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.

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ESSENTIAL BRAKHAGE: Selected Writings on Filmmaking

Many of Brakhage’s films do have characters and stories; however, they are not realistic. Bycinema-going, increasingly a middle-class recreation, is on the point of deserting the nickelodeon and flea-pit for the purpose-built picture palace.

Too often, the cultural and political arguments Matthews constructs are not systematically applied to the films which supposedly endorse them. For over twenty-five years he has unearthed, rediscovered and made public the history of black people in British film and television.

Essential Brakhage: Selected Writings on Filmmaking by Stan Brakhage

Sommersby, on the other hand, “draws heavily upon earlier cinematic representations of history” 72turning it into a melodrama, rather than attempting to portray “history. Louis, for instance, Armstrong labours the point that the film is as carefully constructed as was Lindbergh’s plane, without ever really justifying the related claim that it is one of Wilder’s very best works.

In order to demonstrate that Wilder’s “European” movies do represent a different, lesser strand of his work, Armstrong needs to say much more about them. Upon reading the works collected within, however, it becomes evident that the individual essays are not asking that question, but seem to be tracing out their own interests in s American cinema. As the research findings suggest, the creation of children’s media programming should be a joint venture, where the needs of the child with regard brrakhage stimulation and entertainment are balanced with the desire of parents to protect their children from those programmes which might be considered harmful.

However, his contribution to filmmaking is undeniable — one need only look at a Martin Scorsese or Oliver Stone film to recognize his influence. The 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. With well over films to his credit, Brakhage is considered to be an unusually prolific filmmaker; but, as Essential Brakhage proves, he is an equally prolific writer.

Return to Book Page. Modes are seen as existing essenial specific movements, though they may draw upon features chiefly associated with particular movements. Bourne demonstrates how these actors’ and actresses’ careers and personal lives intersected. First Person Media and Factual Television links the current popularity of various forms of television documentary a term that is often loosely construed to the changing discourses of public sphere theory.


Read, highlight, and take notes, across web, tablet, and phone. But this line depends on emphasising similarity and neglecting difference, and the individual movies often seem diminished as a result.

Because Keil has generalised, he concludes his argument by turning from the general to the specific and offering a final chapter which anatomises six “transitional” films. Lectures, interviews, essays, and manifestos document Brakhage’s personal vision and public persona. Dovey devotes a chapter each to five particular incarnations of first-person media and factual television although his discussion is primarily about television, he includes some examples from filmreviewing 1 “klutz” films, a newly popular form of reflexive documentary filmmaking in which the creator inserts himself gender intentional into the film as a guarantor of authenticity and as a denial of mastery of the medium; 2 programmes composed of camcorder or surveillance tapes and their impact on televisual forms; 3 “Reality TV”, a term with different valences in the UK and US contexts, particularly that focusing upon criminal activity and other forms of constructed deviance; 4 varieties of TV chat shows; and 5 docu-soaps, in which the lives of “real people” are narrativized to fit pre- defined television genres.

One of Dovey’s key conclusions is that if the media is to have a role as a public resource, that is, if television is truly to be an electronic public sphere, then the media has to exist in a domain separate from the market.

Paperbackpages. Keil’s early chapters set out his stall: Goodreads helps you keep track of books you want to read. For instance, Jon Lewis argues that the recent publicity regarding the MPAA struggle over Eyes Wide Shut and South Park illustrates that the Hollywood rating system is not about “protecting the public good,” but about helping studios make more money and consolidate their hold on the distribution market.

Essential Brakhage : Stan Brakhage :

While Bourne succinctly describes the early history of blacks in film and explores the careers of actors including Elisabeth Welch, Robert Adams, Orlando Martins, Edric Conner and Earl Cameron, the text often becomes tiresome biography without much insight into the prohibitions or limitations these actors faced in their careers. Bob rated it it was amazing Oct 30, This is a seleched of cinema that is itself in need of a revisionist, detailed investigation, in order to counter the somewhat pat descriptions that in many areas still characterise it.

This is a potentially fruitful thesis, isolating as it does a sequence of works spanning most of Wilder’s career, and opening up the possibility for contextual study of, as Armstrong puts it, “American life in the middle years of the ‘American Century'” 7.

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Mazdon concludes that films do not fall “easily into national or generic categories,” and emphasizes instead the “intertextuality of all cinema” In particular Austin mines the theories of brakhge economy, reception and empirical audience studies to examine the flows of influence seelected his chosen groups. Dovey’s fresh approach to his topic is selecfed model for thinking about directions and methodologies for media studies. This mode is further split filmmakong two components: Her comparative methodology — analyzing twelve film pairs French original and Hollywood remake — enables her to deconstruct traditional binaries and argue for the intertextual, hybrid nature of constructions of cross-cultural and national identities.

The academic studies in the second section of the volume display the richness of interdisciplinary media studies in their use of different methodologies and frameworks to analyse individual or series of dramatic texts.

Both Bourne and the heroic figures he describes deserve better. With a sense of humor necessary for a serious study of Reeves, Rutsky explores the actor’s interviews, films, and his physical “blankness” that allows him to shine in films like The Matrix and Point Break. Sadly, Tierno suffers from the rampant misconception that Greek tragedies do not have happy endings there are extant counter-examples. Mishra espouses that such analyses need to be strengthened by the ideology of the point of view, especially in relation to the female object of desire.

Bradley rated it it was filmmakimg Aug 30, She elucidates the function of clothing in constructing and altering the personas of characters by drawing on Annette Kuhn’s The Power of the Image: Wilhelmine cinemaWeimar cinemaThird Reich cinemaPostwar cinemaEast German cinemaWest German cinemaPost-unification cinema Thus he ensures that no aspect of the process of creating popular film is left untouched, a point particularly well-illustrated in his examination of Brakuage Stoker’s Dracula Francis Ford Coppola, Coded Dissent in Female- Authored Wednesday Plays” unsettle the ideal of the “Golden Age” by dissecting its androcentric gender politics.

Genre and Authorship is divided into five chapters, the first three of which unite to form Wells’ “introduction” to animation. Tierno self-consciously repudiates his own exclamatory hype and rhetoric, and shows that he has been using Hollywood’s own idiom as a Trojan Horse.