Etiquetas: Stan Brakhage

Stan Brakhage

Stan Brakhage (14 de Enero de 1933 – 9 de Marzo de 2003) fue un cienasta experimental estadounidense. Es considerado como uno de los más importantes cineastas experimentales el siglo XX. Trabajó con diversos formatos de celuloide: 16mm, 8mm, 35mm, e IMAX, y fue un practicante de lo que denominó como 'pure cinema'.

Nacionalidad:

Estados Unidos

Contenido etiquetado

Free Radicals: A history of experimental film
RE:VOIR is proud to announce the release of the new DVD "FREE RADICALS - A HISTORY OF EXPERIMENTAL FILM" by Pip Chodorov. The DVD features 8 bonus short films by key filmmakers who appear in the documentary and it is subtitled in 8 languages (FRANÇAIS, ESPAÑOL, SRPSKI, ČESKÉ, LIETUVIŲ, 中文, 日本語, 한국어). It also includes a 56-page booklet with texts by Jonas Mekas, Scott Hammen, Raphaël Bassan and Nathaniel Draper.

"Free Radicals" has been screened in 50 international festivals and distributed theatrically in France, USA and Canada.
Valoración:

Promedio: 3.5 (12 votos)
Categoría:
DVD
Editor:
Re:voir
Model, counter model: The use of films by critics

By Anonymous on Vie, 21/11/2014 - 12:43

Written by Jonas Mekas for Film Culture in 1955, the article "Experimental Film in America" was particularly critical against the film avant-garde in America considered at that time by the young film critic as "the imprisoned self". Especially violent against filmmakers whose Jonas Mekas will defend the work later with passion and no limits – from Sidney Peterson to Stan Brakhage, Ian Hugo or Kenneth Anger – this lampoon reflected then the need of breaking the accepted ideas inherited from the tradition of the avant-gardism in cinema, but also the necessity, for the film critics, to canalize the dispersed energy of a young and rising generation of filmmakers. Conceived from this founder and critiqueable text, the program Model, Counter Model offers to revisit the use against type of films by critics.

Fechas:
De Miércoles, Noviembre 26, 2014 - 19:00 hasta Jueves, Noviembre 27, 2014 - 18:55
Local:
Centre Pompidou - Paris, Francia
MuMaBoX #33: Image materials

By Marcos Ortega on Mié, 08/10/2014 - 10:19

The exhibition that MuMa dedicates to Nicolas de Staël gives us the opportunity to question the materiality of the image. Light as a raw material. It passes through the eye of a painter who restores it in his landscapes: glowing in the South, changing in the North. In the films of Nathaniel Dorsky and Paul Clipson, it flows into the camera lens and fixes into film, writing that subtle partition of clear and dark, revealing the optical magic of the recording device.

Device set aside by practitioners of direct cinema, cameraless film, who paint directly on the film as Stan Brakhage and Emmanuel Lefrant. The film strip is no longer simply the space where the image is formed, it increases in thickness and becomes the concrete support of the pictorial material. A different material for the image, the pixel has only temporal reality, but may be subject to speculation. In the work of Jacques Perconte, compressions and decompressions allow passages from the figurative to the abstract, without opposing them, as in the painting of Staël.

Fechas:
De Miércoles, Octubre 15, 2014 - 18:00 hasta Jueves, Octubre 16, 2014 - 17:55
Local:
Musée d'art moderne André Malraux - Le Havre, Francia
Turbidus Film Presents Stan Brakhage & Phil Solomon

By Marcos Ortega on Lun, 06/10/2014 - 03:20

Brakhage and Solomon are two American giants in the so-called poetic, lyrical and personal film. Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Over his nearly 40-year career, he has made over 200 films of varying length. He made his first film, Interim (1952) at age 18 after dropping out of college. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks. Phil Solomon is an internationally recognized filmmaker and has been teaching both film history/aesthetics and film production at CU since 1991. Professor Solomon's work has been screened in every major venue for experimental film throughout the U.S. and Europe, including 3 Cineprobes (one-man shows) at the Museum of Modern Art and two Whitney Biennials.

Fechas:
Viernes, Octubre 17, 2014 - 18:30
Local:
Fylkingen - Stockholm, Suecia
The Cinema of Poetry
Informed by the criticism of iconic filmmaker Pier Pasolini, The Cinema of Poetry offers spirited explorations of poetry's influence on classic films by Dimitri Kirsanoff, Ingmar Bergman, and Andrey Tarkovsky. It also highlights how avant-garde films made by Joseph Cornell, Lawrence Jordan, Jerome Hiler, Gregory Markopoulos, and others found rich, unexpected sources of inspiration in a diverse group of poets that includes Stéphane Mallarmé, Emily Dickinson, H.D., Ezra Pound, Robert Duncan, John Ashbery, and Aeschylus. Written with verve and panache, it represents the culmination of P. Adams Sitney's career-long fascination with the intersection of poetry, film, and the avant-garde.

Valoración:

Promedio: 3.2 (6 votos)
Categoría:
Libros
Editor:
Oxford University Press
Mirror Me - Experimental Selfies

By Marcos Ortega on Mar, 15/07/2014 - 16:57

Everyday millions of hand-held self-portraits, or ‘selfies’, are uploaded on to the internet. With today’s personal technologies, private self-representations-made-public seem symptomatic of Guy Debord's ‘Society of the Spectacle’ or Jean Baudrillard’s ‘Simulacra and Simulation’. Yet for decades, experimental filmmakers and video artists have interrogated questions of self-identity and -referentiality. With the performing body as the site of action produced in relation to the film apparatus and video system, they offer a powerful critique of the male gaze and, in turn, the seeming narcissism at the center of today’s ‘selfie’ culture. A diverse range of artists and traditions have thereby subversively taken up subjective, first-person cinema and issues of self-performance in order to explore questions of identity, power, memory, and the construction of the self. ‘Mirror Me’ presents a selection of musings on the mirroring of the ‘self’ in self-reflexive film and video auto-portraits and personal diary films in order to weave together something of a ‘pre-history’ of the ‘selfie’.

Curated by Pascal Richard and Christopher Zimmerman

Fechas:
Lunes, Julio 21, 2014 - 19:30
Miércoles, Julio 23, 2014 - 19:30
Local:
Austrian Cultural Forum New York - Nueva York, Estados Unidos
KABANE77 Acte VII: Flesh Cinema

By Marcos Ortega on Mar, 24/06/2014 - 16:07

KABANE77 is putting the reel back in motion this summer and is proposing a new series of outdoor events. Dedicated to independent and experimental filmmaking, KABANE77 is inviting you under the trees for ACTE VII.
16mm film projection outdoor screening

- Wedlock House: An Intercourse (Stan Brakhage, 1959, 11 minutes)
- Fuses (Carolee Schneemann, 1964-1967, 23 minutes)
- Christmas on Earth (Barbara Rubin, 1963, 30 minutes)
- T,O,U,C,H,I,N,G (Paul Sharits, 1968, 12 minutes)

On the occasion of the book launch of Ara Osterweil, "Flesh Cinema: The Corporeal Turn in Avant-Garde Film" (Manchester Univ. Press, 2014)

Fechas:
Domingo, Junio 29, 2014 - 21:30
Local:
KABANE77 - Montréal, Canadá
Flesh Cinema: The Corporeal Turn in American Avant-Garde Film
Flesh Cinema: The Corporeal Turn in American Avant-Garde Film explores the groundbreaking representation of the body in experimental films of the 1960s and 1970s. Focusing on sexually explicit films by Andy Warhol, Barbara Rubin, Stan Brakhage, Carolee Schneemann, Yoko Ono and Paul Sharits, this book demonstrates how experimental cinema not only transformed American visual culture, but also the lives of those who created it. By situating these films in relation to the civil rights and sexual liberation movements, Flesh Cinema investigates how social politics continue to inform their meaning.

Valoración:

Promedio: 3.6 (5 votos)
Categoría:
Libros
Editor:
Manchester University Press
Balagan presents... Waldeinsamkeit

By Anonymous on Sáb, 05/04/2014 - 12:25

Screening time: 19:30. Tickets: $10 / $8 student and senior.

Rebounding from the sylvan charms of A Spell to Ward off the Darkness, we've decided to unveil this melancholy program centered on Waldeinsamkeit, or, woodland solitude. The forest has always sparked the imagination of the lonely traveler, promising encounters with tree-dwelling spirits, ferocious bandits, treacherous plantlife, and feline royalty... During Transcedentalist times, it grew into a benevolent zone of introspection and personal growth. And today, it has gained the status of vestige signifying humanity's lost innocence.

The presented films touch upon some of these ideas in direct or oblique ways, whether through exploring the endlessly compelling shapes of the forest, the evolution of a solitary space across time, or the human's place within. The lineup features a number of new international works that innovatively utilize experimental techniques like pinhole cinematography, screenprinting, layering of multiple exposures, and timelapse; as well as a couple rarely-seen classics -- and a few surprises.

Fechas:
Jueves, Abril 17, 2014 (Todo el día)
Local:
Brattle Theatre - ,
Early Monthly Segments #61: 5th Anniversary Screening

By Marcos Ortega on Mié, 05/03/2014 - 17:21

To celebrate our fifth year anniversary we’ve given ourselves the challenge of programming (and projecting) an evening of double projections!

Vanessa O’Neill’s sublime Suspension uses rephotography, tinting and superimposition to turn a westward view of the Pacific Ocean into a sublime interplay of waves, light and grain. Malcolm Le Grice’s classic Berlin Horse is a film that explores the possibilities of the loop, taking a short fragment of a silent film and subjecting it to a series of colour processes amplified by the phased music of Brian Eno. Daichi Saito’s Never a Foot Too Far, Even is a contemporary expansion, superimposing a section of a Kung-Fu action film into a perceptual play, accompanied by a violin composition by Malcolm Goldstein. Tonight’s screening of Visions in Mediation #2: Mesa Verde, Stan Brakhage’s vision quest to the ruins of the Ancient Peublo cliff dwellings in Southwestern Colorado is amplified by a second print given to Kate MacKay from the filmmaker as a gift. And finally, a third projector will be sparked to present For My Crushed Right Eye, Toshio Matsumoto’s ode to the social unrest and expansion of the late sixties, all of which threatened to burst out of the frame.

Fechas:
De Lunes, Marzo 17, 2014 - 20:00 hasta Martes, Marzo 18, 2014 - 19:55
Local:
Gladstone Hotel - Toronto, Canadá