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Which clippings match 'Stan Brakhage' keyword pg.1 of 2
07 DECEMBER 2013

A history of colour organs and visual music

"'The early history of this art was driven by an interest in color. In the eighteenth century, a Jesuit priest, Louis Bertrand Castel, invented the first color organ. Others, including D.D. Jameson, Bainbridge Bishop, and A. Wallace Rimington, created color organs through the next century [2]."

(Maura McDonnell, 2002)

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1730 • 1742 • 18th century • Alexander Scriabin • Alexander Wallace Rimington • amplitudeanalogue correspondence • Arnaldo Ginna • Audiovisual Environment Suite (AVES) • Bainbridge Bishop • Bruno Corra • clavecin oculaire • Clavilux • colourcolour and music • colour and sound • colour light • colour music • colour organ • colour tone • coloured light • coloured notes • compositioncorrelative analogue • D.D. Jameson • experimental instrument • experimental musical instrumentFernand Leger • Fred Callopy • Georg Telemann • GesamtkunstwerkGolan LevinHans Richter • harpsichord • Harry SmithhueinventionJames WhitneyJohn Whitneykeyboard • Lejf Marcussen • Len Lye • Leopold Survage • light organ • Louis Bertrand Castel • Luigi RussoloMan RayMarcel Duchamp • Mary Ellen Bute • Maura McDonnell • music historymusical instrumentNorman McLaren • Ocular Harpsichord • organOskar Fischinger • Paul Friedlander • piano style keyboard • pitch to hue • projected light • Prometheus (mythology) • rhythmiclight • Roy De Maistre • soundStan Brakhagesynaesthesia • synesthesia • Thomas Wilfred • timbre • tone colour • Viking Eggelingvisual music • Wallace Rimington • Walter Ruttmann • Wurlitzer

CONTRIBUTOR

Simon Perkins
11 JULY 2013

Isidore Isou's influential Venom and Eternity

"This experimental film ('Venom and Eternity') by Isidore Isou constitutes the Letterist manifesto of film. Rejecting film conventions by 'chiseling' away at them, Isou introduced several new concepts, including discrepancy cinema where the sound track has nothing to do with the visual track. In addition, the celluloid itself was attacked with destructive techniques such as scratches and washing it in bleach. Causing a scandal at the 1951 Cannes Film Festival, this film was later introduced in the United States where it influenced avant–garde film makers such as Stan Brakhage."

(Internet Archive)

Fig.1 Isidore Isou (1951). Traité de bave et d'éternité. Venom And Eternity.

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1951 • anarchism • artistic expressionavant-garde cinemaavant-garde film maker • bleach • celluloidcinema • cinema is dead • cinematic conventionsconventionsdeath of cinemadeath of the authordeface • destructive techniques • discrepancy cinema • Eric Rohmer • experimental filmformal workformalismGuy Debord • influential practitioners • influential worksInternet Archive • Isidore Isou • Jean Cocteau • letterist manifesto • lettrism • lettrist movement • Maurice Scherer • rejectionRomanian • Romanian filmmaker • scratches • situationism • situationistStan Brakhagestock footagesync sound • Venom and Eternity (1951)

CONTRIBUTOR

Simon Perkins
28 DECEMBER 2012

Influential American experimental cinema: Meshes of the Afternoon

"Meshes of the Afternoon is one of the most influential works in American experimental cinema. A non–narrative work, it has been identified as a key example of the 'trance film,' in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus. The central figure in Meshes of the Afternoon, played by Deren, is attuned to her unconscious mind and caught in a web of dream events that spill over into reality. Symbolic objects, such as a key and a knife, recur throughout the film; events are open–ended and interrupted. Deren explained that she wanted 'to put on film the feeling which a human being experiences about an incident, rather than to record the incident accurately.'

Made by Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant–garde movement in film in the United States, which is known as the New American Cinema. It directly inspired early works by Kenneth Anger, Stan Brakhage, and other major experimental filmmakers. Beautifully shot by Hammid, a leading documentary filmmaker and cameraman in Europe (where he used the surname Hackenschmied) before he moved to New York, the film makes new and startling use of such standard cinematic devices as montage editing and matte shots. Through her extensive writings, lectures, and films, Deren became the preeminent voice of avant–garde cinema in the 1940s and the early 1950s."

(MoMA, 2004)

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999.

Maya Deren (1943). "Meshes of the Afternoon", 16mm film, black and white, silent, 14 min. Acquired from the Artist.

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16mm1943 • Alexander Hackenschmied • Alexander Hammid • American cinemaavant-garde cinemablack and whiteBolexcinemacinematic devicescloakdeathdream • dream world • dreamlike qualityeditingexperimental cinemaexperimental film • experimental filmmaker • filmfilm pioneerfilmmakerflowerFreudianindependent cinemainfluential directorinfluential worksKenneth Angerkeyknife • matte • Maya Deren • Meshes of the Afternoon • mirrorMoMA • New American Cinema • non-narrativeopen-endedpersonal filmrecurring ideasrepetitionrhythmscreen-mediated virtual spaceseminalsilent filmstaircaseStan Brakhagesurrealist cinemasymbolic meaningsymbolism • Teiji Ito • tranceunconscious desires • unconscious meaning • women in filmwomen in historywordless

CONTRIBUTOR

Simon Perkins
01 JANUARY 2011

Len Lye: an innovative explorer of cameraless filmmaking

"Cameraless film refers to a method of producing moving image where the artist or filmmaker bypasses the photographic process and directly manipulates film stock (either additively or subtractively) with methods such as drawing, collage and painting. Due to the inherent difficulties of generating handmade images on film, direct animation doesn't lend itself to pictorial illusion or linear narratives. The imagery tends to be atavistic, animistic, frenetic; and due in part to this visual proximity to pure abstraction, the conceptual content of this genre has been largely overlooked. Since they sit so ambivalently between fine art and cinema, both camps have historically positioned these films as being principally concerned with formalism and material experimentation. But revising this apprehension, Zelluloid: Filme Ohne Kamera brings together a selection of films, tracing the ideational threads which significantly inform and influence this manner of filmmaking.

In 1935, Len Lye's film A Colour Box was so different in its use of filmic language that the Brussels Film Festival had to invent a new prize for it to win. As vivid and enchanting today as they were visionary and challenging, Lye's animated shapes dancing to the percussion of popular Cuban and African music were a hit with audiences more accustomed to viewing cinema in its industrial, commercial capacity. The very act of painting abstract imagery on film was a conceptual leap in terms of severing film's indexical relationship with the world and using it to explore an abstract, synaesthetic experience."

(Genevieve Allison, 5 August 2010, EyeContact)

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1935 • A Colour Box • abstraction • Aldo Tambellini • Amy GranatanimationAotearoa New Zealandart • Barbel Neubauer • Belgium • Brussels Film Festival • cameraless film • Cecile Fontaine • cinematic languagecolourcraftcreative practicedesign formalismDieter Rothdirect animationdirect filmdirect manipulationdrawing • Emmanuel Lefrant • experienceexperimental filmfilm making • film stock • filmmakerfine arthandmadeHarry Smith • Hy Hirsh • Ian Helliwell • imageryJennifer ReevesJennifer West • Jose Antonio Sistiaga • kiwi short filmsLen Lye • Luis Recoder • Marcelle Thirache • material experimentationmaterial practicematerialist cinemamethodmoving imageNew Zealand cultureNorman McLarenpaintingpattern • Pierre Rovere • pioneerpure abstraction • Schmelzdahin • scratch filmsequence designStan Brakhagesynaesthesia • Takahiko Iimura • Tony Conradvisual artsvisual culturevisual languagevisual spectacle

CONTRIBUTOR

Simon Perkins
01 NOVEMBER 2008

Mothlight: Brakhage's celluloid flypaper

"Mothlight visualises a 'day in the life' of an insect from birth to death; however, it summons some of the more positive associations of lepidoptera, such as creativity and the soul (1). You could say Brakhage puts the 'anima' back into animation, reanimating the dead, painstakingly affixing the remains of dead insects, leaves and the like onto the film strip, and feeding it through the projector back to life. Of course, the principle of film projection is the illusion of life through light, with the audience gathering to watch like moths attracted to a lamp: the beauty of Mothlight is the way Brakhage evokes the moth not through cartoon mimicry, but by the fragile sensation of its movement, batting against the screen, hurtling in descent. The effect is exhilarating and terrifying.

Brakhage might be accused of playing God (or Dr Frankenstein), and it is no coincidence that Mothlight was assembled during the long production of his creationist epic Dog Star Man (1961–4). ... Its making is also a dismantling – imagine celluloid flypaper – and its examination of life's remains looks forward to The Act of Seeing with One's Own Eyes (1971). Mothlight acknowledges the limitations of the screen, the way film traps subject matter in a box, suffocating the life out of it."
(Darragh O'Donoghue)

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1963animationavant-garde cinemaavant-garde film makercameraless film • celluloid flypaper • cinemaexperimental filmfilm • film strip • Frankensteinindependent filminsectlightmaterial practicematerialist cinemamaterialitymoth • Mothlight • non-narrativeStan Brakhage

CONTRIBUTOR

Simon Perkins
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