LIGHT was primary in my consideration. All senses of “process” are (to me) based primarily on “thought-process”; and “thought-process” is based primarily on “memory re-call”; and that, as any memory process (all process finally) is electrical (firing of nerve connection) and expresses itself most clearly as a “back-firing” of nerve endings in the eye which DO become visible to us (usually eyes closed) as “brain movies” – as Michael McClure calls them. When we are not re-constructing “a scene” (re-calling something once seen), then we are watching (on the “screen” of closed eye-lids) the very PROCESS itself. —Canyon Cinema
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