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Stan Brakhage
DAVID E. JAMES Introduction Stan Brakhage The Activity of His Nature Milton produced Paradise Lost for the same reason that a silk worm produces silk. It was an activity of his nature.—KARL MARX ork on this collection of texts began some three years ago, when we hoped to publish it in 2003 to celebrate Stan Brakhage’s Wseventieth birthday. Instead, belatedly, it mourns his death. The baby who would become James Stanley Brakhage was born on 14 January 1933 in an orphanage in Kansas City, Missouri.1 He was adopted and named by a young couple, Ludwig, a college teacher of business, and his wife, Clara, who had herself been raised by a stepmother. The family moved from town to town in the Middle West and, sensitive to the stresses of his parents’ unhappy marriage, Stanley was a sickly child, asthmatic and over- weight. His mother took a lover, eventually leaving her husband, who sub- sequently came to terms with his homosexuality and also himself took a lover. In 1941, mother and son found themselves alone in Denver. Put in a boys’ home, the child picked up the habits of a petty criminal, but before his delinquency became serious, he was placed with a stable, middle-class family in which he began to discover his gifts. He excelled in writing and dramatics and in singing, becoming one of the leading voices in the choir of the Cathedral of St. John’s in Denver. Retrieving her now-teenaged son, his mother tried to make a musician of him, but Stanley resisted his tutors, even attempting to strangle his voice teacher. -
SATURDAY, FEBRUARY 14 11:30 A.M. Unnameable Books 600
Performance Poetry, Pedestal Magazine, New Verse of the Union (Spuyten Duyvil Press). Her work is forthcoming fronted by East Village-based musician Mallory Feuer. SATURDAY, News); set to music (David Morneau’s Love or has recently appeared in such places as The Awl, Boston Two years of consistent performing in and around New FEBRUARY 14 Songs); on the silver screen (2005 indie flick Review, and The Brooklyn Rail. York followed, with several major shifts to the band’s Love and the Vampire); in print (Soft Skull Press’ lineup and sound. 11:30 A.M. The Bandana Republic: A Literary Anthology by 1:05 p.m. Brian Fitzpatrick The CD spins onward, with “How Will I Grow” Unnameable Books Gang Members and Their Affiliates, and Harper Perennial’s It http://thefanzine.com/author/brianfitz/ and “Say it Ain’t So,” two songs about a destructive All Changed in an Instant: More Six-Word Memoirs by Writers Brian Fitzpatrick lives and teaches in relationship, with a whirlwind of confrontational, 600 Vanderbilt Ave. Famous & Obscure). She and Jack Cooper run Poets Wear Prada. Washington, D.C., where he writes poetry nightmarish lyrics over dense, complex musical (bet. Prospect Place/St. Marks Avenue) Her elegiac poem “In Loving Memory,” illustrated by Edward and comedy pieces. His work has appeared arrangements. If the first three tracks were a weather Odwitt, was released in 2011. in print and online in places like Rattle and report to alert us of a hurricane of troubled dreams Prospect Heights, on D.C.’s Pink Line Project and Fanzine. B. -
Marie Menken. Andy Warhol, 1965. Frame Enlargement. Photo Courtesy
Top: Marie Menken. Andy Warhol , 1965. Frame enlargement. Photo courtesy of Anthology Film Archives. All rights reserved. Bottom: Marie Menken. Arabesque for Kenneth Anger, 1961. Frame enlargement. Photo courtesy of Anthology Film Archives. All rights reserved. 58 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey.2009.1.36.58 by guest on 26 September 2021 Myth, Matter, Queerness: The Cinema of Willard Maas, Marie Menken, and the Gryphon Group, 1943–1969 JUAN A. SUÁREZ The Gryphon group has had an uneven reception history: well-known and well-regarded in experimental film circles during its active years—the mid- 1940s to the late 1960s—it suffered an eclipse in succeeding decades and now seems poised for a return, as recent publications, conferences, and film programs begin to assess Gryphon’s place in the history of avant-garde cinema. The group’s core members were Marie Menken and her husband, Willard Maas. Among those who worked under the Gryphon imprint are Ben Moore, Charles Boultenhouse, John Hawkins, and Charles Henri Ford. And on the outer edges of the collective were Gregory Markopoulos and Stan Brakhage. Maas claimed them as members and they allowed their work to be connected with the group but did not feel strongly committed to it. 1 The list of Gryphon’s friends and collaborators makes up an impressive cross-section of the postwar avant-garde, and includes filmmakers Norman McLaren, Maya Deren, Kenneth Anger, and Andy Warhol, poet and film - maker Gerard Malanga, critic Parker Tyler, Living Theater founders and directors Julian Beck and Judith Malina, the British poet George Barker— a protégé of T.S. -
Anthology Film Archives 104
242. Sweet Potato PieCl 384. Jerusalem - Hadassah Hospital #2 243. Jakob Kohn on eaver-Leary 385. Jerusalem - Old Peoples Workshop, Golstein Village THE 244. After the Bar with Tony and Michael #1 386. Jerusalem - Damascus Gate & Old City 245. After the Bar with Tony and Michael #2 387. Jerusalem -Songs of the Yeshiva, Rabbi Frank 246. Chiropractor 388. Jerusalem -Tomb of Mary, Holy Sepulchre, Sations of Cross 247. Tosun Bayrak's Dinner and Wake 389. Jerusalem - Drive to Prison 248. Ellen's Apartment #1 390. Jerusalem - Briss 249. Ellen's Apartment #2 391 . European Video Resources 250. Ellen's Apartment #3 392. Jack Moore in Amsterdam 251, Tuli's Montreal Revolt 393. Tajiri in Baarlo, Holland ; Algol, Brussels VIDEOFIiEEX Brussels MEDIABUS " LANESVILLE TV 252. Asian Americans My Lai Demonstration 394. Video Chain, 253. CBS - Cleaver Tapes 395. NKTV Vision Hoppy 254. Rhinoceros and Bugs Bunny 396. 'Gay Liberation Front - London 255. Wall-Gazing 397. Putting in an Eeel Run & A Social Gathering 256. The Actress -Sandi Smith 398. Don't Throw Yer Cans in the Road Skip Blumberg 257. Tai Chi with George 399. Bart's Cowboy Show 258. Coke Recycling and Sheepshead Bay 400. Lanesville Overview #1 259. Miami Drive - Draft Counsel #1 401 . Freex-German TV - Valeska, Albert, Constanza Nancy Cain 260. Draft Counsel #2 402, Soup in Cup 261 . Late Nite Show - Mother #1 403. Lanesville TV - Easter Bunny David Cort 262. Mother #2 404. LanesvilleOverview #2 263. Lenneke and Alan Singing 405. Laser Games 264. LennekeandAlan intheShower 406. Coyote Chuck -WestbethMeeting -That's notRight Bart Friedman 265. -
Catalogobim2014.Pdf
2 . Sobre la bIM / about bIM del 20 de noviembre al 20 de diciembre ca t á l o go 2014 EDUNTREF Denegri, Andrés. Catálogo BIM 2014 / Andrés Denegri y Gabriela Golder.- 1a ed.- Sáenz Peña: Universidad Nacional de Tres de Febrero, 2015. 280 p.; 23x15 cm. ISBN 978-987-1889-59-4 1. Artes Visuales. I. Golder, Gabriela II. Título CDD 778.5 © Catálogo BIM 2014 / Denegri, Andrés y Golder, Gabriela © de esta edición UNTREF (Universidad Nacional de Tres de Febrero) para Eduntref (Editorial de la Universidad Nacional de Tres de Febrero). Reservados todos los derechos de esta edición para Eduntref (UNTREF), Mosconi 2736, Sáenz Peña, Provincia de Buenos Aires. www.untref.edu.ar Primera edición mayo de 2015. Hecho el depósito que marca la ley 11.723. Queda rigurosamente prohibida cualquier forma de reproducción total o parcial de esta obra sin el permiso escrito de los titulares de los derechos de explotación. Impreso en la Argentina. 4 . Sobre la bIM / about bIM So- Palabras del rector / Words from the chancellor . 9 bre aníbal Y. Jozami Sobre la BIM / about BIM . 11 la andrés Denegri y Gabriela Golder BIM about BIM PREMIO / introducción / introduction . 15 aWARD jurados / jury . 17 NORBERTO GRIFFa a la obras seleccionadas / Selected works . 21 CREACIÓn AUDIOVISUAL LATINOAMERI- CANA Pro- exposiciones / exhibitions . 71 GRA- Proyecciones / Screenings . 109 ma- actividades especiales / Special activities . 257 ciÓn Programme 6 . Sobre la bIM / about bIM So- BRE la BIM A B O U T B I M BIM 2014 PalabraS del rector / WordS From the chancellor Por / by aníbal Y. -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
Experimental Films by Jodie Mack
May – Jul 2018 Projection Series #10 Glitch Envy: Experimental Films by Jodie Mack govettbrewster.com The Govett-Brewster Art Gallery/Len Lye Centre’s state-of-the-art 62-seat cinema encourages audiences to experience the films of Len Lye and the wider world of local and international cinema. We welcome you to see historical experimental film, contemporary artists’ moving image and regular film festival programming. At the heart of the Len Lye Centre’s cinema programme is the Projection Series, our regular film programme surveying the landscape of historical and contemporary fine art filmmaking. Cover: Len Lye Centre Cinema Unsubscribe #3: Glitch Envy 2010 Photo: Patrick Reynolds P / 2 Govett-Brewster Art Gallery Projection Series P / 3 Curator's Foreword Archive Fervor Paul Brobbel Len Lye Curator, Jennifer Stob, Govett-Brewster Art Gallery Texas State University Projection Series #10 marks three years of our Projection Series, “Imagine an eye unruled by man-made laws of perspective, an eye reintroduced to the Govett-Brewster's programme with the opening of unprejudiced by compositional logic,” wrote Stan Brakhage in 1963.1 the Len Lye Centre in 2015. It is fitting that we celebrate with a programme For more than fifty years, that idea was foundational for Brakhage’s dedicated to the films of Jodie Mack whose work exemplifies the energy, gaze-obsessed artistry. Thanks to his films andMetaphors on Vision, exploration and sheer thrill that we've come to know through the legacy of his manifesto that opens with those lines, Brakhage’s imagination has Len Lye. Glitch Envy is the first survey of Mack's work presented in Aotearoa become equally foundational for film art at large. -
San Francisco Cinematheque Program Notes
San Francisco Cinematheque Program Notes 1997 From the collection of the n z m o Prelinger v .Library t p San Francisco, California 2007 San Francisco Cinematheque 1997 Program Notes San Francisco Cinematheque 480 Potrero Avenue San Francisco, California 94110 Telephone: 415 558 8129 Facsimile: 415 558 0455 Email: [email protected] www.sfcinematheque.org San Francisco Cinematheque Director Steve Anker Associate Director Joel Shepard Associate Director/ Curator Irina Leimbacher Interim Managing Director Elise Hurwitz Program Note Book Producer Targol Mesbah Program Note Editors/ Coordinators Jeff Lambert Irina Leimbacher Steve Polta Smith Patrick Board of Directors Stefan Ferreira Oliver Marina McDougall Kerri Condron Sandra Peters Linda Gibson Julia Segrove-Jaurigui Elise Hurwitz Laura Takeshita Wendy Levy Program Co-Sponsers Castro Theatre San Francisco International Gay and Cine Accion Lesbian Film Festival National Asian American San Francisco International Film Telecommunications Association Festival (NAATA) San Francisco Museum of Modern Art New Langton Arts The Spiros Vyronis Center for the Pacific Film Archive Study of Hellenism Proyecto Contrasido por Vida Temenos, Inc. Roxie Theatre Verba Buena Center for the Arts San Francisco Art Institute Guest Curators and Co-Curators Robert Beavers Eduardo Morell and Mark Wilson Bruce Cooper Bruce and Amanda Posner Kathy Geritz Charlotte Pryce Jerome Hiler Janelle Rodriguez Ed Jones Daniel Schott and Charles Lofton Wendy Levy and Jay Rosenblatt Jerry Tartaglia Aline Mare Timoleon Wilkins -
Report to the U. S. Congress for the Year Ending December 31, 2008
Report to the U.S. Congress for the Year Ending December 31, 2008 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 10, 2009 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (Public Law 110-336), I submit to the U.S. Congress the 2008 Report of the National Film Preservation Foundation. We present this Report with renewed purpose and responsibility. The NFPF awarded our first preservation grants in 1998, fueled by contributions from the entertainment industry. Since then, federal funding from the Library of Congress has redrawn the playing field and enabled 187 archives, libraries, and museums across 46 states, the District of Columbia, and Puerto Rico to save historically significant films and share them with the public. These efforts have rescued 1,420 works that might otherwise have been lost—newsreels, documentaries, silent-era features, avant-garde films, home movies, industrials, and independent works. Films preserved through the NFPF are now used widely in education and reach audiences everywhere through exhibition, television, video, and the Internet. The renewal of our federal legislation, passed unanimously by both houses of Congress in 2008, celebrates these formative steps but also recognizes that there is still much to do. With the Library’s continued support, we will strengthen efforts in the months ahead and press in new directions to advance film preservation and broaden access. -
P Adams Sitney 2016 Book.Pdf
Princeton University HONORS FACULTY MEMBERS RECEIVING EMERITUS STATUS May 2016 { 1 } The biographical sketches were written by staff and colleagues in the departments of those honored. { 2 } Contents Faculty Members Receiving Emeritus Status 2016 Scott Gordon Burnham ....................3 Edward James Champlin ..................6 Douglas Wells Clark .....................10 Ronald J. Comer ........................ 13 John Madison Cooper .................... 15 Angus Stewart Deaton ...................18 Paul Joseph DiMaggio ...................22 Robert A. Freidin .......................25 John Richard Gott III ....................28 Abdellah Hammoudi . 30 Nancy Weiss Malkiel ....................34 Kirk T. McDonald .......................36 Ignacio Rodríguez-Iturbe .................40 Jerome Silbergeld .......................43 P. Adams Sitney ........................46 Szymon Suckewer .......................49 Ronald Edward Surtz ....................52 Robert Daniel Willig ..................... 55 { 1 } P. ADams Sitney idely regarded as the leading historian of avant-garde cinema, WP. Adams Sitney is best known as the author of Visionary Film: The American Avant Garde (Oxford University Press; first edition 1974, subsequent editions 1979 and 2002), as cofounder of Anthology Film Archives in 1970, and as coselector of Anthology’s controversial Essential Cinema series. P. Adams grew up in New Haven, Connecticut, briefly attended Trinity College, and spent a year in Europe, lecturing on American avant-garde cinema. He then studied Greek -
Capital Campaign Brochure
COMPLETION PROJECT Leading up to its 50th anniversary, Anthology Film Archives is undertaking a capital campaign to restore, upgrade, expand — and complete — its century-old East Village courthouse building to better meet the needs of the film-going public, visiting students and scholars, and its expanding collections and programs. MISSION Anthology Film Archives is an international center for the preservation, study, and exhibition of film and video, with a special emphasis on indepen- dent, avant-garde, and classic cinema. Fueled by the conviction that the index of a culture’s health and vibrancy lies largely in its margins, Anthology strives to advance the cause and protect the heritage of a kind of cinema that is in particular danger of being lost or overlooked. OUR WORK For nearly 50 years, Anthology has been committed to the preservation and restoration of work by the most important American independent and experimental filmmakers. To date, Anthology has preserved more than 1,000 works through modern preser- vation techniques — both photochem- ical and digital. Visited regularly by scholars, curators, writers, students, and aspiring filmmakers, Anthology works to make important titles accessible to the general public through screenings, archival loans, on-site research, and online access. Anthology’s programming is among the most diverse of any repertory cinema in the United States, encom- passing its Essential Cinema series, as well as premieres, revivals, retro- spectives, and survey screenings IMAGES FROM FILMS of contemporary and classic works “I am awed by what Anthology Film Archives PRESERVED BY ANTHOLOGY (TOP TO BOTTOM): MESHES of cinema from around the world. -
Women's Experimental Cinema
FILM STUDIES/WOMEN’S STUDIES BLAETZ, Women’s Experimental Cinema provides lively introductions to the work of fifteen avant- ROBIN BLAETZ, garde women filmmakers, some of whom worked as early as the 1950s and many of whom editor editor are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her Experimental Cinema Women’s work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the ter- rain of film history, particularly the history of the American avant-garde. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Marie Menken used film as a way to rethink the transition from ab- stract expressionism to Pop Art in the 1950s and 1960s, how Barbara Rubin both objecti- fied the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Cheryl Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, in- cluding a tendency toward documentary rather than fiction and a commitment to nonhi- erarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by sug- gesting alternative films for classroom use.