THE DEAD (1960)
16mm, bw & color, silent 24fps, 10.5m (10:21)
Film stock notes: This film was shot on Anscochrome 226 and Dupont b/w negative, and also incorporates Eastman b/w print material struck from the b/w negative.
THIGH LINE LYRE TRIANGULAR (1961)
16mm, color, silent 24fps, 6m (5:56)
The baby born in this film is Neowyn Brakhage.
Film stock notes: This film was shot on Ektachrome and Anscochrome, with extensive hand-painting.
FILMS BY STAN BRAKHAGE: AN AVANT-GARDE HOME MOVIE (1961)
16mm, color, silent 24fps, 3.5m (3:39)
Film stock notes: This film was shot on Anscochrome.
SARTRE’S NAUSEA (1961)
16mm, bw, silent 24fps (some narration added in broadcast), 4m (3:46)
This film has never been in distribution, and it’s arguably not a true Brakhage film, as it was made as a commission for a 1961 public television program on KRMA-TV in Boulder (but aired nationally), called Self Encounter: A Study in Existentialism, created and hosted by Hazel Barnes, an acclaimed scholar on the subject. This film was featured in an episode entitled “To Leap or Not to Leap”, originally broadcast on April 19, 1961. (More information on this can be found in the “Commissioned/Commercial Work” area at the bottom of this filmography, and I also wrote a post about this film on my Preservation Insanity blog in 2018.)
I’ve included Sartre’s Nausea in the main body of the filmography because despite its origin as a commissioned work to be incorporated into a show on existentialism, and even having no main title or credit on the film, Brakhage came back to this piece a few years later and used it to produce his 1965 film Black Vision. Black Vision was made by Brakhage from the print he had struck of Sartre’s Nausea, re-editing it and embellishing it with ink and scratching. Amusingly, when I spoke around 2005 or so to P. Adams Sitney about Black Vision and described my early findings about its origin, he said, “I always thought that was a bullshit film.”
Film stock notes: This film was shot on two 100ft rolls of 1960 Dupont b/w negative and one 100ft roll of 1960 Eastman b/w negative. Brakhage worked almost exclusively with reversal film his entire career, so it was quite unusual for him to shoot negative, but it’s possible that the film was provided to him as part of the commission, though this is uncertain. Whatever the reason, Brakhage shot this film on these three 100ft rolls of negative stock, printed the negative to b/w print, and then edited the print material as his A/B rolls to complete the film, leaving the actual original camera negative rolls uncut. This would clearly be due to Brakhage’s vehement preference to edit in positive, rather than to edit a workprint and then conform the negative to the workprint, which is something he never did and which he spoke about not imagining being able to do.
These b/w positive A/B rolls were printed to a b/w reversal print to yield a finished copy of the film. It is this b/w reversal print of Sartre’s Nausea that Brakhage later recut and modified to create his film Black Vision in 1965. Also, the by-product of having shot and edited Sartre’s Nausea in this manner means that the three original rolls of camera negative remain in a raw, uncut state, providing an extraordinarily rare example of raw footage-gathering by Brakhage (fascinating to see, even if it was for a commissioned work).
BLUE MOSES (1962)
16mm, bw, sound, 10.5m (10:25)
Featuring Robert Benson.
Film stock notes: This film was shot on Eastman and Ansco b/w reversal stocks.
SILENT SOUND SENSE STARS SUBOTNICK AND SENDER (1962)
16mm, bw, sound uncertain, 2m
This film is lost, but apparently comprised a portrait of composers and electronic music pioneers Morton Subotnick and Ramon Sender at their Jones Street studio in San Francisco in 1962. In 2004, I was in touch with Morton Subotnick about the film, and he wrote me: “Stan made it at Jones St., Ramon and my first studio which became the SFTMC [San Francisco Tape Music Center]. We showed it on KQED on an evening of interviews and performances [Ramon and I]… but, it was later lost and as far as I know, apparently not found. I recently thought that KQED might have kept it, or, they may have had to transfer it to show it?…I was going to look into it the Fall…but, perhaps you could do that better? Since it was done at Jones St in SF…it was probably 1961 or 62?” I spoke to Subotnick in person about it several years later when I saw him at a show we were both attending, and he told me he had a potential lead at KQED to try to track it down, but this doesn’t seem to have resulted in him finding the film.
Because the film is lost, filmographic data is tentative, particularly the detail as to whether or not the film has sound, although it has usually been listed online as being a sound film. In my opinion, I think it’s much more likely to be a silent film in its original creation, but when broadcast on KQED, sound would have almost certainly been added as part of the presentation on television.
MOTHLIGHT (1963)
16mm, color, silent 24fps, 3m (3:13)
Definitely one of Brakhage’s most well-known and widely seen films, Mothlight was made by assembling moth wings, flowers, and other organic material between two layers of adhesive tape in sections, and then contact printing this material carefully onto color reversal film stock. The resulting sections of color reversal material this yielded were then edited to produce the finished film. In other words, while the original organic matter should be considered as “production material”, the finished, edited original picture roll for the movie Mothlight is a spliced-together roll of color reversal material created from the contact-printing process.
Contrary to what might be expected or elsewhere written, the original organic material was not actually taped to clear film, but rather composed entirely of adhesive tape with the organic material sandwiched in between. It should also be stated that Mothlight was not made on an optical printer as is often referenced, but on a contact printer. After the successful contact printing of this material, Brakhage gave the strips of original organic material away to friends. P. Adams Sitney told me ca.2005 that he had misplaced the one he had. I have heard that the one given to Gregory Markopoulos is still in the possession of Robert Beavers, and the one given to Robert Duncan and Jess Collins exists within their papers at the University of Connecticut.
It’s also worth noting that this production process for Mothlight – continuous contact printing of a nonphotographic original material – resulted in an A-wind 16mm original that has no framelines. All derivative 16mm copies of Mothlight have also lacked framelines, because the film never went through an optical printing or other step printing process – all elements made from this original have also been continuous contact printed (with the sole exception of the 8mm reduction version).
Mothlight was also distributed for sale in 8mm by Brakhage, beginning ca.1965.
Film stock notes: The original master for this film was made on Anscochrome stock. See above notes for more information on the process Brakhage employed to make this film.
OH LIFE – A WOE STORY – THE A-TEST NEWS (1963)
16mm, bw, silent 24fps, 5m (4:45)
This film is unusual in that it’s one of Brakhage’s very few films that doesn’t feature a titlecard of some kind. Rather, the individual title parts of this film derive from fleeting textual fragments appearing on screen.
Film stock notes: This film was shot primarily on Ansco b/w reversal film, but it also features approximately 23 segments of Kodachrome found footage throughout.
DOG STAR MAN (1961-64)
16mm, color, silent 24fps, 75m
Running time of the individual parts totals to 74:41, but this doesn’t take into consideration the modest lengths of leader in between each part in the projection of the complete work.
The baby born in this film is Crystal Brakhage.
DOG STAR MAN: PRELUDE (1961)
16mm, color, silent 24fps, 24.5m (24:42)
Film stock notes: This film was made from multiple stocks: 1957 Kodachrome A (processed April 1960); 1958 Kodachrome A (processed March 1960), and 1959 Kodachrome A (processed June 1960); Anscochrome 225, 226, 231, 232, and 242; 1958, 1959, & 1960 Eastman b/w reversal; 1959 7255 Ektachrome Commercial; 1960 7258 Ektachrome ER; 1958 Eastman b/w positive; 1956 Eastman b/w negative; 1959 & 1960 Dupont b/w negative; Gevaert b/w positive; 1961 5269 Kodachrome print. Hand-painted and appliquéd sequences were removed from the original A/B rolls ca.1977 and replaced with optically printed 7252 ECO dupe material.
DOG STAR MAN: PART 1 (1962)
16mm, color, silent 24fps, 30.5m (30:33)
A July 29, 1963 article in The Colorado Daily references the “premiere” of “Part I: Dog Star Man” along with Prelude, which had premiered “two years ago”. It’s possible this refers to a local premiere, but if this was indeed the public premiere of Part 1, then 1963 would be its correct year of release.
Film stock notes: This film was made from multiple stocks: 1957 Kodachrome A; 1959 Kodachrome; Anscochrome; 1958 Eastman b/w negative; 1958 Eastman hicon positive; Dupont b/w reversal; 1956 & 1959 Eastman b/w reversal; 1960 & 1961 Ektachrome (didn’t note specific stock). Hand-painted and appliquéd sequences were removed from the original A-roll ca.1977 and replaced with optically printed 7252 ECO dupe material.
DOG STAR MAN: PART 2 (1963)
16mm, color, silent 24fps, 6m (6:00)
Film stock notes: The original A/B rolls for this film are so radically and heavily spliced and painted/appliquéd, that an accurate list of stocks used in their making was impossible to clearly determine. However, it’s very likely that the stocks commonly present in the other parts of the film are to be found here as well (Anscochrome, Ektachrome ER, Kodachrome, etc.). ca.1964, Brakhage struck a direct contact dupe onto Ektachrome print stock of each of the A/B rolls, creating a first generation set of master A/B rolls to be used for all subsequent printing, and he labeled the actual original A/B rolls “do not print”, almost certainly due to their fragile condition. These master A/B rolls seem to have been the essential source of all subsequent printings of Dog Star Man: Part 2. However, these master A/B rolls are A-wind, whereas all other equivalent printing elements for the other Dog Star Man parts are B-wind, meaning that some slight dip in sharpness may be apparent in Part 2 in comparison to the other parts.
DOG STAR MAN: PART 3 (1964)
16mm, color, silent 24fps, 7.5m (7:30)
Film stock notes: This film was made from 1960 Eastman b/w reversal; 1960 Dupont b/w negative (possibly hicon); 1959 7255 Ektachrome Commercial; Anscochrome 225, 226, 231, 232, 242. One shot in the original B-roll was removed ca.1977 and replaced with optically printed 7252 ECO dupe material. The entire original C-roll, comprising a lot of the heavily manipulated/painted/etc. material, was duped to 7255 Ektachrome Commercial ca.1970 to create a more safely printable master C-roll, and subsequent printings of the film (including internegatives) seem to have been done using this master C-roll instead of the actual original C-roll. This master C-roll is A-wind, whereas the original A/B rolls are B-wind, so this may have resulted in some minor compromise of sharpness in printing involving this replacement C-roll.
DOG STAR MAN: PART 4 (1964)
16mm, color, silent 24fps, 6m (5:56)
Film stock notes: This film was made from 1957 & 1959 Kodachrome; Anscochrome; Eastman b/w negative; Eastman b/w print; Dupont b/w dupe negative; Eastman b/w dupe negative; 1961 Ektachrome; Eastman b/w reversal. Hand-painted and appliquéd sequences were removed from the original A/B/C/D rolls ca.1977 and replaced with optically printed 7252 ECO dupe material.
SONG 1 (1964)
8mm, color, silent, 18fps: 3.5m (3:41); 24fps: 3m (2:46)
In 1980, Brakhage blew up Songs 1-7 to 16mm and compiled them for distribution as Songs 1-7.
Film stock notes: This film was shot on Kodachrome II.
SONG 2 (1964)
8mm, color, silent, 18fps: 2m (1:48); 24fps: 1.5m (1:21)
In 1980, Brakhage blew up Songs 1-7 to 16mm and compiled them for distribution as Songs 1-7.
Film stock notes: This film was shot on Kodachrome II.
SONG 3 (1964)
8mm, color, silent, 18fps: 3m (3:13); 24fps: 2.5m (2:25)
In 1980, Brakhage blew up Songs 1-7 to 16mm and compiled them for distribution as Songs 1-7.
Film stock notes: This film was shot on Kodachrome II.
SONG 4 (1964)
8mm, color, silent, 18fps: 4m (4:02); 24fps: 3m (3:02)
In 1980, Brakhage blew up Songs 1-7 to 16mm and compiled them for distribution as Songs 1-7.
Film stock notes: This film was shot on Kodachrome II, which was then elaborately painted.
SONG 5 (1964)
8mm, color, silent, 18fps: 4.5m (4:26); 24fps: 3.5m (3:20)
In 1980, Brakhage blew up Songs 1-7 to 16mm and compiled them for distribution as Songs 1-7.
The baby born in this film is Rarc Brakhage.
Film stock notes: This film was shot on 7258 Ektachrome ER stock.
SONG 6 (1964)
8mm, color, silent, 18fps: 2m (2:08); 24fps: 1.5m (1:36)
In 1980, Brakhage blew up Songs 1-7 to 16mm and compiled them for distribution as Songs 1-7.
The original for this film lacks a ‘by B.’ or any other credit at its end.
Film stock notes: This film was shot on Agfa color reversal stock with title scratched into 1965 Eastman b/w reversal stock, which suggests that the dating of this film (and perhaps Songs 7-8 as well) should either be 1965 instead, or perhaps more likely, that Brakhage added the main title a bit later.
SONG 7 (1964)
8mm, color, silent, 18fps: 2.5m (2:33); 24fps: 2m (1:55)
In 1980, Brakhage blew up Songs 1-7 to 16mm and compiled them for distribution as Songs 1-7.
Film stock notes: This film was shot on Ektachrome (possibly 7256 MS), more precise info TBD.
SONG 8 (1964)
8mm, color, silent, 18fps: 3.5m (3:36); 24fps: 2.5m (2:42)
In 1980, Brakhage blew up Songs 8-14 to 16mm and compiled them for distribution as Songs 8-14.
Film stock notes: This film was shot on Ektachrome (possibly 7256 MS – same batch as Song 7), more precise info TBD. Main title scratched in 1965 Eastman b/w reversal stock, as with Song 6.
THE ART OF VISION (1961-65)
16mm, color, silent 24fps, 255m (254:32 +/- a few seconds)
The Art of Vision was realized by Brakhage in 1965 through a systematic permutational printing of all the various printing rolls of Dog Star Man. Dog Star Man was created in five parts, comprising a Prelude followed by four numbered Parts. The Prelude consists of 2 printing rolls (A/B), Part 1 is one roll, Part 2 is two rolls (A/B), Part 3 is three rolls (A/B/C), and Part 4 is four rolls (A/B/C/D). Unlike typical A/B/etc. roll structures in most films, these rolls are not edited in checkerboard fashion, with each shot on alternate rolls separated by equivalent lengths of black leader, but rather each roll consists almost entirely of continuous footage. As a result, the different Parts of Dog Star Man each frequently feature the same number of superimpositions as there are printing rolls (e.g. Part 4 has four layers of imagery).
The concept behind The Art of Vision was to retain the individual Part structure (Prelude-1-2-3-4), but within each Part, to extrapolate all the component layers and present them in all of their possible permutations. So each of the printing rolls were combined and printed in their various combinations, as well as on their own, resulting in this final, seven-reel structure that makes up The Art of Vision:
Reel 1: Prelude (A-roll only)
Reel 2: Prelude (B-roll only)
Reel 3: Prelude (AB)
Reel 4: Part 1 / Part 2 (AB) / Part 2 (A only) / Part 2 (B only)
Reel 5: Part 3: (A only) / (B only) / (C only) / (AB) / (AC) / (BC)
Reel 6: Part 3 (ABC) / Part 4: (ABCD) / (ABC) / (ABD) / (ACD) / (BCD) / (AB) / (AC)
Reel 7: Part 4: (AD) / (BC) / (BD) / (CD) / (A only) / (B only) / (C only) / (D only)
Film stock notes: As explained above, this film was created by printing all of the original Dog Star Man printing rolls in various combinations to create a conformed, final, seven-reel “master” for The Art of Vision. This master is on 1965 Eastman 7387 “Kodachrome” print stock.
Further notes on The Art of Vision and Brakhage’s other 16mm films from 1965-67: In multiple sources, Brakhage speaks about his 16mm equipment being stolen in New York City following the completion of Dog Star Man around 1964, which precipitated his foray into 8mm filmmaking for several years. [It should be noted that Jane Wodening (formerly Brakhage) told me back in 2005 that she didn’t remember Stan having his camera stolen. On the contrary, she recalled that he had been using a borrowed Arriflex to make Dog Star Man and other films during that time, and was compelled to return the camera, as it had been leased for the making of some educational films that Stan had directed. However, she also recalled that there had been a Bell & Howell camera before the Arriflex, but didn’t remember what happened to it – indeed, Brakhage filmed Window Water Baby Moving, Wedlock House: An Intercourse, and other earlier films on a Bell & Howell Filmo 70, and it is perhaps this camera that had gotten stolen at some point.]
Regardless, he doesn’t seem to have re-acquired a 16mm camera until 1967-68 (a Bolex), when he started making Love Making and the 2nd, 3rd, and 4th Scenes From Under Childhood films. And yet parallel to the earliest 8mm Songs in 1964-65, Brakhage also produced a series of 16mm films entirely in 1965-67, after losing access to his 16mm camera(s), and all of which I’ve been able to confirm are made from pre-existing or duped footage:
•The Art of Vision (1965) (finalized in 1965 from the various parts of Dog Star Man)
•Fire of Waters (1965) (filmed in the late ‘50s, based on locations in its footage, per Jane)
•Pasht (1965) (the titular cat died in Fall 1964, per Jane)
•Three Films: Blue White, Blood’s Tone, Vein (1965) (filmed approximately 1960-63, based on kids’ ages)
•Two: Creeley/McClure (1965) (filmed in 1962 when Brakhage briefly lived in San Francisco again)
•Black Vision (1965) (made from a print of Sartre’s Nausea (1961), which was commissioned for the television program Self Encounter: A Study in Existentialism)
•Eye Myth (1967) (hand-painted on 35mm found footage)
•Scenes From Under Childhood (Section One) (1967) (made entirely from footage from 1961-64, some later lab dupes of this material onto other stocks, and various colored leaders)
•The Horseman, The Woman and the Moth (1968) (made entirely from various 16mm reductions and dupes of the original Eye Myth footage)
BLACK VISION (1965)
16mm, bw, silent 24fps, 2.5m (2:41)
Film stock notes: This film was made from b/w reversal print material deriving from the film Sartre’s Nausea (see that film’s entry above for more information).
FIRE OF WATERS (1965)
16mm, bw, sound, 6.5m (6:21)
The material in this film was actually shot ca.1957 but not edited into its final form and released until 1965.
The sound for this film is unusual, comprising only three brief, isolated sound sequences separated by long stretches of blank film. I wrote a preservation-oriented article about this film’s unique soundtrack, which can be found here.
Film stock notes: This film was shot on Eastman b/w reversal stock.
PASHT (1965)
16mm, color, silent 24fps, 5.5m (5:37)
Film stock notes: This film was shot on Anscochrome.
SONG 9 (1965)
8mm, color, silent, 18fps: 5.5m (5:42); 24fps: 4.5m (4:16)
In 1980, Brakhage blew up Songs 8-14 to 16mm and compiled them for distribution as Songs 8-14.
The original for this film lacks a ‘by B.’ or any other credit at its end.
Film stock notes: This film was shot on 7258 Ektachrome ER and Agfa color reversal stock.
SONG 10 (1965)
8mm, color, silent, 18fps: 1.5m (1:36); 24fps: 1m (1:12)
In 1980, Brakhage blew up Songs 8-14 to 16mm and compiled them for distribution as Songs 8-14.
Film stock notes: This film was shot on 7258 Ektachrome ER stock.
SONG 11 (1965)
8mm, color, silent, 18fps: 4m (4:06); 24fps: 3m (3:04)
In 1980, Brakhage blew up Songs 8-14 to 16mm and compiled them for distribution as Songs 8-14.
Film stock notes: This film was shot on Kodachrome II, with a processing tag of April 1965 present.
SONG 12 (1965)
8mm, bw/color, silent, 18fps: 4m (3:57); 24fps: 3m (2:58)
In 1980, Brakhage blew up Songs 8-14 to 16mm and compiled them for distribution as Songs 8-14.
Film stock notes: This film was shot on Eastman b/w reversal stock. Although filmed entirely in black and white, all extant elements I’ve personally inspected are printed on color stock (including P. Adams Sitney’s personal first generation 8mm print), although this seems likely to have been a result of logistical convenience rather than aesthetic preference, as the color timing in prints reflects a more or less black and white appearance.
SONG 13 (1965)
8mm, color, silent, 18fps: 3.5m (3:15); 24fps: 2.5m (2:27)
In 1980, Brakhage blew up Songs 8-14 to 16mm and compiled them for distribution as Songs 8-14.
Film stock notes: This film was shot on Kodachrome II stock, with a processing tag of May 1965 present.
SONG 14 (1965)
8mm, color, silent, 18fps: 2.5m (2:39); 24fps: 2m (1:59)
In 1980, Brakhage blew up Songs 8-14 to 16mm and compiled them for distribution as Songs 8-14.
Film stock notes: The extensive hand-painting makes it difficult to definitively say, but this film was definitely largely shot on Kodachrome, with seemingly some b/w reversal at its end.
15 SONG TRAITS (1965)
8mm, color, silent, 18fps: 38.5m (38:23); 24fps: 29m (28:47)
This film comprises a collection of short portrait films. Regardless of how they are counted, the number of films/portraits/subjects doesn’t add up to 15, and it seems that the “15” really just refers to it being Song 15. The film was originally structured in six 8mm reels, with the following composition (and notes on film stocks used):
Reel 1:
One: Kelly (1960 7258 Ektachrome ER)
Two: Jane and Durin (stock code not visible)
Three: Jane and The Boys (1964 Kodachrome II, processed May 1965)
Reel 2:
One: Crystal (1964 Kodachrome IIA, processed May 1965 & Agfa color reversal)
Reel 3:
Two: Creeley/McClure (shot and originally released in 16mm in 1965, see that entry for info)
Reel 4:
Four: The Kids (1964 Kodachrome II, Agfa color reversal, and red leader)
Reel 5:
One in One: Angelo (1964 Kodachrome IIA, processed May 1965)
Three in one: Rarc (some unidentified stock, 1964 Dupont b/w reversal, and some treated/deteriorated film)
Five in One: The Dorns (unidentified color reversal)
Reel 6:
One: Myrrena (1965 7256 Ektachrome MS, most likely)
Two: Neowyn and Bearthm (unidentified color reversal)
Two in One: Jonas (1960 7258 Ektachrome ER)
In 1981, Brakhage blew this film up to 16mm for distribution.
SONG 16 (1965)
8mm, color, silent, 18fps: 6m (5:53); 24fps: 4.5m (4:25)
In 1983, Brakhage blew up Songs 16-22 to 16mm and compiled them for distribution as Songs 16-22.
Film stock notes: This film was shot on 7258 Ektachrome ER stock.
SONG 17 (1965)
8mm, color, silent, 18fps: 4m (4:07); 24fps: 3m (3:05)
In 1983, Brakhage blew up Songs 16-22 to 16mm and compiled them for distribution as Songs 16-22.
Film stock notes: This film was shot on 7258 Ektachrome ER stock.
SONG 18 (1965)
8mm, color, silent, 18fps: 2m (2:01); 24fps: 1.5m (1.30)
In 1983, Brakhage blew up Songs 16-22 to 16mm and compiled them for distribution as Songs 16-22.
Film stock notes: This film was shot on 7256 Ektachrome MS stock, most likely.
SONG 19 (1965)
8mm, color, silent, 18fps: 8.5m (8:19); 24fps: 6m (6:14)
In 1983, Brakhage blew up Songs 16-22 to 16mm and compiled them for distribution as Songs 16-22.
Film stock notes: This film was shot on 7258 Ektachrome ER, Kodachrome II, Eastman b/w reversal, and includes some 7387 Kodachrome print stock.
SONG 20 (1965)
8mm, color, silent, 18fps: 2.5m (2:29); 24fps: 2m (1:52)
In 1983, Brakhage blew up Songs 16-22 to 16mm and compiled them for distribution as Songs 16-22.
Film stock notes: This film was shot on 7258 Ektachrome ER.
SONG 21 (1965)
8mm, color, silent, 18fps: 5m (4:48); 24fps: 3.5m (3:36)
In 1983, Brakhage blew up Songs 16-22 to 16mm and compiled them for distribution as Songs 16-22.
Film stock notes: This film was shot on 7256 Ektachrome MS stock, most likely.
SONG 22 (1965)
8mm, color, silent, 18fps: 3m (3:06); 24fps: 2.5m (2:19)
In 1983, Brakhage blew up Songs 16-22 to 16mm and compiled them for distribution as Songs 16-22.
Film stock notes: This film was shot on Agfa color reversal stock.
THREE FILMS: BLUE WHITE, BLOOD’S TONE, VEIN (1965)
16mm, color, silent 24fps, 8m (8:04);
Blue White = 1:43; Blood’s Tone = 3:04; Vein = 2:53 (total compilation length is slightly longer than these combined times due to the presence of several seconds of black in between 1-2 and 2-3.)
Although Blue White and Vein are edited with cement splices as was Brakhage’s standard approach for his entire career, Blood’s Tone is an extraordinarily rare example of Brakhage editing with tape splices.
The “Three Films” part of this film’s title does not appear onscreen, but it has been a standard part of the form of the title since its release, and so is retained here. Each film contained within this compilation begins with its own title on screen. These films are individual pieces, but I am not aware of any incidence of them being screened or released individually, or outside this compilation.
The baby born in this film (specifically, in Blue White) is Bearthm Brakhage.
Film stock notes: Blue White and Vein were shot on Ektachrome stock (probably 7257 Ektachrome ER) and Blood’s Tone was shot on Anscochrome stock.
TWO: CREELEY/MCCLURE (1965)
16mm, bw/color, silent 24fps, 3m (3:12)
This film was released as its own work, and was also reduced to 8mm for inclusion in 15 Song Traits.
Film stock notes: Although it was ultimately printed only on color stock, this film was shot on Eastman b/w reversal and negative stocks, and the originals also incorporate Gevaert b/w print stock (struck from the b/w negative). The material for this film seems to have been shot in 1962 when Brakhage lived briefly again in San Francisco. It was most likely not edited until 1965, when Brakhage constructed an elaborate set of A/B/C rolls from the b/w reversal, negative, and print material, and had the lab print them to a single-strand 7387 Kodachrome print “master”, which became the final, conformed color “original” for the film. All copies of this film seem to derive from this color reversal master, including the 8mm reduction for inclusion in 15 Song Traits, although interestingly, I did encounter a lab invoice in Brakhage’s papers from 12/15/1975 billing the printing of a black and white reversal release print of this film, followed by another invoice from 12/29/75 ordering an Ektachrome (color) print (possibly suggesting the lab had erred in making a b/w print earlier in the month…?).
EYE MYTH (1967)
35mm, color, silent 24fps, 13 seconds
Film stock notes: This film was originally created by hand-painting and appliqué-ing directly onto found footage 35mm b/w composite print material. This was then reduced to 16mm 7255 Ektachrome Commercial, as the film seems to have initially only been screened in a 16mm reduction (and was sold as an “Eye Myth loop” in Brakhage’s film sales catalogs of the 1970s). A proper 35mm duplication of this material (to color internegative) seems to have first been done in January 1979. Western Cine printed four slightly different color negative copies from the painted original, from which Brakhage picked the one he liked the look of best, and this then became the film’s master 35mm printing negative. Interestingly, the main and end titles on the 35mm version appear to be blowups from the 16mm, as the 35mm hand-painted original roll does not contain titles, and Brakhage seems to have preferred to just retain the 16mm titles in blow-up form rather than re-scratch new ones in 35mm.
This film is also the source of the imagery used to create The Horseman, the Woman and the Moth and Eye Myth Educational.
23RD PSALM BRANCH (1967)
8mm, color, silent, 18fps: 85m (84:56); 24fps: 63.5m (63:42)
(Part 1 only: 18fps: 44:11 / 24fps: 33:08; Part 2 only: 18fps: 40:45 / 24fps: 30:34)
Film stock notes: This film was
THE HORSEMAN, THE WOMAN AND THE MOTH (1968)
16mm, bw & color, silent 24fps, 18.5m (18:30)
Film stock notes: This film was made entirely from 16mm reduction duplicate material (Eastman b/w reversal, color reversal print, color positive print, and Ektachrome) deriving from the 35mm hand-painted film Eye Myth (1967).
LOVE MAKING (1968)
16mm, color, silent 24fps, 36m (36:04)
Part 1 = 3:50; Part 2 = 10:40; Part 3 = 7:22; Part 4 = 14:11
Although the majority of print references to this film list its title as LOVEMAKING (one word), the title on screen is two words, which seems more consistent with the intent of the film, as it opens the title up to a more open and varied interpretation.
This film seems to be the first 16mm film Brakhage made once he had acquired a new 16mm camera, following the apparent theft of his original camera (or loss of access to a borrowed camera) ca.1964.
Although this film was initially released and distributed, Brakhage later came to have concerns about the possibility that the film could be exploited for prurient purposes, and withdrew it from distribution.
This film comprises four individual parts, and was originally intended to be shown as a complete work, although the individual sections seem to have been made available as separate works to some degree. For example, Part 1 was distributed on its own through Grove Press (including in an 8mm reduction version), and Part 2 remains in individual distribution through LUX (formerly London Filmmakers’ Coop collection).
Film stock notes: Part 1 was shot on Ektachrome stock. Part 2 was shot on Kodachrome II stock (processed June 1968), Dupont and Eastman b/w reversal stocks, and Ektachrome. Part 3 was shot on Ektachrome stock. Part 4 was shot on 7242 Ektachrome EF stock.
SONG 24 (1968)
8mm, color, silent, 18fps: 2m (1:57); 24fps: 1.5m (1:27)
Film stock notes: This film was shot on Kodachrome.
SONG 25 (1968)
8mm, color, silent, 18fps: 6m (5:51); 24fps: 4.5m (4:23)
Film stock notes: This film was shot on Kodachrome.
SONG 26 (1968)
8mm, color, silent, 18fps: 6.5m (6:24); 24fps: 5m (4:48)
Film stock notes: This film was shot on Kodachrome II, Kodachrome IIA, Eastman b/w reversal, and 7242 Ektachrome EF, with some Fuji b/w positive material.
MY MTN. SONG 27 (1968)
8mm, color, silent, 18fps: 23m (23:10); 24fps: 17.5m (17:23)
Film stock notes: This film was shot on Kodachrome II, Kodachrome IIA, and Agfa color reversal stock.
RIVERS (aka MY MTN. SONG 27 PART II: RIVERS) (1969)
8mm, color, silent, 18fps: 32.5m (32:41); 24fps: 24.5m (24:31)
The title on this film is only RIVERS, but its complete title is typically used in print references.
Film stock notes: This film was shot on Kodachrome II, Kodachrome IIA, 7241 Ektachrome EF, and Agfa color reversal stock. The ‘by Brakhage’ signature isn’t actually scratched, but is a 7387 print of a scratched signature.
SONG 28 (1969)
8mm, color, silent, 18fps: 3.5m (3:43); 24fps: 3m (2:47)
Film stock notes: This film was shot on Kodachrome II and Kodachrome IIA.
SONG 29 (1969)
8mm, color, silent, 18fps: 2m (2:09); 24fps: 1.5m (1:37)
Film stock notes: This film looks like it was most likely shot on 7256 Ektachrome MS.
AMERICAN 30S SONG (1969)
8mm, color, silent, 18fps: 24.5m (24:43); 24fps: 18.5m (18:32)
This is the only 8mm Song that was never blown up to 16mm by Brakhage.
Film stock notes: This film was shot on Kodachrome II, Kodachrome IIA, and 7242 Ektachrome EF.
WINDOW SUITE OF CHILDREN’S SONGS (1969) (w/ the Brakhage children)
8mm, color, silent, 18fps: 20.5m (20:28); 24fps: 15.5m (15:21)
Film stock notes: This film was shot on Kodachrome, Kodachrome II, 7242 Ektachrome EF, and Agfa color reversal stock.
SCENES FROM UNDER CHILDHOOD (1967-70)
This film comprises four sections, and although it can be considered a single work in four parts, the individual sections were also made available and are quite commonly screened individually. Only section 1 has the main title at its beginning, and only section 4 is signed ‘by Brakhage’ at its end, which suggests Brakhage’s original notion of it being shown as a single complete work, but this should not be taken as a dogmatic or definitive intention. Also, the form of the title for the individual parts isn’t precisely fixed, although they have historically most commonly been referred to as “Sections” rather than “Parts” (although both terms have been used).
SCENES FROM UNDER CHILDHOOD (SECTION 1) (1967)
16mm, bw & color, sound/silent 24fps, 24m (23:47)
This film was initially released as a sound film, and at some point later it was superseded by a silent version instead. The picture content is identical in both versions, and Brakhage continued to allow the sound version to remain in distribution, so it can be shown either way.
The production process for this film is fairly complex, and was the most complex in terms of editing printing by Brakhage up to this point in his filmmaking. All of the camera original material in this film dates between 1961-1964, so it’s quite likely that work began on this film before Brakhage finally acquired a new 16mm camera.
Film stock notes: This film was initially cut as a complicated set of A/B/C rolls, comprising 7255 Ektachrome Commercial, 7258 Ektachrome ER, Eastman color negative, Eastman color print, color reversal print, b/w negative, and various kinds of semi-opaque color plastic leader to create solid color frames and tinting effects (blue, 2 kinds of red, white, yellow, orange, green, purple, and others). These A/B/C rolls were set up by Brakhage to interact with each other very particularly in terms of fades and superimpositions. The A-roll was set up entirely for 64-frame fades, and the B- and C-rolls for 24/32 frame fades. These A/B/C rolls seem to then have been printed twice, to 7255 Ektachrome Commercial (ECO) stock. These two identical 1st generation elements were then further edited as a set of A/B rolls to make the finished film. All known prints of the film derive from this A/B ECO master, and not directly from the original A/B/C rolls.
SCENES FROM UNDER CHILDHOOD (SECTION 2) (1969)
16mm, bw & color, silent 24fps, 40m (39:50)
Film stock notes: This film was edited as A/B/C rolls with a complex scheme of fades and superimpositions employed. The footage is a mix of new 16mm material almost definitely shot in 1967-68 (7241 and 7242 Ektachrome EF, Kodachrome II and IIA, 7255 Ektachrome Commercial) once Brakhage had acquired a new camera, along with existing footage from ca.1960-64 (Eastman b/w reversal, 7255 Ektachrome Commercial, Kodachrome, 7258 Ektachrome ER, late ’50s/early ’60s Gevachrome, Eastman color negative, b/w negative, b/w print, color print, and hi-con), and color plastic leaders (red, yellow, orange, blue, green).
SCENES FROM UNDER CHILDHOOD (SECTION 3) (1969)
16mm, bw & color, silent 24fps, 27.5m (27:30)
Film stock notes: This film was edited as A/B/C/D rolls with a complex scheme of fades and superimpositions employed. The footage is a mix of new 16mm material almost definitely shot in 1967-68 (7255 Ektachrome Commercial, Kodachrome II, 7242 Ektachrome EF, probably 7256 Ektachrome MS), existing footage from ca.1960-64 (Anscochrome, late ’50s/early ’60s Gevachrome, Kodachrome, 7255 Ektachrome Commercial, probably 7256 Ektachrome MS, Eastman color negative, b/w reversal, b/w print, and color print), and color plastic leaders (red, blue, yellow, orange).
SCENES FROM UNDER CHILDHOOD (SECTION 4) (1970)
16mm, bw & color, silent 24fps, 45m (44:57)
Film stock notes: This film was edited as A/B/C rolls with a complex scheme of fades and superimpositions employed. The footage is a mix of new 16mm material almost definitely shot in 1967-68 (Eastman color negative and color print, 7242 Ektachrome EF, 7255 Ektachrome Commercial, Kodachrome IIA), existing footage from ca.1960-64 (7258 Ektachrome ER, 7255 Ektachrome Commercial, Kodachrome, Eastman b/w reversal, Eastman b/w print, Dupont b/w negative, and Anscochrome), and color plastic leaders (blue, orange, red, yellow). Brakhage notated the A/B/C rolls to request all 40-frame fades from the lab. This is one foot of 16mm, and a fade length achievable on Bolex cameras (using the Rexofader 40 attachment), though this fade length was not a standard fade length offered by any lab I’m aware of on their contact printers. When Brakhage sometimes asked his lab Western Cine for 40-frame fades, they typically modified the fades to 32-frame lengths instead.
THE WEIR-FALCON SAGA (1970)
16mm, bw & color, silent 24fps, 28.5m (28:42)
Film stock notes: This film was shot on Anscochrome, Ektachrome, Kodachrome, Eastman b/w reversal, Eastman color negative, and also features four shots on Eastman color print stock.
THE MACHINE OF EDEN (1970)
16mm, bw & color, silent 24fps, 10.5m (10:45)
Film stock notes: This film was shot on 7241 Ektachrome EF, Dupont b/w reversal, and Kodachrome II stock.
THE ANIMALS OF EDEN AND AFTER (1970)
16mm, bw & color, silent 24fps, 35.5m (35:27)
Film stock notes: This film was shot on Kodachrome II & IIA, 7241 & 7242 Ektachrome EF, Eastman b/w reversal, Eastman color negative, Eastman color print, Dupont b/w reversal, Anscochrome, and probably 7256 Ektachrome MS.
SEXUAL MEDITATIONS #1: MOTEL (1970)
8mm/16mm, color, silent, 18fps: 7m (6:50); 24fps: 5m (5:07)
This film was shot on 8mm and initially distributed on 8mm only. Brakhage preferred it to be projected at 18fps, but 24fps is acceptable. It was blown up to 16mm in 1980. Although it was made somewhat separately from the other Sexual Meditation series films, it should be considered part of that series.
Film stock notes: This film was shot on Kodachrome II (processed March 1970), 7242 Ektachrome EF, and probably 7256 Ektachrome MS, with some hand painting.
LIGHTSTRUCK 