In this Book

Wilfrid Laurier University Press
summary

Since the late 1950s Stan Brakhage has been in the forefront of independent filmmaking. His body of work — some seventy hours — is one of the largest of any filmmaker in the history of cinema, and one of the most diverse. Probably the most widely quoted experimental filmmaker in history, his films typify the independent cinema.

Until now, despite well-deserved acclaim, there has been no comprehensive study of Brakhage’s oeuvre. The Films of Stan Brakhage in the American Tradition fills this void. R. Bruce Elder delineates the aesthetic parallels between Brakhage’s films and a broad spectrum of American art from the 1920s through the 1960s.

This book is certain to stir the passions of those interested in artistic critique and interpretation in its broadest terms.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
  2. pp. iii-iv
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  1. With Gratitude
  2. pp. v-viii
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  1. Acknowledgments
  2. pp. ix-xi
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  1. Preface
  2. pp. 1-8
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  1. From the Givenness of Nature to the Encumbered Modern Body
  2. pp. 8-11
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  1. The Signifying Body
  2. pp. 12-17
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  1. The Two Bodies in the Philosophy of Arthur Schopenhauer: The Body Observed Externally and the Body Experienced from Within
  2. pp. 18-30
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  1. The Modern Body's Unbearable Burden of Being
  2. pp. 30-37
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  1. The Harmony of Spirit and Body
  2. pp. 37-41
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  1. The Primacy of the Subject Body and the Recessiveness of the Subject Body
  2. pp. 41-44
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  1. Chapter 1. Four for America: Williams, Pound, Stein, Brakhage
  2. p. 45
  1. Styles of English Metre
  2. pp. 45-63
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  1. Meaning and Personal Being: Pound and Brakhage
  2. pp. 64-69
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  1. The Seachange: Or, How Pound Came "To Break the Pentameter"
  2. pp. 69-75
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  1. Bergson, Hulme, Pound, and Brakhage on the Body and Energy
  2. pp. 75-100
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  1. Experience as Energy: A Pattern for Thinking
  2. pp. 100-146
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  1. First-Person Singular: Bergson, Hulme, and Brakhage on the Primacy of Individuality
  2. pp. 146-157
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  1. Between Self and World: The Image in Hulme, Williams, Brakhage
  2. pp. 157-212
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  1. Writing = Composing Sound's Energies, Filmmaking = Composing Light's Energies: Gertrude Stein and Stan Brakhage's Conceptions of Their Media
  2. pp. 212-228
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  1. Digressive Interpolation: The Persistence of Emerson's Vision in Stein's Writing and Brakhage's Filmmaking
  2. pp. 228-240
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  1. Out of Stein: A Theory of Meaning for Stan Brakhage's Films
  2. pp. 240-261
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  1. The Paradox of a Perlocutionary Semantics: Brakhage and Stein on Artistic Meaning
  2. pp. 261-295
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  1. The Romanticism of Brakhage's Conception of Meaning
  2. pp. 295-308
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  1. Chapter 2. The Conception of the Body in Open Form Poetics and Its Influence on Stan Brakhage's Filmmaking
  2. p. 309
  1. D.H. Lawrence and the Poetics of Energy
  2. pp. 309-313
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  1. Two Crucial Influences on Embodied Poetics: A.N. Whitehead and Maurice Merleau-Ponty
  2. pp. 313-325
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  1. A.N. Whitehead's Project: Reconciling Permanence and Flux
  2. pp. 325-348
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  1. Olson's Energetics of Embodied Existence
  2. pp. 348-423
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  1. Michael McClure's Poetics: The Body Is an Organism. The Universe Is an Organism. A Poem Embodies an Aspect of the Universe's Evolving Form
  2. pp. 423-431
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  1. Allen Ginsberg: The Breath, the Voice, and the Poem
  2. pp. 432-442
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  1. Action Painting as Performance
  2. pp. 442-452
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  1. Glossary
  2. pp. 453-472
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  1. Notes
  2. pp. 473-532
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  1. Selected Bibliography
  2. pp. 533-544
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  1. Stan Brakhage Filmography
  2. pp. 545-554
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  1. Index
  2. pp. 555-572
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