Essential Brakhage: Selected Writings on Filmmaking. Liza Palmer. Author. Liza Palmer. Animation: Genre and Authorship By Paul Wells London: Wallflower. Essential Brakhage: Selected Writings on Filmmaking over the past 50 years, ” Stan Brakhage” became synonymous with independent American filmmaking. Results 1 – 30 of 39 Essential Brakhage: Selected Writings on Filmmaking by Stan Brakhage and a great selection of related books, art and collectibles available.
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Essential Brakhage: Selected Writings on Filmmaking by Stan Brakhage
New York University Press, Fani Avramopoulou rated it braihage was amazing Jan 06, Unique within film making, animation can operate at extremes of authorship: To be sure, Essential Esssential wants a stronger editor-figure, like P. Clint rated it it was ok Nov 03, Here, Street links the use of costume to that of her earlier analysis of The Talented Mr Ripley Anthony Minghella,where themes of identity and gender are also particularly linked with a jacket.
Runa Aruna rated it really liked it Jul 10, In the first chapter Mishra invents the self-image of “traditional” devotees of Indian spectators, who watch the projection of their desires to be fulfilled by the diversifying images of God on the screen. The segmentation of the Bollywood Cinema, as mentioned above, seeks to follow a chronological order though each segment is open to historical mobility.
Thus the tension between the commercial necessity of mass appeal and the desire to create independent film documents, present probably in almost any national cinema, receives attention throughout this chronicle, as do the rise and maintenance of star systems, the varieties of government influence evidenced by means of censorship, financial control, and political coercion, the role of genre in film history, technological developments, and the influence of Hollywood.
Of these case studies the sections on Harryhausen and Leaf are probably of most interest, primarily because Wells includes personal interviews with the animators, giving significant insights into their own understandings of the position and status of their work in terms of authorship.
The text often becomes redundant though; if one is unfamiliar with the production being described and Bourne demonstrates how a great deal of this early material has been lostthe emotion, hardships or triumphs of these actors’ careers often becomes secondary.
The book also includes a number of interviews, as well as an annotated list of key films and an extensive bibliography. Perhaps the book’s only unforgivable error is Tierno’s confusion of Homer’s Odyssey with the Iliad Paperbackpages. The mock-documentary David Holzman’s Diary Jim McBride, is seen as the most important, and unlikely, precursor to the autobiographical documentary. There are other points to take issue with as well. At final tally, The End of Cinema is a oh of mostly-solid film criticism by many of the rssential names in film studies.
As writer Andrew Davies observes, they have no background in drama, no ability to read a script, and focus on tried-and-true formulas rather than innovation.
He is considered to be one of the most important figures in 20th-century experimental film. Read, highlight, and take notes, across web, tablet, and phone. Frequently dismissed as nothing more than an entertainment form aimed at children, animation has rarely been considered worthy of sustained critical or academic attention.
Because of the nature of the work as an introductory text however, its scope is necessarily limited and it serves primarily as a starting point for those interested to pursue further research on the subject.
To see what your friends thought of this book, please sign up. Davies’ book stresses that the process “works best as a collaborative [one] in which… children, whatever they are like, are treated as if they were sensible people” Account Options Sign in.
This mode is further split into two components: However, Essential Brakhage is not totally without merit — far from it. This is evidence of Bourne’s second fundamental problem — his simplistic theoretical framework.
This is a potentially fruitful thesis, isolating as it does a sequence of works spanning most of Wilder’s career, and opening up the possibility for contextual study of, as Armstrong puts it, “American life in the middle years of the ‘American Century'” 7. Raul rated it liked it Jun 13, Aided by a focus on the “circuit of production” involved in Hollywood filmmaking, Austin astutely uses the dispersible text to explicate both Hollywood marketing and media and audience responses to films.
Table of Contents for: Essential Brakhage : selected writings o
One great prospect for the book lies in its popular appeal of approaching any serious issue selectrd an identifiable India — “Ishtyle” of mass culture. Whether you love Brakhage or despise him, he remains so central to the avant garde film movement within the United States that he is hard to ignore.
Chion is a fine host and Kubrick’s film is lucky to have such an accommodating friend, and proponent for the film’s status as a modern classic. Blacks in the British Frame begins with a Black Film Bulletin interview with the author that explains how he came into this field of study and problems that he personally encountered in his research and work.
Essential Brakhage: Selected Writings on Filmmaking | Liza Palmer –
Rather, Godard’s extensive borrowing and imitating of Hollywood conventions in A bout de souffle make Breathless a “reproduction of a reproduction” Dovey is a media practitioner as well brakhafe a media scholar, and uses this background to move aritings discussion of such programming beyond textual analysis or political economy and away from criticism of it as a genre and as symptomatic of a decline in media and audience standards.
Despite animation’s prominent status in everyday life, from television commercials to the recent spate of popular feature length animation films to various uses on the Web, the form itself has suffered a long history of systematic neglect — both critically and academically. She investigates why, considering the popular nature of these genres, critics would ascribe sflected higher value to the original.
And speak the film does, in pauses, breaks, and most notably in repetitions.