Tuesday, February 3, 2009

Reading Response 3 cont.

1. Brakhage’s views on vision according to his revival of the Romantic dialectics of sight and imagination are you should used stylistic choices that attempt to replicate the untutored eye, eliminate linear perspective, and flatten space.
2. Brackhage first embraced the formal directives and verbal aesthetics of Abstract Expressionism; Sitney feels this because his action painting interpretive schemata, action filmmaking interpretative schemata, and he interpret camera manipulations of the film stock.
3. Synecdoche plays a major role in The End, by having six varying degrees of narrative coherence, with MacLaine’s possessed characters. The film anticipates later achievements by Brakhage and the mythopoeic form by the combination of color and black and white, the proleptic use of metaphor, the dialectic of doom and redemption in The End can be found in Brakhage’s, Dog Star Man.
4. Some similarities between the apocalyptic visions of Christopher Maclaine and Bruce Connor, all three of Conner’s film discussed aspire to an apocalyptic vision by engendering in the viewer a state of extreme ambivalence, by alternative gestures of attraction, and repulsion. Unlike Maclaine, Connor liked the vision of doom, and he was not naïve in it. Both filmmakers extended the technical discoveries of their early works in films that were less ambitious and prophetic but no less exquisite.
5. Ron Rice and Robert Nelson continued in the line of extended technical discoveries in the sixties, they simplified and elongated MacLaine’s form the picaresque. Nelson, incorporated strategic elements from Connors work. Ron Rice’s film contained mythic elements.
6. Many fluxfilms were comedies and they share with their more mainstream predecessors both an outward parodic focus and an inward reflexive gaze. The target of this humor was directed less medium in general or the social order to the contemporary art world, especially the deadly film culture represented by the leading avant filmmaking of the day, the personal and poetic cinemas of artists such as Kenneth Anger, and Stan Brakhage.
7. Jenkins means by the democratization of production in the Fluxfilms, the representation of a transgression of the highly individualistic, personal, and handcrafted “style” of then-current avant-garde practice.
8. Jenkin’s argues that Nam June fixed the material and aesthetic terms for the production of subsequent Fluxfilms because it focused on the presentations of basic film materials clear leader, black leader, sound, and silence. Fluxfilms maintained an immaculate conception of the cinema that was at once childlike and cunning.

1 comment:

  1. Re: #1: Again, I'm looking for the romantic notion of vision, before talking about film style choices. How do they conceive of vision?

    #2: This answer doesn't clarify whether you understand the asethetics of abstract expressionism.

    #3: What is synecdoche in the first place? Why does the Golden Gate Bridge fill in for suicide?

    #4: What is a picaresque?

    ReplyDelete