Quotes below are from Marilyn Brakhage’s program notes.
The Process (1972)
Flashing colors. Negative silhouettes of human figures (wearing hats). Increasingly recognizable scraps of home movies, but yeah, mostly it’s flashing colors. Listened to “Cosmetics (Secret Chiefs 3 Remix)” by Foetus, which had some nice moments of synchronicity, mostly served to make the film seem more sinister than was probably intended.
“Brakhage again addresses the interaction of internal and external sources of imagery, but in this case, as the sole subject of the film. Here, slightly displaced positive and negative versions of the same image create a feeling of insubstantiality.”
Burial Path (1978)
Opens with a dead robin in a box, so I took the title literally and assumed a funeral tone to all the defocused light that proceeds from there. The bird does get buried towards the end, and he intercuts scenes of live birds (not robins) feeding outside. Played the end of Brian Eno & Harold Budd’s “Ambient 2” album, a pleasant change from the previous soundtrack.
Burial Path “graphs the process of forgetfulness.” But Burial Path is also about death, and was sometimes referred to (by Brakhage) as the third part of a trilogy, with Sirius Remembered (1959) and The Dead (1960). (The “path” is also the route taken to visit Brakhage’s friend, the then-ailing literary scholar Donald Sutherland, to whom the film is dedicated.)
Duplicity III (1980)
All crossfades, all the time. The kids are going trick-or-treating, doing house work, playing with cards and toy guns, enacting satanic rituals, performing in school plays which involve ghosts, robots and an Indian chief. Deers and dogs towards the end. Played tracks 2-4 of Coil’s “The Angelic Conversation” which sometimes made the film seem doom-laden, sometimes gave the impression that it was taking place near the ocean.
Halloween: Fire Walk With Me
The Domain of the Moment (1977)
Liked this one a lot because it’s full of critters: baby bird, guinea pig, dog, raccoon, mouse, snake, all double-exposed and playfully filmed, with painted mothlight sections in between animal blocks. Played tracks 4-6 of Secret Chiefs 3’s “Book M”, which was inappopriately energetic at the beginning but worked rather well in the middle.
“A consideration of the consciousness of other life forms.”
Murder Psalm (1980)
Whenever Brakhage films a television it looks like the end of the world. One of his most music-video-looking films, full of increasingly sinister-seeming juxtapositions – pure texture interspersed with stock footage from a strange movie, an education film about brains, leftover autopsy footage from The Act of Seeing, war footage from 23rd Psalm Branch, reversal film of a highway at night. Played the end of Autechre’s “Exai”, which was a great idea.
“A collage of found footage of monstrous implications.”
M. Keller in Film Quarterly:
The most striking imagery comes from an educational film on epilepsy, and Brakhage’s film is structured around that preexisting narrative … Brakhage makes visual relationships between the ball, water in the birdbath, the girl’s hand, a scale model of the brain, a half of a wagon wheel, a covered wagon, and a semicircular tunnel. Circular imagery is cut in half by the frame to make semicircles or hemispheres. The material about epilepsy is transformed into a meditation on the social and cultural circumstances of childhood trauma via a visual string of semicircular imagery. By substituting one image for another – e.g., the model of the brain for the covered wagon – Brakhage links their meanings and implication. The girl’s seizure is made part of the social organism through visual rhyme.
Arabic 12 (1982)
Light asterisks: a film of reddish, star-shaped light artifacts. Wonder if this is what ashtray epic The Text of Light is like – hopefully not, since I lost patience in this 17-minute movie towards the end. Felt like Autechre’s “spl9” was trying to give me a panic attack, but the next track slowed things down for the film’s more diffuse second half.