 2006.

The Life and Times of Allen Ginsberg

Visionary, radical, spiritual seeker, renowned poet, founding member of a major literary movement, champion of human rights, Buddhist, political activist and teacher. Extensive archival footage, interviews, and home movies cover Allen Ginsberg's life, activism, and influence on American culture through the Beat era, the 1960s, and beyond.

Prelude: Dog Star Man

A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time. Part of the Dog Star Man series of experimental films.

Notes on the Buffalo Conference: “Autobiography in American Independent Cinema”

During the 1970s I shot, helped to make, or commissioned about ten document films, mainly about film-makers. This film is one of them. It was made with Dan Ochiva, who acted as cameraman on about half of the footage. I shot the rest, and then edited the film. It is a record of a conference held at the State University of New York at Buffalo on March 22-25, 1973. Among the participants filmed were Gerald O'Grady (who organized the conference), Will Hindle, Stan Brakhage, Jonas Mekas, Robert Creeley, Bruce Baillie, Scott Bartlett, Hollis Frampton, Ken Jacobs, Ed Pincus, Stan Vanderbeek, Ed Emshwiller, Sally Dixon, James Cox. This footage will eventually become part of my film PEOPLE, PLACES, THE 1970S. –R. H.

20 Little Films

Since 1995, the Viennale has invited renowned directors to create short, one-minute films as personal contributions to the festival. Ranging from home movies to political essays, musical sketches to abstract studies, these “little films” form a unique anthology of cinematic moments. 20 Little Films collects a selection of these works, premiering together for the Viennale’s 50th anniversary at the Locarno Film Festival.

Lovesong 2

LOVESONG 2 is a rapid recapitulation of the tactics of Lovesong, without the multiple rhythms of variable step-printing: it is a straight frame-to-frame 'run-through' of similar (albeit newly painted) images of love-making.

Window Water Baby Moving

On a winter's day, a woman stretches near a window then sits in a bathtub of water. She's happy. Her lover is nearby; there are close ups of her face, her pregnant belly, and his hands caressing her. She gives birth: we see the crowning of the baby's head, then the birth itself; we watch a pair of hands tie off and cut the umbilical cord. With the help of the attending hands, the mother expels the placenta. The infant, a baby girl, nurses. We return from time to time to the bath scene. By the end, dad's excited; mother and daughter rest.

Comingled Containers

Comingled Containers is an experimental short film by Stan Brakhage. "This 'return to photography' (after several years of only painting film) was made on the eve of cancer surgery - a kind of 'last testament,' if you will… an envisionment of the fleeting complexity of worldly phenomenon."

Mothlight

Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.

Two: Creeley/McClure

Two portraits in relation to each other, the first of Robert Creeley, the second of Michael McClure. Preserved by the Academy Film Archive in 2007.

The Extraordinary Child

The Extraordinary Child applies his developing style to broad slapstick. His friends from the previous films and the director himself play out a riotous farce about an overgrown baby who steals his father’s cigars. Everyone mugs hilariously. The movie could be taken as another example of the Romantic notion of the artist as a monstrous child or misfit, or a parody of the same rather than the personal confessional statement seen so often in these film movements.

The Act of Seeing with One's Own Eyes

At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton

Short Films 1975: #3 (Hollis Frampton)

Begins with landscape/sunset thru mist, ends with window sill.

Sweetgrass

An unsentimental elegy to the American West, Sweetgrass follows the last modern-day cowboys to lead their flocks of sheep up into Montana's breathtaking and often dangerous Absaroka-Beartooth mountains for summer pasture, revealing a world in which nature and culture, animals and humans, vulnerability and violence are all intimately meshed.

Seasons...

Brakhage's frame-by-frame hand carvings and etchings directly into the film emulsion, sometimes photographically combined with paint, are illuminated by Solomon's optical printing; this footage was then edited by Solomon into a four part 'seasonal cycle'. This film can be considered to be part of a larger, 'umbrella' work by Brakhage entitled «...» . Seasons... is inspired by the colors and textures found in the woodcuts of Hokusai and Hiroshige, and the playful sense of forms dancing in space from the film works of Robert Breer and Len Lye.

Dog Star Man

Experimental film following a cycle of seasons as well as the stretch of a single day as a man and his dog slowly ascend a mountain.

Untitled (For Marilyn)

The film is officially untitled, but is referred to by the dedication that appears in place of a title card. It is dedicated to Marilyn Brakhage, the filmmaker's wife. Out of all the 350+ films that Stan Brakhage made, this was his personal favorite.

Other

A film photographed in Amsterdam but dedicated to capturing a quality of mind engendered there - not, certainly, alienation (as often in travel) but rather some heightened sense of being other.

Scenes from Under Childhood, Section One

A visualization of the inner world of foetal beginnings, the infant, the baby, the child - a shattering of the "myths of childhood" through revelation of the extremes of violent terror and overwhelming joy of that world darkened to most adults by their sentimental remembering of it ... a "tone poem" for the eye - very inspired by the music of Oliver Messiaen.

Clancy

"This is a portrait of that man I choose to call the greatest I've known: Clancy, whom the fates surnamed Sheey, personifies for me that which is simply human beyond condition and all conditioning." -SB

Thot-Fal'N

This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and then that feeling of falling away from conscious thought. The film can only be said to describe or be emblematic of this state because I cannot imagine symbolizing or otherwise representing an equivalent of thoughtlessness itself. Thus the actors in the film, Jane Brakhage, Tom and Gloria Bartek, Williams Burroughs, Allen Ginsberg, Peter Olovsky and Phillip Whalen are figments of this 'Thought-Fallen Process', as are their images in the film to find themselves being photographed."

Flesh of Morning

Short B/W film about the textures of the human skin and household objects, showing Brakhage in the morning as reality distorts around him. Revised in 1986.

Naughts

A series of five hand-painted, step-printed films, each of which is a textured, thus tangible, "nothing." A series of "nots," then, in pun, or knots of otherwise invisible energies.