Stan Brakhage Movies

Begins with raccoon in a rose light, ends with fading face of child.

This film of single-strand photography begins with the "fire" of reflective light on water and on the barest inferences of a ship. Throughout, the...

This, the second film of the continuing autobiographical Duplicity series, is composed of superimpositions much as the mind "dupes" remembered...

Commissioned by the Pittsburgh Bicentennial Association to celebrate the city’s 200th anniversary, PITTSBURGH was created by a team of...

OPEN FIELD is in the mind, of course, and exists as a weave of trees, grasses, waters, and bodies poised and fleeting at childhood's end. The scene...

Hand painting, dye treatments and direct collage edited into 'themes and variations' that tell 'a thousand and one' stories. - Stan Brakhage

Three TV "concretes."

Stan Brakhage shows his new films at MoMA in New York. Before that, he said hello to me, Jonas Mekas, Birgit, the Anthology team and others. Later,...

One of the few Brakhage films featuring spoken dialogue and a central character, this sly and bitter polemic pits an actor (poet? director?) against...

Only at a crisis do I see both the scene as I've been trained to see it ( that is, with Renaissance perspective, three-dimensional logic–colors...

Image-by-image study of the Arapaho summit, in all seasons for two years; the clouds and the climate that carve this place in the landscape (the...

Water for Maya is a hand-painted work which came into being during a film interview with Martina Kudlacek about Maya Deren. There was a sudden...

Peripheral envisionment of daily life as the mind has it - i.e., a terrifying ecstasy of (hand-painted) synapting nerve ends back-firing from...

This film was conceived about 10 years ago when I heard Norman O. Brown define "Tragedy" as "goat-song" (or as Webster has it: "Greek tragoidia fr....

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set...

Stan Brakhage with a movie camera. Winter seascapes.

Persian Series #14 is composed of muted color-shapes shifting variably in juxtaposition and contrast with high-contrast black & white abstract...

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set...

To the child mind, the transformative sacrificial power of "O, Lamb of God" is a daily manifestation - not as an adult shift-of-interest, but rather...

This is a hand-painted work which involves a variety of colors applied within gouged and scratched shapes which approximate both swift shifts of...