Centuries of June

United States

1955

11 Min

Color

1.37:1

Silent

Currently 3.2/5 Stars.
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DIR Joseph Cornell, Stan Brakhage

DP Stan Brakhage

Synopsis

This is a film about an old house which was to be torn down. I think Cornell was interested in showing us the beauty of this fine old structure, but it seems dead and lifeless and cut off from the life all around it. We see children and workmen and insects. The neighborhood really is alive and vital, but the house has had its day.

This film has unusual color. I would describe it as “hot” color and I found it very appealing. But I don’t know if this was the way the film looked originally or if the color has changed over the years. —ubu.com

Director

Joseph Cornell

Joseph Cornell was born December 24, 1903, in Nyack, New York. From 1917 to 1921, he attended Phillips Academy, Andover, Massachusetts. He was an avid collector of memorabilia and, while working as a woolen-goods salesman in New York until 1931, developed his interests in ballet, literature, and opera. He lived with his mother and brother, Robert, at their home in the Flushing section of Queens.

In the early 1930s, Cornell met Surrealist writers and artists at the Julien Levy Gallery, New York, and saw Max Ernst’s collage-novel La Femme 100 têtes. Cornell’s early constructions of found objects were first shown in the group exhibition Surréalisme at Levy’s gallery in 1932. From 1934 to 1940, Cornell supported himself by working as a textile designer at the Traphagen studio in New York. During these years, he became familiar with Marcel Duchamp’s readymades and Kurt Schwitters’s box constructions. Cornell was included in the 1936 exhibition Fantastic Art, Dada, Surrealism at the… read more

Joseph Cornell was born December 24, 1903, in Nyack, New York. From 1917 to 1921, he attended Phillips Academy, Andover, Massachusetts. He was an avid collector of memorabilia and, while working as a woolen-goods salesman in New York until 1931, developed his interests in ballet, literature, and opera. He lived with his mother and brother, Robert, at their home in the Flushing section of Queens.

In the early 1930s, Cornell met Surrealist writers and artists at the Julien Levy Gallery, New York, and saw Max Ernst’s collage-novel La Femme 100 têtes. Cornell’s early constructions of found objects were first shown in the group exhibition Surréalisme at Levy’s gallery in 1932. From 1934 to 1940, Cornell supported himself by working as a textile designer at the Traphagen studio in New York. During these years, he became familiar with Marcel Duchamp’s readymades and Kurt Schwitters’s box constructions. Cornell was included in the 1936 exhibition Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. Always interested in film and cinematic techniques, he made a number of movies, including the collage film Rose Hobart (ca. 1936) and wrote two film scenarios. One of these, Monsieur Phot (1933), was published in 1936 in Levy’s book Surrealism.

Cornell’s first two solo exhibitions took place at the Julien Levy Gallery in 1932 and 1939, and they included an array of objects, a number of them in shadow boxes. During the 1940s and 1950s, he made Aviary, Hotel, Observatory, and Medici boxes, among other series, as well as boxes devoted to stage and screen personalities. In the early 1960s, Cornell stopped making new boxes and began to reconstruct old ones and to work intensively in collage. Cornell retrospectives were held in 1967 at the Pasadena Art Museum and the Solomon R. Guggenheim Museum, New York. In 1970, the Metropolitan Museum of Art in New York mounted an exhibition of his collages. Cornell died December 29, 1972, at his home in Flushing. —http://rogallery.com/Cornell_Joseph/Cornell-biography.html

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Stan Brakhage

James Stanley Brakhage (January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker who is considered to be one of the most important figures in 20th century experimental film.

Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film and the use of multiple exposures. Interested in mythology and inspired by music, poetry and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality, sexuality and innocence.

Brakhage’s films are often noted for their expressiveness and lyricism.

Born Robert Sanders in Kansas City, Missouri on June 14, 1933, Brakhage was adopted and renamed three weeks after his birth by Ludwig and Clara Brakhage.

As a child, Brakhage was… read more

James Stanley Brakhage (January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker who is considered to be one of the most important figures in 20th century experimental film.

Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film and the use of multiple exposures. Interested in mythology and inspired by music, poetry and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality, sexuality and innocence.

Brakhage’s films are often noted for their expressiveness and lyricism.

Born Robert Sanders in Kansas City, Missouri on June 14, 1933, Brakhage was adopted and renamed three weeks after his birth by Ludwig and Clara Brakhage.

As a child, Brakhage was featured on radio as a boy soprano and sang in church choirs and as a soloist at other events. He was raised in Denver, Colorado, where he attended high school with the filmmaker Larry Jordan and the musicians Morton Subotnick and James Tenney. Together, Brakhage, Jordan, Tenney and Subtonick formed a drama group called the Gadflies.

Brakhage briefly attended Dartmouth College on a scholarship before dropping out to pursue filmmaking. He completed his first film, Interim, at the age of 19; the music for the film was composed by his school friend James Tenney. In 1953, Brakhage moved to San Francisco to attend the San Francisco School of the Arts, then called the California School of the Arts. He found the atmosphere in San Francisco more rewarding, associating with poets Robert Duncan and Kenneth Rexroth, but did not complete his education, instead moving to New York City in 1954. There he met a number of notable artists, including Maya Deren (in whose apartment he briefly lived), Willard Maas, Jonas Mekas, Marie Menken, Joseph Cornell, and John Cage. Brakhage would collaborate with the latter two, making two films with Cornell (Gnir Rednow and Centuries of June) and using Cage’s music for the soundtrack of his first color film, In Between.

Brakhage spent the next few years living in near poverty, depressed about what he saw as the failure of his work. He briefly considered suicide. While living in Denver, Brakhage met Mary Jane Collom, whom he married in late 1957. Known as Jane Brakhage, she became his first wife. Brakhage tried to make money on his films, but had to take a job making industrial shorts to support his family. In 1959, Jane gave birth to the first of the five children they would have together, an event Brakhage recorded for his 1959 film Window Water Baby Moving.

When Brakhage’s early films had been exhibited in the 1950s, they had often been met with derision, but in the early 1960s Brakhage began to receive recognition in exhibitions and film publications, including Film Culture, which awarded several of his films, including The Dead, in 1962. The award statement, written by Jonas Mekas, a critic who would later become an influential experimental filmmaker in his own right, cited Brakhage for bringing to cinema “an intelligence and subtlety that is usually the province of the older arts.”

From 1961 to 1964, Brakhage worked on a series of 5 films known as the Dog Star Man cycle. The Brakhages moved to Lump Gulch, Colorado in 1964, though Brakhage continued to make regular visits to New York. During one of those visits, the 16mm film equipment he had been using was stolen. Brakhage couldn’t afford to replace it, instead opting to buy cheaper 8mm film equipment. He soon began working in the format, producing a 30-part cycle of 8mm films known as the Songs from 1964 to 1969. The Songs include one of Brakhage’s most acclaimed films, 23rd Psalm Branch, a response to the Vietnam War and its presentation in the mass media.

Brakhage began teaching film history and aesthetics at the School of the Art Institute of Chicago in 1969, commuting from his home in Colorado.

Brakhage explored further approaches to filmmaking in the 1970s. In 1971, he completed a set of three films inspired by public institutions in the city of Pittsburgh. These three films—Eyes, about the city police, Deus Ex, filmed in a hospital, and The Act of Seeing with One’s Own Eyes, depicting autopsy—are collectively known as “The Pittsburgh Trilogy.” In 1974, Brakhage made the feature-length Text of Light, consisting entirely of images of light refracted in a glass ashtray. In 1979, he experimented with Polavision, a format marketed by Polaroid, making about five 2 1/2 minute films. The whereabouts of these films are now unknown. He continued his visual explorations of landscape and the nature of light and thought process, and through the late 70’s and early 80’s produced filmic equivalents of what he termed “moving visual thinking” in several series of photographic abstractions known as the Roman, Arabic, and Egyptian series.

In 1981, Brakhage began teaching at the University of Colorado in Boulder. In 1986, Brakhage separated from Jane, and in 1989 he married his second wife, Marilyn. The two would have two children together. In the late 1980s, Brakhage returned to making sound films, with the four-part Faustfilm cycle, and also completed the hand-painted “Dante Quartet.”

Brakhage remained extremely productive through the last two decades of his life, sometimes working in collaboration with other filmmakers, including his University of Colorado colleague Phil Solomon. Several more sound films were completed, including “Passage Through: A Ritual,” edited to the music of Philip Corner, and “Christ Mass Sex Dance” and “Ellipsis No. 5,” both with music by James Tenney. He also produced the major meditations on childhood, adolescence, aging and mortality collectively known as the “Vancouver Island Quartet,” as well as numerous hand-painted works.

Brakhage was diagnosed with bladder cancer in 1996, and his bladder was removed. The surgery seemed successful, but the cancer eventually returned. He retired from teaching and moved to Canada in 2002, settling with his second wife Marilyn and their two sons in Victoria, British Columbia. Brakhage died there on March 9, 2003, aged 70. The last footage Brakhage shot has been made available under the title Work in Progress. At the time of his death, Brakhage was also working the Chinese Series, made by scratching directly on to film.

Though not a practicing Christian during his adulthood, Brakhage requested a traditional Anglican service. The funeral was attended largely by family members, as well as a few friends from the filmmaking world, and included a performance of J.S. Bach’s Toccata and Fugue in D Minor.

The Brakhage films, comprising his edited originals, intermediate elements, and other original material, are housed at the Academy of Motion Picture Arts and Sciences Film Archive, where a long-term project is underway to preserve and restore his entire film output.

Brakhage wrote a number of books about films, including Metaphors on Vision (1963), A Moving Picture Giving and Taking Book (1971), and the posthumously published Telling Time: Essays of a Visionary Filmmaker (2003). —Wikipedia

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