<abstract xmlns="http://www.w3.org/1999/xhtml"><p> Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),<sup>1</sup> this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial</p></abstract>

Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),1 this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial

(Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

Acta Universitatis Sapientiae, Film and Media Studies

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

{"article-title":"(Re)framing Movement in Stan Brakhage\u2019s Visions in Meditation N°1"}

Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the...

(Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

Online veröffentlicht: 04. Juni 2014

Seitenbereich: 35 - 48

DOI: https://doi.org/10.2478/ausfm-2014-0003

Schlüsselwörter
Stan Brakhage, Deleuze, rhythm and movement in film, avant-garde lyrical cinema.

© 2014

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

(Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

Online veröffentlicht: 04. Juni 2014

Seitenbereich: 35 - 48

DOI: https://doi.org/10.2478/ausfm-2014-0003

SchlüsselwörterStan Brakhage, Deleuze, rhythm and movement in film, avant-garde lyrical cinema.

© 2014

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Schlüsselwörter
Stan Brakhage, Deleuze, rhythm and movement in film, avant-garde lyrical cinema.