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class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-13733\u0022 class=\u0022node node-artist article odd node-lang-es node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/stanbrakhage.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-13733-8wMJG5ZriI0\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/stanbrakhage.jpg?itok=gilirDJH\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EStan Brakhage\u003C\/strong\u003E (14 de Enero de 1933 \u2013 9 de Marzo de 2003) fue un cienasta experimental estadounidense. Es considerado como uno de los m\u00e1s importantes cineastas experimentales el siglo XX. Trabaj\u00f3 con diversos formatos de celuloide: \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/16mm\/\u0022\u003E16mm\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/8mm\/\u0022\u003E8mm\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/35mm\/\u0022\u003E35mm\u003C\/a\u003E, e \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/IMAX\/\u0022\u003EIMAX\u003C\/a\u003E, y fue un practicante de lo que denomin\u00f3 como \u0027\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/pure_cinema\/\u0022\u003Epure cinema\u003C\/a\u003E\u0027.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EBiograf\u00eda\u003C\/strong\u003E Brakhage naci\u00f3 como \u003Cstrong\u003ERobert Sanders\u003C\/strong\u003E en un orfanato de Kansas City, Missouri. Tres semanas despu\u00e9s de su nacimiento fue adoptado por Ludwig y Clara Brakhage y se le dio el nombre de \u003Cstrong\u003EJames Stanley Brakhage\u003C\/strong\u003E.\u003C\/p\u003E\n\u003Cp\u003EAs a child, he appeared on radio as a boy soprano before going to high school in and then dropping out of Dartmouth College after several months to make films. He was influenced by the writings of Sergei Eisenstein and the films of Jean Cocteau as well as the Italian neorealism movement. His first film, Interim (1952), was in the neo-realist style and had music by James Tenney.\u003C\/p\u003E\n\u003Cp\u003EIn 1953, Brakhage moved to San Francisco where he associated with poets such as and Kenneth Rexroth. In late 1954, he moved to New York City where he met a number of contemporary artists, including \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Maya_Deren\/\u0022\u003EMaya Deren\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Marie_Menken\/\u0022\u003EMarie Menken\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Joseph_Cornell\/\u0022\u003EJoseph Cornell\u003C\/a\u003E, and John Cage.\u003C\/p\u003E\n\u003Cp\u003EBrakhage\u0027s films are usually silent and lack a story, being more analogous to visual poetry than to prose story-telling. He often referred to them as \u0027visual music\u0027 or \u0027moving visual thinking.\u0027 His films range in length from just a few seconds to several hours, but most last between two or three minutes and one hour. He frequently hand-painted the film or scratched the image directly into the film emulsion, and sometimes used \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/collage\/\u0022\u003Ecollage\u003C\/a\u003E techniques. For \u003Ca href=\u0022http:\/\/www.fredcamper.com\/Film\/BrakhageS.html#Mothlight\u0022\u003E\u0027\u0027Mothlight\u0027\u0027\u003C\/a\u003E (1963), for example, he taped moth wings, twigs, and leaves onto clear film and made prints from it. In the 1960s and 1970s especially, his life with his first wife Jane and their five children was frequently shown, though in a fragmented and interior way rather than as documentation.\u003C\/p\u003E\n\u003Cp\u003EBrakhage\u0027s work covers a variety of subjects and techniques. \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Window_Water_Baby_Moving\/\u0022\u003EWindow Water Baby Moving\u003C\/a\u003E\u003C\/em\u003E (1959) is a record of the birth of his first child, while \u003Cem\u003E23rd Psalm Branch\u003C\/em\u003E (1966-67) is a meditation on war that intercuts footage of Colorado, where he lived, with shots of World War II. \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Dog_Star_Man\/\u0022\u003EDog Star Man\u003C\/a\u003E\u003C\/em\u003E (1961-64), perhaps his most famous work, features a man climbing a mountain, shots of stellar objects and more footage of his wife giving birth. It is usually read as addressing the unity of creation. The same footage was also made into a much longer film, \u003Ca href=\u0022http:\/\/www.fredcamper.com\/Film\/Brakhage7.html\u0022\u003EThe Art of Vision\u003C\/a\u003E. Works from his later periods include the four-part \u0027Faust Series\u0027 (1987-89), the four-part \u0027Visions in Meditation\u0027 (1989-90), \u0027Passage Through: A Ritual\u0027 (1991), and \u0027The Vancouver Island Quartet\u0027 (1991-2002). One of his last works was the thirty minute , \u003Ca href=\u0022http:\/\/www.fredcamper.com\/Film\/Brakhage3.html#Panels\u0022\u003E\u0027Panels For the Walls of Heaven\u0027\u003C\/a\u003E, the last of the four Vancouver Island films. He also completed several more collaborations with musicians, including two more works with music by James Tenney, \u0027Christ Mass Sex Dance\u0027 (1991), and \u0027Ellipses #5\u0027 (1998).\u003C\/p\u003E\n\u003Cp\u003EBrakhage wrote a number of books, including \u003Cem\u003EMetaphors on Vision\u003C\/em\u003E (1963), \u003Cem\u003EA Moving Picture Giving and Taking Book\u003C\/em\u003E (1971), and the posthumously published \u0027Telling Time: Essays of a Visionary Filmmaker\u0027 (2003). He often gave lectures at universities, museums, galleries, film festivals and so on. From 1969 he taught film history and aesthetics at the School of the Art Institute of Chicago and from 1981 taught at the in Boulder. He taught because, despite being the best known American avant-garde filmmaker, he could not make a living from his work.\u003C\/p\u003E\n\u003Cp\u003EBrakhage was diagnosed with cancer in 1996, and his bladder was removed. The surgery seemed successful, but the cancer eventually returned. He retired from teaching and moved to \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Canada\/\u0022\u003ECanada\u003C\/a\u003E in 2002, settling with his second wife Marilyn and their two sons in . Brakhage died there on March 9, 2003, aged 70, having made almost four hundred films in all. He believed, and his doctors confirmed, that the coal-tar dyes he used to paint his films prior to 1996 had caused his cancer.\u003C\/p\u003E\n\u003Cp\u003EBrakhage is revered as one of the most important filmmakers of the 20th century, and his work has had some small impact on mainstream cinema. The credits of the film , with their scratched emulsion, rapid cutaways and bursts of light are in Brakhage\u0027s style. The concluding credits to \u003Cem\u003EThe Jacket\u003C\/em\u003E are an homage, the background imitating his \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Mothlight\/\u0022\u003EMothlight\u003C\/a\u003E.\u003C\/em\u003E\u003C\/p\u003E\n\u003Cp\u003EAmong Brakhage\u0027s students were Eric Darnell, the director of Antz, as well as the creators of \u003Cem\u003ESouth Park\u003C\/em\u003E, Matt Stone and Trey Parker, and he is featured in their student film . The work of contemporary film and video artist \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Raymond_Salvatore_Harmon\/\u0022\u003ERaymond Salvatore Harmon\u003C\/a\u003E is often compared to Brakhage\u0027s abstract films. The opening track of Stereolab\u0027s album \u003Cem\u003EDots and Loops\u003C\/em\u003E, \u0027Brakhage\u0027, is also named after him.\u003C\/p\u003E\n\u003Cp\u003EThe Academy of Motion Picture Arts and Sciences Film Archive is currently working on the restoration of Stan Brakhage\u0027s complete film output.\u003C\/p\u003E\n\u003Cp\u003EThe films of Stan Brakhage are distributed in their original format by \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/article\/canyon-cinema\u0022\u003ECanyon Cinema\u003C\/a\u003E\u00a0in San Francisco.\u003C\/p\u003E\n\u003Cp\u003EFuente: Wikipedia\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENacionalidad:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EEstados Unidos\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__56WtQpbTz4oiIHDYE-goa_4HU4O7exM69WZlto7mvmY.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}