Stan Brahage, el arte de la visión

• Autores: Paolo Bertetto
• Localización: Archivos de la filmoteca: revista de estudios históricos sobre la imagen, ISSN 0214-6606, Nº 53, 2006 (Ejemplar dedicado a: Notas a la vanguardia norteamericana de posguerra; Teoría del actor en el cine de Weimar), págs. 62-81
• Idioma: español
• Títulos paralelos:
  • Stan Brakhage, the art of vision
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• Resumen

  • The Art of Vision constitutes the fundamental experience of Brakhage’s creative activity and represents American underground film's most radical adventure. Filmed between 1961 and 1964 and edited in 1965, The Art of Vision uses the same footage as Dog Star Man, although it is organised in accordance with a much more complex compositional principle. It is a film that, on the one hand, embodies the success of the theoretical project in Metaphors on Vision and the search for a secret vision undertaken by the mind's eye beyond the visible and the invisible and which, on the other hand, marks the transitions towards the meditative form based on the literary style of Gertrude Stein.

    Consisting of a prelude and four parts, the film is a personal cosmogony that simultaneously takes place in one day and one year divided into the four seasons (winter, spring, summer and autumn). The film is the epic tale of one man’s ascent of a mountain in order to fell a dead tree mixed with the events from the life of the protagonist (Brakhage himself) in a type of metaphor on existence and its relationship with the cycle of nature.

    This article places special emphasis on the third part of the prelude: a fragment containing an extremely wide range of visual elements that infinitely extend the possibilities of the visual act.