EYES (1971)
16mm, color, silent 24fps, 35m (35:12)
eyes (as it is written on screen, all lowercase) is the first film in what is usually referred to as either “The Pittsburgh Trilogy” or “The Pittsburgh Documents”. Coming after a period of a few years of filmmaking during which Brakhage did some of his most extensive and radical physical editing and elaborate multi-roll printing (particularly in the Scenes From Under Childhood films), the three films in this series are just the opposite, containing no superimpositions, and a vastly smaller number of physical edits, with a lot more in-camera edits left intact. eyes is the least (post-) edited of the three, and remarkably, over its 35-minute length, the film contains only 63 physical edits – all the rest being in-camera cuts.
Film stock notes: This film was shot on 7241 Ektachrome EF, Kodachrome II, and probably 7256 Ektachrome MS. The ‘by Brakhage’ title at the end is not a uniquely scratched piece of film as usual, but a color print of a ‘by Brakhage’ title, repurposed from another film.
DEUS EX (1971)
16mm, color, silent 24fps, 32.5m (32:18)
Film stock notes: This film was shot on 7241 and 7242 Ektachrome EF stocks.
THE ACT OF SEEING WITH ONE’S OWN EYES (1971)
16mm, color, silent 24fps, 32m (31:50)
Film stock notes: This film was shot on Kodachrome II, 7241 and 7242 Ektachrome EF, 7255 Ektachrome Commercial.
WECHT (1971)
16mm, color, silent 24fps, 3m (2:50)
Although most commonly known as Wecht, there is no main title appearing on screen, and this film was labeled by Brakhage as “Portrait” on the leaders of the film’s original picture roll. This film should perhaps not be considered a “full-fledged” Brakhage film, as it was never placed into distribution by Brakhage, although it does feature a “by Brakhage” credit at its end and was likely screened, although probably in a very limited fashion. The film comprises a roll-length portrait of Cyril Wecht, the coroner who appears in Brakhage’s film The Act of Seeing With One’s Own Eyes. Brakhage apparently gave this film to the Carnegie Museum, and at some point Sally Dixon had a print struck from the original. The original and this print were later transferred to the collection of the Andy Warhol Museum, who soon after loaned it to the Academy Film Archive for preservation in 2005.
Film stock notes: I worked on the preservation of this film in 2005, and didn’t document precisely which stock it was shot on when I borrowed the original from the Warhol Museum. However, I’m nearly positive it was entirely 7242 Ektachrome EF.
ANGELS’ (1971)
16mm, color, silent 24fps, 2m (1:56)
Film stock notes: This film appears to have been shot on 7256 Ektachrome MS stock, and the original seems to be largely fogged throughout, which was either intentionally done, or much more likely, was something that occurred and was embraced aesthetically by Brakhage.
DOOR (1971)
16mm, color, silent 24fps, 1.5m (1:34)
Film stock notes: This film was shot on 7241 Ektachrome EF stock. The scratched ‘by Brakhage’ title at the end is not original scratching but is a color print of a scratched ‘by Brakhage’ title (now totally faded, and most likely 7385 color print stock).
FOX FIRE CHILD WATCH (1971)
16mm, color, silent 24fps, 3m (2:47)
Film stock notes: This film was shot on 7242 Ektachrome EF stock.
THE PEACEABLE KINGDOM (1971)
16mm, color, silent 24fps, 7.5m (7:39)
Film stock notes: This film was shot on Kodachrome II and Ektachrome.
WESTERN HISTORY (1971)
16mm, color, silent 24fps, 8m (8:10)
Film stock notes: This film was shot on 7242 Ektachrome EF stock.
THE TRIP TO DOOR (1971)
16mm, color, silent 24fps, 12m (12:12)
Film stock notes: This film was assembled exclusively from older, pre-existing material, comprising 1959, 1964, and 1969 7255 Ektachrome Commercial, 1967 7242 Ektachrome EF, 1965 Eastman b/w reversal, 1966 Kodachrome II, and what seems to be 1959 7257 Ektachrome ER stock, as well as orange, yellow, and red leaders.
SEXUAL MEDITATION: ROOM WITH VIEW (1971)
16mm, color, silent 24fps, 3m (2:58)
Film stock notes: This film was shot on Ektachrome stock.
SEXUAL MEDITATION: FAUN’S ROOM, YALE (1972)
16mm, color, silent 24fps, 2m (1:49)
Film stock notes: This film was shot on Ektachrome EF stock.
SEXUAL MEDITATION: OFFICE SUITE (1971)
16mm, color, silent 24fps, 2.5m (2:37)
Film stock notes: This film was shot on Kodachrome II stock.
SEXUAL MEDITATION: HOTEL (1972)
16mm, color, silent 24fps, 5.5m (5:36)
Film stock notes: This film was shot on 7241 Ektachrome EF and Kodachrome II stocks.
SEXUAL MEDITATION: OPEN FIELD (1972)
16mm, color, silent 24fps, 5.5m (5:42)
Film stock notes: This film was initially shot on Kodachrome, Kodachrome II, and Ektachrome stocks. This material was then edited into A/B bi-pack rolls, in two halves (i.e. part 1 A/B and part 2 A/B). The bi-pack rolls were optically printed to 7252 Ektachrome Commercial stock to create an assembled final master for the film. My initial inspection notes (from 2005) also indicate there is one shot present in this ECO master that’s on Kodachrome II stock. I’ll update these stock notes if/when I can re-inspect the film’s elements.
EYE MYTH EDUCATIONAL (1972)
16mm, color, silent 24fps, 1.5 (1:42)
The structure of this film is as follows:
-hand-scratched “Eye Myth” title
–Eye Myth (1:1)
-‘by Brakhage’ title
–Eye Myth step-printed 4:1
–Eye Myth step-printed 3:1
–Eye Myth step-printed 2:1
–Eye Myth (1:1)
-‘by Brakhage’ title
Film stock notes: This film is made up of different optical iterations of the original Eye Myth source material, printed on Anscochrome. The ‘by Brakhage’ titles are faded color prints of his signature and not actual scratched original titles.
I’m still in the process of determining more definitively the precise production and release timeline for Eye Myth and Eye Myth Educational (and, by extension, The Horseman, the Woman and the Moth). One thing that is uncertain at the moment is whether the original Eye Myth was shown in its most basic form as a 16mm film in the five years between its apparent completion and the release of this “educational” version of the film. It’s reasonably likely, as a 16mm 7255 Ektachrome Commercial reduction master was made ca.1967. Interestingly, the original for Eye Myth Educational is made up entirely of Anscochrome, which was a stock neither Brakhage nor (more meaningfully here) his lab used past the late 1960s, suggesting that the optical iterations present here were probably printed around the time of the film’s original creation, ca.1967, but only assembled into this released film around 1972.
THE PRESENCE (1972)
16mm, color, silent 24fps, 3m (3:12)
Film stock notes: This film was shot on Kodachrome II stock.
THE PROCESS (1972)
16mm, color, silent 24fps, 8m (8:01)
Film stock notes: This film was assembled from several different stocks, possibly entirely pre-existing material that Brakhage had in his possession, as opposed to newly shot material made specifically for this film. Included are color negative and print stocks, Kodachrome II, and Ektachrome, as well as red leader.
THE RIDDLE OF LUMEN (1972)
16mm, bw & color, silent 24fps, 13.5m (13:22)
Film stock notes: I’m fairly certain this film was composed entirely from pre-existing shots and sequences that Brakhage had saved, and which were brought together into this film because of their varying qualities in terms of photographed light as articulated via different film stocks. Included are 7242 Ektachrome EF, Kodachrome, Kodachrome II, what looks like 7256 Ektachrome MS, Eastman b/w reversal, Anscochrome, Eastman b/w negative, and 7385 (now faded) Eastman color print. The date ranges of all of these stocks span 1960 to 1969.
THE SHORES OF PHOS: A FABLE (1972)
16mm, color, silent 24fps, 10m (9:47)
Film stock notes: This film was shot on Kodachrome II, 7242 Ektachrome EF, and what looks like 7256 Ektachrome MS.
THE WOLD-SHADOW (1972)
16mm, color, silent 24fps, 2.5m (2:24)
Film stock notes: This film was shot on Kodachrome II.
GIFT (1973)
Super 8/16mm, color, silent 24fps, 2.5m (2:26)
This film is one of only two known examples of a found-object film in Brakhage’s filmography (the other being Two Found Objects of Charles Boultenhouse, from 1996). The poet David Meltzer, a friend of Brakhage, gave him a moldy and decayed Super 8 film, the qualities of which Brakhage found really interesting and beautiful. He added hand-scratched main and end titles to the Super 8 film, calling it Gift and signing it “via Brakhage”, rather than “by Brakhage”, and had it blown up to 16mm color negative for printing and release, although historically it is not a film that has been very widely circulated.
Film stock notes: I have not inspected the original Super 8 source roll, though apparently it still exists in a private collection in Pittsburgh. Brakhage had his lab blow it up to 16mm color negative (probably 7271 internegative stock).
SINCERITY I (1973)
16mm, bw & color, silent 24fps, 27m (26:48)
The Sincerity films comprise 5 separate parts, and can be shown together as a multi-part work, or individually as separate films with their own respective integrity. Although this first film’s title on screen is only “Sincerity”, it is commonly referred to as “Sincerity I” for clarity’s sake.
This first part of Sincerity does not feature a “by Brakhage” credit at its end, presumably because Brakhage had envisioned it as comprising the first of multiple parts, in the vein of Scenes From Under Childhood.
Film stock notes: This film seems to be entirely made up of pre-existing footage in Brakhage’s possession, possibly including outtakes and perhaps even duplicate footage from other films of his, and other unused “family” material. The film stock dates range between 1951 and 1969. Included are: Eastman b/w reversal, 7241 and 7242 Ektachrome EF, Eastman b/w print, 7385 Eastman color print, Eastman b/w negative, 7255 Ektachrome Commercial, Kodachrome, Kodachrome A, Kodachrome II, Kodachrome IIA, 7386 Ektachrome print, 7387 Kodachrome print, 7258 Ektachrome ER, Dupont b/w reversal, Ansco b/w reversal, and Anscochrome.
THE WOMEN (1973)
16mm, color, silent 24fps, 2.5m (2:16)
Film stock notes: This film was shot on 7242 Ektachrome EF stock.
AQUARIEN (1974)
16mm, color, silent 24fps, 2m (2:08)
Film stock notes: This film appears to have been shot on 7256 Ektachrome MS stock.
CLANCY (1974)
16mm, color, silent 24fps, 4m (3:56)
Film stock notes: This film was shot on 7241 and 7242 Ektachrome EF stocks.
DOMINION (1974)
16mm, color, silent 24fps, 4m (3:55)
Film stock notes: This film was shot on Kodachrome.
FLIGHT (1974)
16mm, color, silent 24fps, 5m (4:45)
Film stock notes: This film was shot on 7241 Ektachrome EF and what looks like 7256 Ektachrome MS stock.
“HE WAS BORN, HE SUFFERED, HE DIED.” (1974)
16mm, color, silent 24fps, 7m (7:14)
I believe this is Brakhage’s first fully nonobjective film, in the sense that it comprises only non-representational imagery in the form of scratched black leader and solid color fields.
The origin of the solid color field material in this film is uncertain, though I’ve come across two conflicting references. Around 2005, when I worked on the restoration of this film, then-owner of Cinema Lab (formerly Western Cine) Robert David told me that a veteran lab employee there had told him that Brakhage had obtained the solid color field material used in this film from the trim bins at the lab, discarded by the printer technicians who had produced color fields as part of their testing procedures. On the other hand, in an interview I’ve read (and which I will try to source to properly reference here), Brakhage specifically talks about being able to order solid color field footage from the lab literally by number/color. In previous films employing solid color fields, he had used various shades of color leader (such as in the Scenes From Under Childhood films), but photographically printed color field footage starts to appear in some of his films beginning in the early 1970s (e.g. The Process, and this film).
Film stock notes: The color field material in this film comprises both 7252 Ektachrome and what appears to be either 7389 Ektachrome print, or possibly 7256 Ektachrome MS. The scratch sequences seem to have been done on regular black leader.
HYMN TO HER (1974)
16mm, color, silent 24fps, 2.5m (2:19)
Film stock notes: The film was shot on Kodachrome II, Kodachrome IIA, 7255 Ektachrome Commercial, and what looks like 7256 Ektachrome MS.
SKEIN (1974)
16mm, color, silent 24fps, 4m (4:03)
Film stock notes: This film was made in two printing stages. Brakhage initially edited a set of A/B/C/D rolls, for which the A-roll was a hand-painted original and the B/C/D rolls were Ektachrome stock. The A-roll was duped to 7252 Ektachrome Commercial as-is, although this ECO dupe was then slightly edited. The B/C/D rolls were printed to 7389 Ektachrome print stock. The hand-painted ECO dupe and this Ektachrome print were then synched as a new set of A/B rolls, which then comprised the film’s finished, conformed originals. This set of A/B rolls then made prints and the film’s printing internegative.
SOL (1974)
16mm, color, silent 24fps, 4m (3:46)
Film stock notes: This film was shot on 7242 Ektachrome EF and Kodachrome II, and also contains 7252 Ektachrome Commercial optical dupes of hand-painted material.
STAR GARDEN (1974)
16mm, color, silent 24fps, 21m (20:58)
Film stock notes: This film seems likely to be made of pre-existing material, all dating between 1968-69, and comprising Eastman color negative, 7385 Eastman color print, Kodachrome II, 7242 Ektachrome EF, and what looks like 7256 Ektachrome MS.
THE TEXT OF LIGHT (1974)
16mm, color, silent 24fps, 67m (67:12)
Film stock notes: The film was shot on Kodachrome II and Kodachrome IIA.
THE STARS ARE BEAUTIFUL (1974)
16mm, color, sound, 18.5m (18:28)
This is Brakhage’s only film featuring sequences shot with sync sound.
Film stock notes: This film was shot on 7241 and 7242 Ektachrome EF, Kodachrome II, Kodachrome IIA, Kodachrome KM, and what looks like 7256 Ektachrome MS.
SHORT FILMS: 1975 (1975)
16mm, color, silent 24fps, 36.5m (36:31)
The reasons Brakhage had for compiling these ten short films into a single released compilation film are uncertain. Film #1 here — initially to be called Nodes — seems to have started out as its own discrete film, but then ended up comprising the first film of this series of ten. In Brakhage’s published film catalog from this time period, all of the individual films were also given titles, and were available for purchase individually, but for rental and screenings they were only available as compiled in this larger form. According to the Brakhage Films catalog, the films have the following titles:
#1: Jane’s Memory [This was initially to be called Nodes, and a hand-scratched titlecard was made for it – the title “Nodes” was later used for a 1981 hand-painted film.]
#2: Dante’s Styx
#3: Hollis Frampton
#4: Lady in Glass
#5: Niagara Falls
#6: Stars, Chickens, Eyes, Candles
#7: Turning the Raccoon Loose
#8: Small Town Streets
#9: Forest Love Scene
#10: Painted Lightning
Film stock notes: These films were shot on the following stocks:
#1: The most complex of the ten, this film seems to have been assembled from two steps of printing. The initial assembly of footage comprises a single A-roll containing 1960 Dupont b/w negative and reversal stocks, 1963 Eastman b/w positive, and 1969 7255 Ektachrome Commercial. At this stage, the film in this form seems to have been intended for the Sincerity project, as it also featured a titlecard reading: “”SINCERITY” (Reel #2) ©1974 Stan Brakhage”, and its original printing leader is labeled “SINCERITY – REEL #2 TEST”. However, this roll was then printed to a 7252 Ektachrome Commercial copy, which itself was then printed to a 7390 Ektachrome print. The 7252 roll and the 7390 roll were edited in A/B bi-pack rolls. These A/B bi-pack rolls were then printed to a 7252 ECO master, which comprises the finished original for this film. During this secondary phase of the film’s production, it featured a hand-scratched titlecard for “Nodes”, which Brakhage later removed, repurposing this title identity for a later hand-painted film.
#2: 7241 and 7242 Ektachrome EF, , Kodachrome II, Kodachrome KM, and what appears to be 7256 Ektachrome MS.
#3: What appears to be 7256 Ektachrome MS.
#4: 7242 Ektachrome EF and what appears to be 7256 Ektachrome MS.
#5: Kodachrome KM.
#6: 7241 Ektachrome EF and what appears to be 7256 Ektachrome MS.
#7: Kodachrome KM.
#8: Kodachrome KM.
#9: 7241 Ektachrome EF and what appears to be 7256 Ektachrome MS.
#10: hand-painted over 7241 Ektachrome EF and what appears to be 7256 Ektachrome MS.
SINCERITY II (1975)
16mm, bw & color, silent 24fps, 37m (37:00)
The onscreen title for this film actually reads “Sincerity Reel #2”, but it has most commonly appeared as “Sincerity II”, so I’ve used that form of the title here.
Film stock notes: This film was assembled as an A-roll only, in two reels, from a very wide variety of stocks, spanning a wide range of years. The material making up this film seems to have been entirely pre-existing. Stocks include Eastman b/w reversal, b/w negative, color negative, color print, Kodachrome, 7256 Ektachrome MS, 7255 Ektachrome Commercial, Anscochrome, and perhaps others.
SHORT FILMS: 1976 (1976)
16mm, color, silent 24fps, 20m (19:47)
This release comprises four short, silent films assembled by Brakhage as a compilation, in a similar manner to his Short Films: 1975 of the previous year. There is some evidence in the construction of the original elements that suggests that film #4 and possibly film #3 (if not all four) were initially prepared as separate items before being compiled into this structure.
Film stock notes: These films were shot on a mix of Kodachrome KM, 7241 Ektachrome EF, and what appears to be 7256 Ektachrome MS.
GADFLIES (1976)
Super 8, color, silent, 18fps: 12m (11:57); 24fps: 9m (8:58)
This film was only released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and either Ektachrome 40 or Ektachrome 160.
SKETCHES (1976)
Super 8, color, silent, 18fps: 10.5m (10:16); 24fps: 7.5m (7:42)
This film was only released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and either Ektachrome 40 or Ektachrome 160.
WINDOW (1976)
Super 8/16mm, color, silent, 18fps: 10m (10:10); 24fps: 7.5m (7:38)
This film was initially only distributed on Super 8, and although a 16mm 7252 ECO blowup and answer print were made in Spring 1978, a 16mm printing internegative wasn’t produced for making prints until Spring 1979.
Film stock notes: This film was shot on Super 8, in Kodachrome IIA, Kodachrome KMA, 7242 Ektachrome EF, and Ektachrome 160 stocks.
TRIO (1976)
Super 8/16mm, color, silent, 18fps: 7.5m (7:31); 24fps: 5.5m (5:39)
This film was initially only distributed on Super 8, and although a 16mm 7252 ECO blowup and answer print were apparently made around the time of original release (Spring 1976), a 16mm printing internegative wasn’t subsequently produced for making prints until Spring 1979.
Film stock notes: This film was shot on Super 8, in Kodachrome KMA and Ektachrome 160 stocks.
REMBRANDT, ETC., AND JANE (1976)
Super 8/16mm, color, silent, 18fps: 17.5m (17:33); 24fps: 13m (13:09)
Although apparently released only in this compiled form, this work comprises four individual sections which to some degree may be considered as distinct films, each with its own title: “Rembrandt”, “Etc.”, “And”, and “Jane”. This film was initially only distributed on Super 8, and later blown up to 16mm in Summer-Fall 1979.
Film stock notes:
Rembrandt: Kodachrome KMA.
Etc.: Kodachrome KMA and Ektachrome 160.
And: probably Ektachrome 40.
Jane: Ektachrome 160 and probably Ektachrome 40.
HIGHS (1976)
Super 8/16mm, color, silent, 18fps: 7m (6:47); 24fps: 5m (5:05)
This film was initially only distributed on Super 8, and later blown up to 16mm in Summer 1979.
Film stock notes: This film was shot on Super 8, in 7242 Ektachrome EF, Ektachrome 160, and probably Ektachrome 40, and also contains some sections of plastic colored leader.
DESERT (1976)
Super 8/16mm, color, silent, 18fps: 13.5m (13:30); 24fps: 10m (10:08)
This film was initially only distributed on Super 8, and later blown up to 16mm in Fall 1977.
Film stock notes: This film was shot on Super 8, in Kodachrome KMA and Ektachrome 160 stocks, and also contains some white leader.
AIRS (1976)
Super 8/16mm, color, silent, 18fps: 24m (23:50); 24fps: 18m (17:53)
This film was initially only distributed on Super 8, and later blown up to 16mm in late 1977-early 1978.
Film stock notes: This film was shot on Super 8, in Kodachrome KMA, 7242 Ektachrome EF, Ektachrome 160, and probably Ektachrome 40, and also contains some white leader.
ABSENCE (1976)
Super 8/16mm, color, silent, 18fps: 9m (8:53); 24fps: 6.5m (6:40)
This film was initially only distributed on Super 8, and later blown up to 16mm in Fall 1977.
Film stock notes: This film was shot on Super 8, in Ektachrome 160 and probably Ektachrome 40.
THE DREAM, N.Y.C., THE RETURN, THE FLOWER (1976)
Super 8/16mm, color, silent, complete film = 18fps: 24m (23:59); 24fps: 18m (17:59)
THE DREAM: 4:20 (18fps), 3:15 (24fps)
N.Y.C.: 17:17 (18fps), 12:58 (24fps)
THE RETURN: 1:35 (18fps), 1:11 (24fps)
THE FLOWER: 0:26 (18fps), 0:20 (24fps)
Although apparently released only in this compiled form, this work comprises four individual sections which to some degree may be considered as distinct films, each with its own title. This film was initially only distributed on Super 8, and later blown up to 16mm in late 1978.
Film stock notes:
The Dream: Kodachrome KMA and probably Ektachrome 40.
N.Y.C.: Kodachrome KMA, Ektachrome 160, and probably Ektachrome 40.
The Return: Kodachrome KMA and probably Ektachrome 40.
The Flower: Ektachrome 160.
TRAGOEDIA (1976)
16mm, bw & color, silent 24fps, 38.5m (38:17)
Film stock notes: This film was assembled as an A-roll only, in two reels, from a very wide variety of stocks, spanning a wide range of years. The material making up this film seems to have been entirely pre-existing. Stocks include Kodachrome II & IIA, 7256 Ektachrome MS, 7241 & 7242 Ektachrome EF, Eastman b/w reversal, Eastman color negative, Eastman color positive, Eastman b/w negative, Eastman b/w positive, Dupont b/w reversal, and Anscochrome.
THE DOMAIN OF THE MOMENT (1977)
16mm, color, silent 24fps, 14.5m (14:33)
This film is built from four sections, each representing a moment experienced and filmed by Brakhage, but intended to exist ultimately as a single work. The individual four sections were edited as separate pieces, and joined together at the internegative stage. As a result, the original elements for this fairly short work comprise a surprising 12 total rolls of film (section 1 is A/B/C rolls, section 2 is A/B/C rolls, section 3 is A/B/C/D rolls, and section 4 is A/B rolls). In Section 4, some material was removed by Brakhage in the course of production due to it being badly emulsion scratched, possibly during editing or initial printing – this material was saved by him as outtakes. Also, the hand-painted material in this film was originally edited by Brakhage directly into the printing rolls, but was then removed and duplicated by his lab to 7252 ECO masters instead, and this ECO dupe cut into the originals to replace the hand-painted material, presumably to make printing safer/easier. The extracted original hand-painted material is also extant in Brakhage’s collection.
Film stock notes: Sections 1 and 4 are made up of contemporary (1975-76) material. Sections 2 and 3 seem to be made up of entirely pre-existing (1969-70) material (besides the painted/scratched film).
section 1: Kodachrome KM and 7252 ECO dupe of painted material.
section 2: 7242 Ektachrome EF, scratched black leader, and 7252 ECO dupe of painted material.
section 3: 7242 Ektachrome EF, 7255 ECO color fields (dating to ca.1969), and 7252 ECO dupe of painted material.
section 4: 7242 Ektachrome EF and scratched black leader
THE GOVERNOR (1977)
16mm, color, silent 24fps, 54m (54:00)
This film was originally edited in four reels by Brakhage, and prints generally comprise two reels, or sometimes one combined reel. The duration measurement given here is based on a two-reel print, so the duration is +/- a few seconds, depending on the amount of black left at the reel join in single-reel prints. (If no black is included between any of the reels, the duration would 53:39, but this does not accurately reflect the reality of the film’s print construction and projection.)
SOLDIERS AND OTHER COSMIC OBJECTS (1977)
16mm, color, silent 24fps, 20.5m (20:32)
Film stock notes: This film was edited as an A-roll only, and seems to have been made entirely from pre-existing footage. Stocks include 7241 & 7242 Ektachrome EF, Kodachrome II & IIA, Anscochrome, and probably 7256 Ektachrome MS.
BIRD (1978)
16mm, color, silent 24fps, 2.5m (2:44)
Film stock notes: This film was edited as an A-roll only, and probably shot on 7256 Ektachrome MS (my inspection notes from 2006 are slightly nonspecific).
BURIAL PATH (1978)
Super 8/16mm, color, silent, 18fps: 10.5m (10:43); 24fps: 8m (8:02)
CENTRE (1978)
Super 8/16mm, color, silent, 18fps: 12m (12:03); 24fps: 9m (9:02)
DUPLICITY (1978)
16mm, bw & color, silent 24fps, 21.5m (21:17)
DUPLICITY II (1978)
16mm, color, silent 24fps, 14.5m (14:23)
NIGHTMARE SERIES (1978)
16mm, color, silent 24fps, 19.5m (19:28)
Film stock notes: This film was shot on Kodachrome KM, 7242 Ektachrome EF, 7239 Ektachrome VND, 7240 Ektachrome VNF, and 7250 Ektachrome VNX stocks.
PURITY AND AFTER (1978)
Super 8/16mm, color, silent, 18fps: 5m (5:13); 24fps: 4m (3:55)
Although technically comprising two short films — Purity and After — they were only released paired on one reel, and don’t seem to have been released or shown separately.
Both films were shot on Super 8 and finished as a 16mm blow-up. They were not screened or released in Super 8. In some print references, the title includes a comma following “Purity”, but this is only an inconsistently applied indicator that this is technically an assembly of two films, and no comma appears on screen.
Film stock notes: Purity was shot on Super 8 Kodachrome KMA. After was shot on Super 8 Kodachrome KMA and 7244 Ektachrome SMA stocks. They were spliced together and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
SINCERITY III (1978)
16mm, bw & color, silent 24fps, 35m (34:57)
Film stock notes: This film was assembled as an A-roll only, in two reels, from a very wide variety of stocks, spanning a wide range of years. The material making up this film seems to have been entirely pre-existing. Stocks include Eastman color negative, Eastman b/w negative, Eastman b/w reversal, Eastman color positive, Eastman b/w positive, Kodachrome (1960 stock processed outdated in 1967), Kodachrome II & IIA, 7241 and 7242 Ektachrome EF, 7255 Ektachrome Commercial, Eastman b/w hi-con, 7258 Ektachrome ER, 7256 Ektachrome MS, Dupont b/w reversal, and Anscochrome.
SLUICE (1978)
Super 8/16mm, bw, silent, 18fps: 4m (3:45); 24fps: 3m (2:49)
This was Brakhage’s final black and white film, made a full 13 years after his most recent previous one, which was Fire of Waters (1965). This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Eastman Super 8 b/w reversal stock and blown up to 16mm b/w negative for printing and release.
THOT FALN (1978)
Super 8/16mm, color, silent, 18fps: 14m (13:54); 24fps: 10.5m (10:26)
This title has often appeared in print references as THOT-FAL’N, but on screen it is simply THOT FALN. This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and Ektachrome 160G stocks.
*
POLAVISION FILMS
Polavision was a Super 8 film format launched in 1977 by Polaroid as an alternative to conventional home movie filmmaking, though its extreme limitations and launch proximity to the dawn of the home video era doomed it to a quick failure. Utilizing a variation of their self-processing photography technology, it enabled users to shoot on a cartridge containing specialized Super 8 sized film stock, which, upon insertion of the filmed cartridge into the required rear projection viewer, triggered the processing of the stock to produce a developed and viewable image in about 90 seconds. The cameras ran at 18fps, and the 38.5 feet of film in each cartridge yielded about 2:34 in running time per cartridge. (Note: Erika Balsom wrote an excellent article about the format and its use by artists including Brakhage, Andy Warhol, and Morgan Fisher, called “Instant Failure: Polaroid’s Polavision, 1977-1980” in Grey Room 66, Winter 2017, which I highly recommend tracking down for much more information and insight on the format itself.)
Brakhage obtained a Polavision outfit probably in October 1978, and between primarily October 1978 and March 1979, a few dozen films were shot. Many were shot and signed by Brakhage, but several others were made by various combinations of his children, sometimes with Jane Brakhage as well. For many years, the whereabouts and precise details about these films were unknown, until they turned up unexpectedly in 2017. The information below is taken directly from the original labeling of the Polavision cartridges by Brakhage and/or his family at the time of shooting. Though these films were never formally released or historically included in Brakhage’s filmography, many have titles and are dated and signed ‘SB’ on the box, and some were shown to various people, including Fred Camper, who was also for years one of the only people to mention them in the context of Brakhage’s body of work. I’m including them here rather than in the Miscellaneous addendum because I think it’s significant to consider them as part of his personal filmmaking practice at this specific time in the trajectory of his career.
In total, there are 40 Polavision films in the Brakhage collection, the first filmed on October 11, 1978 and the last one probably in June 1979. 20 of them are unambiguously labeled and signed ‘SB’ by Brakhage, with titles and often dates. 16 of them seem to have been made by various of his children. The remaining four are uncertain. The first 16 cartridges filmed were numbered, and thereafter only labeled with titles/dates. All 40 were shot on Type 608 stock (which is 40 ASA), and it’s reasonable to presume they’re all roughly the length of a standard cartridge (approximately 2.5 minutes), though none have yet been checked or restored.
(all labeling is as found on the original boxes, with brackets around my editorial notes)
Films labeled and signed by Brakhage:
#2 Oct 11 (SB)
#3 FOLKS Oct 12 (SB)
#7 ROOM TO ROOM Oct 19 (SB)
#8 IN AND OUT (SB)
#12 NIGHT + DAY Oct 22/23 (SB)
#13 TRI-PART-LINE Oct 23 (SB)
#14 MEMORY FOG Oct 23 (SB)
#15 OCT JANE DARKLY (scratched) Oct 24 (SB)
#16 JANE’S CHARES [sic?] Oct 26 (SB)
HAIR STUDY Nov 18 Box 2 #1 (SB)
MYRRENA’S BIRTHDAY Nov. 18 Box 2 #2 (SB)
PORTRAIT OF FORREST Dec 17 ’78 (SB)
JIM TENNEY + MIO, HIS DAUGHTER Dec 20 (SB)
BOB BENSON MADONNAS #1 Dec 22 ’78 (SB)
BOB BENSON MADONNAS #2 Dec 22 ‘78 (SB)
GERALD O’GRADY Dec 30 (SB)
CRYSTAL Jan 16 (SB)
DYING ANIMAL Jan 16 (SB)
MUSIC #1 Mar 18, ‘79 (SB)
BOB + PEN CREELEY Early Summer 1979 (SB)
Uncertain films:
#9 Neowyn + Jane Volley Ball Oct 21
[labeled in Brakhage’s handwriting, but not signed ‘SB’ by him as the other films are, so it could be a film by him OF Neowyn and Jane or alternatively made BY them]
HOUSEHOLD OBJECTS #1 Oct 22 1979 [sic]
[probably by Brakhage, labeled in his handwriting, but not signed on box by him as the other films are; also, year labeling is almost certainly erroneous and should be 1978]
PURE WHITE (NOT INTENDED) Jan 16 (SB)
[presuming this one processed with no image other than clear film, but Brakhage dated and signed it anyway]
One other cartridge appears to have been shot, but is completely unlabeled, and not certain if it was inserted into the viewer to initiate processing.
Films by the various kids, including one by the whole family:
#1 KITCHEN ANTICS whole family Oct 11
#4 BEAR BY RARC Oct 16
#5 BEAR’S Oct 16
#6 NEOWYN’S Oct 16
10# NEOWYNS SECOND Oct 21
11# RARC’S 2ND Oct 21
NEOWYN’S Box 2 #3 Nov 19
Rarc’s FIRE AND PARIS [?] _[?] mid-Nov
Neowyn – MID-NOVEMBER
A SNOWY NIGHT PART I (Bear)
A SNOWY NIGHT PART II (Bear)
FEBRUARY’S BLOODSTREAM Neowyn Feb 12, 79
LITTLE POEMS Anonymous [with ‘Crystal Brakhage’ crossed out] Mar 24, ‘79
Crystal’s MY VISION Mar 25 ’79
BIG BUTT BEAR 5-4-79 Neowyn, Jane, Ethan
THE GOATS – Neowyn June 5, 1979
*
@ (1979)
Super 8/16mm, color, silent, 18fps: 7m (6:50); 24fps: 5m (5:07)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
CREATION (1979)
16mm, color, silent 24fps, 16m (15:49)
Film stock notes: This film was shot on Kodachrome KM and KMA stocks.
DUPLICITY III (1980)
16mm, bw & color, silent 24fps, 22.5m (22:19)
SINCERITY IV (1980)
16mm, bw & color, silent 24fps, 36m (36:01)
SINCERITY V (1980)
16mm, bw & color, silent 24fps, 39m (38:58)
MADE MANIFEST (1980)
16mm, color, silent 24fps, 10.5m (10:18)
Film stock notes: This film was shot on Kodachrome.
OTHER (1980)
Super 8/16mm, color, silent, 18fps: 3m (2:58); 24fps: 2m (2:14)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
SALOME (1980)
Super 8/16mm, color, silent, 18fps: 3m (3:09); 24fps: 2.5m (2:22)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
MURDER PSALM (1980)
16mm, bw & color, silent 24fps, 16.5m (16:32)
The color cartoon footage of a policeman fox that recurs throughout the film derives from On Duty, a 1973 South Korean cartoon that was actually a redrawn, color version of what was originally a 1931 Warner Brothers/Harman-Ising film called One More Time.
Film stock notes: This film was shot on and assembled from numerous different film stocks, including quite a bit of found footage, which is a pretty rare occurrence in Brakhage’s filmography.
THE ROMAN NUMERALS SERIES (1979-80)
Total running time at 18fps: 46m (45:46)
Total running time at 24fps: 34.5m (34:20)
This is a series of nine films made by Brakhage in 1979 and 1980. Titles on screen are simply the respective numerals themselves (as below), but the series in general is referred to as The Roman Numerals Series, or, more informally, “Roman“/”Romans“, as in “Roman I” or “Romans IX“, etc.
I (1979)
16mm, color, silent, 18fps: 6.5m (6:26); 24fps: 5m (4:50)
Film stock notes: This film was shot on 7241 and 7242 Ektachrome EF stocks. I and VIII seem to be the only Roman Numerals Series films shot on 16mm – the rest were shot on Super 8 and blown up for printing and release.
II (1979)
Super 8/16mm, color, silent, 18fps: 9m (8:50); 24fps: 6.5m (6:38)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, 7242 Ektachrome EF, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
III (1979)
Super 8/16mm, color, silent, 18fps: 2m (2:04); 24fps: 1.5m (1:33)
This film was entirely edited in-camera, and the original has no splices whatsoever.
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
IV (1979)
Super 8/16mm, color, silent, 18fps: 2m (2:09); 24fps: 1.5m (1:37)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome 160G and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
V (1979)
Super 8/16mm, color, silent, 18fps: 3m (2:56); 24fps: 2m (2:12)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome 160G and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
VI (1980)
Super 8/16mm, color, silent, 18fps: 12m (11:57); 24fps: 9m (8:58)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
VII (1980)
Super 8/16mm, color, silent, 18fps: 5m (5:08); 24fps: 4m (3:51)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
VIII (1980)
16mm, color, silent, 18fps: 4m (3:54); 24fps: 3m (2:56)
Film stock notes: This film was shot on 7241 and 7242 Ektachrome EF stocks. I and VIII seem to be the only Roman Numerals Series films shot on 16mm – the rest were shot on Super 8 and blown up for printing and release.
IX (1980)
Super 8/16mm, color, silent, 18fps: 2.5m (2:22); 24fps: 2m (1:47)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
AFTERMATH (1981)
16mm, color, silent 24fps, 7.5m (7:43)
Film stock notes: This film has an unusual production process, involving an atypical double bi-pack process that I’m fairly certain Brakhage only ever used in this film. (Bi-packing means that two strips of film are sandwiched together in the printer gate and rephotographed simultaneously.) The original material comprises a variety of footage which I am fairly certain is entirely outtakes and junk film in Brakhage’s possession. It includes what looks like 1961 Dupont b/w reversal outtakes from Oh Life – A Woe Story – The A-Test News (1963), Eastman 7389 color reversal print material, as well as chemically deteriorated/treated(?) color negative and print material that is also used throughout Murder Psalm. This material was edited into a set of A/B/C/D rolls. The A/B rolls were bi-pack printed with each other at Western Cine on an optical printer (most likely to 7252 Ektachrome Commercial), and the C/D rolls were bi-pack printed with each other. The resulting AB composite and CD composite were then AGAIN bi-pack printed, this time with each other, to 7252 Ektachrome Commercial. This result of the double bi-packing process comprises the finished original for the film, which itself only has two splices, indicating Brakhage only VERY minimally edited the film after the bi-packing process was executed.
THE GARDEN OF EARTHLY DELIGHTS (1981)
35mm, color, silent 24fps, 1.5m (1:44)
This film seems to have been simultaneously released in 35mm and 16mm versions (there is no difference between them in content).
Film stock notes: In simplest terms, this film was finished as a 5247 Eastman color negative made on an optical printer, with its initial basis being two rolls of organic matter sandwiched between layers of perforated 35mm splicing tape. Beyond this, the production process of this film has been somewhat confusing to figure out, but you can find a very involved text I’ve written about it here.
NODES (1981)
16mm, color, silent 24fps, 2.5m (2:43)
The title “Nodes” was initially used by Brakhage for Film #1 in Short Films: 1975, though it did not ultimately come to be known by that title, hence its re-use here.
Film stock notes: This film consists entirely of hand-painted clear leader with some segments of black leader. Nodes seems to be the first 100% hand-painted film (with no photographic material present) released by Brakhage as its own discrete work.
RR (1981)
Super 8/16mm, color, silent 24fps, 8m (7:48)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
UNCONSCIOUS LONDON STRATA (1981)
Super 8/16mm, color, silent 24fps, 22.5m (22:15)
Unlike Brakhage’s other Super 8 films, which were typically shot and edited in Super 8 and then blown up to 16mm as-is, this film was shot on Super 8, blown up to 16mm as raw footage, and then extensively edited in 16mm only.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for editing into the finished film.
THE ARABIC NUMERALS SERIES (1980-82)
Total running time at 18fps: 163m (2:42:49)
Total running time at 24fps: 122m (2:02:07)
This is a series of nineteen films made by Brakhage from 1980 to 1982. Titles on screen are simply the respective numerals themselves (as below), but the series in general is referred to as The Arabic Numerals Series, or, more informally, “Arabic“/”Arabics“, as in “Arabic 1” or “Arabics 9“, etc.
The years do not appear on screen for these films, and are given below as they have historically appeared in Brakhage’s filmography, although original lab invoices indicate that nearly all printing work for these films began in early 1981; Arabic 1 was brought to the lab for its first printing on 12/23/1980, and Arabic 2 in February 1981, with the others following more or less in order thereafter.
1 (1980)
Super 8/16mm, color, silent, 18fps: 3.5m (3:16); 24fps: 2.5m (2:27)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
2 (1980)
16mm, color, silent, 18fps: 4.5m (4:37); 24fps: 3.5m (3:28)
This is the only film in the Arabic Numerals Series that was finished as a 16mm original.
Film stock notes: Although this film is the only one in the series finished as a 16mm spliced original (with no Super 8 antecedent), it does seem to be made up exclusively of duped material (in the form of 7252 Ektachrome Commercial and color positive stocks), so it’s possible (but currently totally uncertain) that the camera originals that presumably made this material may have in part been Super 8 to begin with.
3 (1980)
Super 8/16mm, color, silent, 18fps: 8m (7:51); 24fps: 6m (5:53)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and Ektachrome 160G and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
4 (1981)
Super 8/16mm, color, silent, 18fps: 7.5m (7:28); 24fps: 5.5m (5:36)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome 160G and probably either Ektachrome 40 or 160 and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
5 (1981)
Super 8/16mm, color, silent, 18fps: 3m (3:11); 24fps: 2.5m (2:24)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome 160G and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
6 (1981)
Super 8/16mm, color, silent, 18fps: 9m (9:03); 24fps: 7m (6:47)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
7 (1981)
Super 8/16mm, color, silent, 18fps: 9.5m (9:15); 24fps: 7m (6:57)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome 160G and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
8 (1981)
Super 8/16mm, color, silent, 18fps: 5m (4:45); 24fps: 3.5m (3:34)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and possibly some Ektachrome, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
9 (1981)
Super 8/16mm, color, silent, 18fps: 10.5m (10:15); 24fps: 7.5m (7:41)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
0 + 10 (1981)
Super 8/16mm, color, silent, 18fps: 27.5m (27:29); 24fps: 20.5m (20:37)
Arabic 0 and Arabic 10 were made separately and have individual integrity as films, but Brakhage combined them onto a single reel and historically this is the only way they have been circulated and shown, although it’s possible they were shown individually early on after their completion. These films were both shot on Super 8 and finished as a 16mm blow-up. They were not screened or released in Super 8.
Film stock notes: Arabic 0 was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160. Arabic 10 comprises a single, uncut camera roll of Super 8 Kodachrome KMA. Both were blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
11 (1981)
Super 8/16mm, color, silent, 18fps: 8m (8:02); 24fps: 6m (6:01)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
12 (1981)
Super 8/16mm, color, silent, 18fps: 22.5m (22:42); 24fps: 17m (17:02)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
13 (1981)
Super 8/16mm, color, silent, 18fps: 3m (3:03); 24fps: 2.5m (2:17)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film comprises a single, uncut Super 8 Ektachrome camera roll, and was blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
14 (1982)
Super 8/16mm, color, silent, 18fps: 4m (3:54); 24fps: 3m (2:55)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome 160G and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
15 (1982)
Super 8/16mm, color, silent, 18fps: 6m (5:45); 24fps: 4.5m (4:19)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
16 (1982)
Super 8/16mm, color, silent, 18fps: 7m (6:46); 24fps: 5m (5:04)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Ektachrome 160G and what looks like Kodachrome, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release. There are only two physical splices in the entire film – all other editing is in-camera.
17 (1982)
Super 8/16mm, color, silent, 18fps: 8m (7:53); 24fps: 6m (5:54)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA, Ektachrome 160G, and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
18 (1982)
Super 8/16mm, color, silent, 18fps: 7.5m (7:38); 24fps: 5.5m (5:43)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and probably either Ektachrome 40 or 160, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
19 (1982)
Super 8/16mm, color, silent, 18fps: 10m (9:56); 24fps: 7.5m (7:27)
This film was shot on Super 8 and finished as a 16mm blow-up. It was not screened or released in Super 8.
Film stock notes: This film was shot on Super 8 Kodachrome KMA and Ektachrome 160G, and blown up to 16mm 7252 Ektachrome Commercial stock for printing and release.
LIGHTSTRUCK 