1970s

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Is it a nightmare or an actual view of a post-apocalyptic world? Set in an industrial town in which giant machines are constantly working, spewing smoke, and making noise that is inescapable, Henry Spencer lives in a building that, like all the others, appears to be abandoned. The lights flicker on and off, he has bowls of water in his dresser drawers, and for his only diversion he watches and listens to the Lady in the Radiator sing about finding happiness in heaven. Henry has a girlfriend, Mary X, who has frequent spastic fits. Mary gives birth to Henry’s child, a frightening looking mutant, which leads to the injection of all sorts of sexual imagery into the depressive and chaotic mix.Read More »

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Sick of his job, bank clerk Inoue Norio becomes frightened of his partner’s death during S&M, and flees to the snow country of Hokuriku, where he meets a schoolgirl, Tanaka Sachiko. He gets on a train with nowhere to go, but there he meets a schoolgirl, Tanaka Sachiko, and becomes attracted to her. Intrigued by her, Inoue follows her out of the station and is accosted by Suzuki, a pimp, and they go to a house in the snow mountains. The house is a brothel for schoolgirls. He is reunited with Sachiko at the house, and begins his life as a pimp.Read More »

In the autobiographical traditional of earlier SINCERITIES, this film takes up the light-threads of our living 14 years ago when the Brakhage family found Home and ‘settled’, like they say, into some sense of permanence. This quality of living in one place tends to destroy most senses of chronology; thus, along lines-of-thought of growing and shifting physicality, events CAN seem to be occurring simultaneously (a thought-process ‘kin to that of THE DOMAIN OF THE MOMENT), and the memory of such a time IS prompted and sustained by details of living usually overlooked or taken-for-granted (such as Proust’s cookie which prompted ‘The Remembrance of Things Past’). Michael McClure’s ‘Fleas’ and Andrew Noren’s THE EXQUISITE CORPSE III were additional sources of inspiration for the making of this work.Read More »

Made with assistance from the National Endowment for the Arts. This continuation of my autobiography is composed of film photographed by many people: Bruce Baillie, Jane Brakhage, Larry Jordan, and Stan Phillips, among others. Most of the footage is drawn from some 2,000 feet of ‘home movies,’ ‘out takes,’ and the like, salvaged from my photography over the years. It is of the Brakhage family’s coming into being. It is composed in the light of those electrical traces we call ‘memory’; and it is as true to that ‘thought process’ as I was enabled to make it.Read More »

This, the first completed reel of work-in-progress, draws on autobiographical energies and images which reflect the first 20 years of my living. I have three definitions of the word Sincerity to sustain my working along these lines of thought with this autobiographical material: (1) Ezra Pound’s marvelous mistranslation of a Chinese ideogram – Sincerity… the sun’s lance coming to rest on the precise spot verbally…(of which I would change, for my purposes, the last word to visually), (2) Robert Creeley’s trace-of-the-word for me on the back of a Buffalo restaurant menu Sym-keros… same-growth (Ceres) CREATE… of the same growth, and (3) Hollis Frampton’s track-of-it to ‘the greek’, viz – ‘a glazed pot (i. e. one which will hold water).’ This film might best be seen, then, as a graph of light equivalent to autobiographical thought process.Read More »

Constructed like an animated painting in a single fixed shot where light, voice, music and movements interfere.Read More »

Stages a double persona on a music of Monteverdi (Ariadne’s lamento interpreted by Janet Baker).

A Reading of Absis’ Text by Marguerite DurasRead More »

Bosse works at an advertising agency while working on the novel of the century. At a burger restaurant he meets Lena, and before he knows it, she is pregnant. Bosse starts thinking that his life is all over, he won’t get any more career opportunities, and never again will he have time for late night parties.Read More »

An uncharacteristic Bing Crosby plays Dr. Cook, a small town physician with a little something to hide. Outwardly gentle and compassionate, Cook is less politely inclined to those in his Vermont community whom he regards as disposable. When a young man (Frank Converse) whom Cook has raised as a son returns to the community, he begins to suspect that his father-figure is keeping secrets. The young man learns that the good Doctor has been murdering those patients whom he regards as useless, and then burying the victims in his meticulously kept garden. Made for TV, Dr. Cook’s Garden was adapted from a Broadway play by Ira Levin, in which Burl Ives starred in the title role. – All Movie GuideRead More »