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Extra info for The Brakhage lectures: Georges Melies, David Wark Griffith, Carl Theodore Dreyer, Sergei Eisenstein

Sample text

Nor, thus, of any importance, either, in consideration of the man he was! —and ‘steeled’ his eyes; but it did not touch the soul of him . . nor any knowing of the world in him as he grew up. It was “prosaic” in the fullest sense of the word—the ‘hang-up’ of a writer who read . . as he did . . too many newspapers, novels, and current plays—too much of news, novelties and curren- 45 the brakhage lectures stan brakhage cies adrift in his Psyche to enable him to budge the mental needle off any crack in the record.

Every journalist must serve first ‘The Cause’ of Fact when he pretends to write “objectively,” as it’s called—when he pretends, therefore, his act were guided by the hand of an impartial god . . ) Dreyer came, via journeyman film, to the end of all such ‘sameness’ as would comfort Man—as Bibles and newspapers do—and found himself torn apart . . as you will, too, if you see—as he saw—that map of hell and heavenly grace all “flesh is heir to” in any visage . . that “marriage of Heaven and Hell” possible in any humanly moving face.

Those men fall down in this boyish game, only to get up and fall down again (a Buddhist dream): the effects are realistic enough in gruesome fact to satisfy De Sade himself—black movie blood almost drips off the screen . . prop bodies are flung like an angry child’s dolls through aerials of flickering light and black photo smoke-quakes (the marathon dream of The Romans showing again)—later to be tinted yellows and reds, to look as if the projector itself was belching fire and raining down blood on the audience (the dream of The Apocalypse, then).

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