CHICAGO REVIEW最新文献_第8页

What All Comes Clear on Such a Morning. You 在这样一个早晨，一切都变得清晰。你

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2002-01-01 DOI: 10.2307/25304889

Durs Grünbein, R. Waldrop

引用次数: 0

Dr Eyeye Dr 眼眼医生

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2002-01-01 DOI: 10.2307/25304881

Gerhard Falkner, Andrew Duncan

引用次数: 0

[My Day's Allotment of People] [我一天的分配人数]

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2002-01-01 DOI: 10.2307/25304885

Matthias Göritz, Susan Bernofsky

引用次数: 0

Three Variations Hum the Possible-to-Say 三个变奏哼出可能要说的话

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2002-01-01 DOI: 10.2307/25304998

Kevin McFadden

引用次数: 0

On a Serpent Painted on the Aft of a Ship 画在船尾的蛇

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2002-01-01 DOI: 10.2307/25305010

Hipponax, Alexandra Papaditsas, Kent Johnson

引用次数: 0

The "Document" Correspondence of Stan Brakhage Stan Brakhage的“文件”通信

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2001-12-22 DOI: 10.2307/25304811

M. Nesthus

{"title":"The \"Document\" Correspondence of Stan Brakhage","authors":"M. Nesthus","doi":"10.2307/25304811","DOIUrl":"https://doi.org/10.2307/25304811","url":null,"abstract":"Throughout Stan Brakhage's career, the quality most often ascribed to his work has been \"visionary\". Certainly many of the statements the filmmaker has made over the years concerning his motives and methods have evoked such an understanding. Indeed, he has encouraged the development of a critical vocabulary concerning his work that centered around the presentation of a \"way of seeing.\" However, Brakhage has also insisted, from the very beginning of his film career, upon the relationship of his film work to the world around him. The films themselves testify to the range of his attention. In his work Brakhage has depicted the daily, seasonal, and enduring processes of nature and of human nature. He has scrutinized flora and fauna, pondered geology and cosmology. He has meditated upon the society within which he and his family and all other Americans live. Through the imagery he has extracted from his surroundings, he has contemplated its assumptions, its belief systems, its practices--its institutions and its s tructures. He has confronted its taboos. His films on sexuality and death have been landmark explorations of the territory, and have inspired controversy as much for the daring of their subject matter as for their treatment of it. Despite Brakhage's occasional claim that he may be the \"most documentary of filmmakers,\" he has been consistently critical of documentary film techniques. Troubled by what he considers to be the unquestioning identification of film or television imagery with the complex reality existing in front of any camera, he has consistently foregrounded this skepticism by reminding his friends and colleagues as well as his students and audiences of the built-in perspectival7 conventions that a camera lens imposes, and by drawing their attention to what he believes are the \"19th-century dramatic structures\" lurking behind the presentation of television news and many documentary films. From the late 1950s to the mid-1970s, while Brakhage was coming into his own as a filmmaker, the documentary film was undergoing a transformation in style and practice as well as an accompanying surge of popularity. Changes in documentary technique, style, and theory would come to serve throughout these years as a ground for Brakhage's changing style. The positing of an ideal documentary form, in which the subject of the film could be captured directly, without any interpretative fashioning of the filmmaker--as held against the acknowledgment of the likelihood, the desirability, and ultimately, even the inevitability of the filmmaker's shaping sensibility--provided documentary filmmakers with a central dilemma, complex and highly significant for both their theories and their practices in the 1960s and throughout the 1970s. As a consequence of the range of theoretical views of documentary that were being put forth, which included the sense that documentary film had a specific and intimate relationship with the life around it, the documentary becam","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"47 1","pages":"133"},"PeriodicalIF":0.1,"publicationDate":"2001-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25304811","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69013290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Realm Buster: Stan Brakhage Realm Buster：Stan Brakhage

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2001-12-22 DOI: 10.2307/25304814

M. Mcclure, Stephen Anker

{"title":"Realm Buster: Stan Brakhage","authors":"M. Mcclure, Stephen Anker","doi":"10.2307/25304814","DOIUrl":"https://doi.org/10.2307/25304814","url":null,"abstract":"MICHAEL McCLURE: Stan is a realm buster, and I use \"realm\" as the word is used in Biology and in Zen. Stan uses his energy and it's almost like moving his shoulders powerfully to break the walls between realms. Some of these realms are the concept of painting, the idea of poetry, the meaning of music, what portrait is, what personal physiology is; other realms that Stan opens up are human and other biology, also the nervous system, ideation--how things are conceived; and then there's the separation between hearing and seeing, sound and silence, and music and sound, which are all explored and more or less brought into one shape in his work. When enough realms are opened, the walls between them torn down or ignored away, then consciousness and concrete experience become one sizeless event in the sizeless event of the Taoist uncarved block which is either the universe or the body, as you see it. Stan likes to say that he was frustrated in his early desire to be a poet and that his hundreds of hours of film are closer to music than to poetry. I can appreciate that, especially in terms of Messiaen or Vivaldi. I also hear his delight in Madrigals, as much as other music. But Stan derives some of the organicity of his huge body of work from the style and thoughts of some liberated poets of today. I'm thinking of the works of Robert Duncan, as they branch like rivers and streams, one from another, lighting the dark of the night or lighting the dark of the body and mind. There's also the sizeless willingness of Charles Olson's spirit in Stan's films--Olson's willingness to let things break, to let things fall down and go boom, and to trust that they will all land on all fours. Further, there's the sheer trusting experimentality of Gertrude Stein in Stan's work and there's Stan's love of the wry, aesthetic wit and intellective delicacy of Louis Zukofsky. I first met Stan in 1954, at which point he has described himself as being \"the houseboy of Robert Duncan and Jess Collins,\" meaning by that that he helped them fix meals, do dishes, and slept in the flat below their place. I had just begun to know Robert Duncan and less Collins through Robert's first poetry workshop at San Francisco State, which included myself and Helen Adam, a balladeer of the strange and haunted, who was in her girlhood in Scotland called the Fairy Poet. On what was perhaps my first visit to Robert and Jess's San Francisco fiat in 1954, Stan came upstairs to visit. My impression was that Stan was inhabiting the floor below Robert and Jess, which was the housing, as I understood it, for the Centaur Press of Kermit Sheets and James Broughton. Stan is the same age as I am, within a few months, and also as I am, Kansas born. When I saw his huge head with dark, tousled hair and intense eyes that were simultaneously focused and staring, I recognized a kindred spirit. I saw Stan visiting Duncan's lectures at the workshop he was teaching on a number of occasions. Stan was absorbing the energet","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"47 1","pages":"171"},"PeriodicalIF":0.1,"publicationDate":"2001-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25304814","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69013369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Stan Brakhage: Four Silent Nights Stan Brakhage:四个平安夜

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2001-12-22 DOI: 10.2307/25304817

Nathaniel Dorsky

{"title":"Stan Brakhage: Four Silent Nights","authors":"Nathaniel Dorsky","doi":"10.2307/25304817","DOIUrl":"https://doi.org/10.2307/25304817","url":null,"abstract":"Although American avant-gardist Stan Brakhage has achieved a level of expression comparable with more known contemplative filmmakers such as Ozu or Antonioni, he has remained a marginal figure. Great ness sometimes takes longer than artistic fashion will allow. By the time that Brakhage, who has been making films since 1952, began to make his most deeply felt and profoundly elegant visual work, he had virtu ally lost his audience. During the last fourteen years, interspersed among a variety of ventures into sound filmmaking, Brakhage has produced a body of silent work of fragile beauty that directly address our need for an intimate, tender, and prayerful cinema. This work, which we bring together on four nights during July, leaves behind the director's previous concerns with myth and family and centers on an upstream area of poetic exploration closest to the pinpoint of mind where light, spirit, and body come upon one an other. Cinema so rarely touches upon this \"original place\" that the viewer's only difficulty might be in trying to \"read\" these films?to conceptualize them into a literary film language?and therefore miss the joy of their direct and passionate play upon our metabolism. Seeing them is the key; the door of their revelation is the door through which we remember dreams.","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"47 1","pages":"192"},"PeriodicalIF":0.1,"publicationDate":"2001-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25304817","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69013387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Brakhage's Contradictions Brakhage的矛盾

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2001-12-22 DOI: 10.2307/25304808

Fred Camper

{"title":"Brakhage's Contradictions","authors":"Fred Camper","doi":"10.2307/25304808","DOIUrl":"https://doi.org/10.2307/25304808","url":null,"abstract":"1. Stan Brakhage is among the most inclusive of filmmakers. The almost omnivorous impulse behind his choices of subjects and styles makes it difficult to characterize his work in particularizing terms. Included in his films are the sun and the moon, television images, mountains, children on a merry-go-round, open-heart surgery, domesticated animals, a movie theater, tiny blood vessels, portraits of friends, abstract replications of \"closed-eye vision,\" still photos of family members, Alaskan glaciers, Freud's house in Vienna, the filmmaker himself taking a leak, a Paris cemetery, Colorado's governor, childbirths, urban skylines, footage taken by his children, frames of solid color, found footage from an instructional film, and the filmmaker Paul Sharits making love with his wife. While many of Brakhage's films contain no representational images, others are photographed in a manner most would call reasonably \"realistic.\" Underlying all of his films is an impulse to include the richness and variety of a fully live d life, from mundane experiences of dailiness, to images drawn from dreams, to attempts to produce abstractions unlike anything he's seen or imagined before. At close to 400 films, his oeuvre can seem confusing, and it may be that only Brakhage himself has seen every one of them. I find it useful to divide his output into two categories: the \"main line\" and \"applied Brakhage.\" The \"main line\" represents most of his greatest work; it consists of films that evidence a quest which, while difficult to pin down, has an \"isolating\" and \"abstracting\" tendency that at least superficially seems to contradict the inclusiveness their variety of subjects would suggest. Key \"main line\" films include Anticipation of the Night (1958); The Art of Vision (1965); The Horseman, the Woman, and the Moth (1968); The Process (1972); The Riddle of Lumen (1972); Aquarien (1974); The Text of Light (1974); the photographed numerical series of the late 1970s and 1980s such as Romans, Arabics, and Egyptians; most of the parts of \"...\"(1998); many of the recent handpainted films; and the two photographed series of the last decade, Visions in Meditation (1989-90) and the \"Vancouver Island films \" (1991-2000). In each of these very different films one gets the sense that Brakhage has pushed his vision to a new level of isolating intensity. The images they contain are severed from previously predictable ways of knowing; in each film he reinvents his vision by explicitly undercutting any expectations (about subject-matter, composition, rhythm, and so on) created by his previous work. The \"applied\" films, in which he uses some aspects of his already-established style to render an individual subject, include Window Water Baby Moving (1959); \"portrait\" films such as Song 24 (1967), Hymn to Her (1974), Clancy (1974), and Gadflies (1976); the stunning nature film Creation (1979); and the 1971 \"Pittsburgh documents\" (eyes, Deus Ex, and The Act of Seeing with one's own eyes). Mo","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"47 1","pages":"69"},"PeriodicalIF":0.1,"publicationDate":"2001-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25304808","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69013239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 17

Brakhage's Songs (1966) 布拉卡歌（1966）

IF 0.1 3区文学

CHICAGO REVIEW Pub Date : 2001-12-22 DOI: 10.2307/25304812

G. Davenport

{"title":"Brakhage's Songs (1966)","authors":"G. Davenport","doi":"10.2307/25304812","DOIUrl":"https://doi.org/10.2307/25304812","url":null,"abstract":"Cinematography is still so young that a ten-year-old boy who went to the first movie of them all, Louis and Auguste Lumiere's film of unrelated, everyday scenes, would now be only eighty, and might conceivably have seen all the movies ever made. It is not, then, either coincidence or design that the first film found subjects that the most seeing of eyes--Stan Brakhage's--are still inspecting. Lumiere's three subjects were \"Feeding the Baby\" (Brakhage's Song 11), \"The Card Party\" (Song 19), and \"The Arrival of the Train at the Station\" (Song 13). An earlier Lumiere, in fact the very first to be made, shows his employees leaving the factory, a milling of people kin to Brakhage's Song 12, the movements of people at an airport. By 1896, a matter of weeks after the December premiere of these films that merely watched the world, the public could see a gardener placidly watering his flowerbed. A neighbor comes to kibitz, and naturally stands on the hose, which goes dry. The gardener peers into the nozzle. The neighb or steps off the hose. Spurt. Dance of indignation. Brakhage deliberately went back to the first Lumiere, and is still not satisfied that he has exhausted, or ever will exhaust, the potential implicit in that arrangement of world and camera. When Brakhage comes to photograph the train, he is in another train, moving in the opposite direction. He is aware that the other train is doing what the shutter of his camera is doing, and what the gate of the projector will do afterwards: it is slicing up the strong landscape beyond into intermittent bits. He is also aware that he is photographing his own reflection, the only still thing in a film so busy of movement that the audience feels the same dismay as Lumiere's when it shifted nervously as the train it watched kept chugging toward them. Brakhage is photographing a scene most of us choose not to experience; there is something disturbing in the movement of trains witnessed in a moving (or still) train. Once we are past childhood, we prefer to stare at our stable shoes until we can see a less dizzying movement. We are content to call the first non-dramatic films \"studies\". From Muybridge's first analysis of motion onto six, twelve, and even twenty-four plates to the action clips of Donisthorpe and Skladanowsky, the camera was, as Cocteau noticed, a cow's eye. The newsreel and the scientific film have been allowed to look with a cow's eye (or eagle's, or lynx's) but the film has otherwise spent its sixty-eight years watching the gardener's face when his hose went dry. Once Brakhage had made Anticipation of the Night(1958) he had discovered that the camera had developed strenuously but one of the modes latent in the simple fact that it was an eye that could share its sight with any other eye. Brakhage's eye had learned, is still learning, to see in what may prove to be as many modes as physiology and spirit allow--which sounds fatuous until we realize that every eye is pattern-bound in what it sees ","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"47 1","pages":"157"},"PeriodicalIF":0.1,"publicationDate":"2001-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25304812","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69013297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0