During the 1950’s and 1960’s avant garde film making begin to grow at a rate not seen since pre war cinema. ... All this combined meant that North America had become the leading light in avant garde cinema.
Two avant garde directors who became famous for their roles in creating some of the most revived and distinguished experimental pieces of the time were; Bruce Baillie and Stan Brakhage. ... The rhythm of his films is the rhythm of the camera, twenty four frames per second…increased blink rate in time of crisis – rapid change of focus: the memory – the rate at which image recall operates 1 (experimental cin)
Brakhage’s work became known as poetic or lyrical film making. ...
Brakhage’s purposely unprofessional techniques can be seen in his film unconscious London strata’s, the film cuts wildly between images of unfocused red and yellow spots to more mundane visions of London Bridge and Big Ben. ... The camera work is shaky and erratic; sometimes the shots are focused, sometimes not. ... It is between fantasy and reality, photographing hallicaltions and real objects.
The camera is outside the man photographing him…the camera is an eye inside of the man seeing his organs…the camera does not distinguish between future fantasy and past memory of the man…The camera does not say whether it is inside of the man’s organs or the dogs organs. ... Even when one has made all the usual reservations about the artists lack of communication, Brakhage must be consided one of the greatest, most complete artisits of the old cinema – the cinema in which only the image is counted – (living cinema)
Dog Star Man put Brakhage at the forefront of the new generation of avant garde film makers. ...
Another avant garde film maker who came into the public eye at the time was Bruce Baillie. Baillie’s work was more political less personal than Brakhage’s work and it was defiantly more conventional. ... Cin)
It wasn’t until 1964 when he made Mass For The Dakota Sioux that Baillie began to experiment with avant garde techniques of broken narrative structure, overexposed shots, odd camera movement and rapid non liner editing.
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