00:00 Speaker, possibly Don Yannacito, introduces Stan Brakhage. 00:01:15 Brakhage discusses artists’ aversion to public speaking, his relationship with Bruce Baillie, and Baillie’s reputation since the 1960s. 00:05:07 Brakhage discusses institutional education and artistic creativity, referring to his time at Dartmouth and his childhood. 00:08:00 Brakhage contrasts his youth and career path with that of Bruce Baillie. 00:09:00 Brakhage mentions founding of Canyon Cinema, Baillie’s sensibility, and more on the 1960s. 00:11:20 Brakhage introduces the program, beginning with Mr. Hayashi (1961). 00:12:40 Audio cuts to after film has screened. Brakhage takes a question from the audience about Baillie’s Tung (1966). Brakhage discusses Baillie’s and his own experiences in the Dakotas, witnessing violent racism against American Indians, and Native American activism in the 1970s. 00:16:30 Brakhage returns to Baillie’s focus on social atrocity in the 1960s, mentioning Quixote (1964-65/67). 00:18:30 Brakhage talks about "ways of seeing," Hollywood narrative drama, and film criticism, compared to Baillie’s technique and the reception to his work. He returns to the work of Canyon Cinema. 00:21:50 Brakhage returns to Tung and Quixote, in contrast to Hollywood narrative. He discusses politics of the films. 00:24:30 Brakhage mentions Baillie’s Mass for the Dakota Sioux (1964). He describes “social art.” 00:26:05 Brakhage takes a question about the “technique of being out of focus” in Baillie’s film. He speaks about human vision, compared to sharp focus on Hollywood film and television shows. 00:28:50 Brakhage talks about the definition of art. He introduces Baillie’s Quixote. 00:30:06 Audio cuts to after film has screened. Question from audience comparing Baillie to John Steinbeck. 00:31:11 Audio briefly cuts, repeats the previous 20 seconds. 00:31:40 Brakhage discusses themes of Baillie and Steinbeck, his interest in people who are oppressed and suffering. 00:34:59 Question from audience about Baillie’s current work. Brakhage mentions Roslyn Romance (ca. 1978) and Baillie’s struggle for grant funding, his reliance on lecture tours and funding from friends. He mentions a shared event they had intended in Kalamazoo, Michigan. 00:38:06 Brakhage describes a section of Baillie’s film superimposing images of pigs with businessmen. 00:40:12 Brakhage returns to definitions of art, representation of private life, and its reception. 00:41:08 Question from the audience about interpretations of the pig scene. 00:42:20 Question from audience. Brakhage discusses contrast of color and black-and-white in Baillie’s film, mentioning human perception and memory. He discusses a sequence with images of field workers, mentioning Jean-Francois Millet’s Man with a Hoe (1860-62), in contrast with images of athletes. He compares the sequence to the work of Bruce Conner. 00:45:23 Brakhage introduces Baillie’s Roslyn Romance. 00:45:30 End of recording.
note
00:00 Speaker, possibly Don Yannacito, introduces Stan Brakhage. 00:01:15 Brakhage discusses artists’ aversion to public speaking, his relationship with Bruce Baillie, and Baillie’s reputation since the 1960s. 00:05:07 Brakhage discusses institutional education and artistic creativity, referring to his time at Dartmouth and his childhood. 00:08:00 Brakhage contrasts his youth and career path with that of Bruce Baillie. 00:09:00 Brakhage mentions founding of Canyon Cinema, Baillie’s sensibility, and more on the 1960s. 00:11:20 Brakhage introduces the program, beginning with Mr. Hayashi (1961). 00:12:40 Audio cuts to after film has screened. Brakhage takes a question from the audience about Baillie’s Tung (1966). Brakhage discusses Baillie’s and his own experiences in the Dakotas, witnessing violent racism against American Indians, and Native American activism in the 1970s. 00:16:30 Brakhage returns to Baillie’s focus on social atrocity in the 1960s, mentioning Quixote (1964-65/67). 00:18:30 Brakhage talks about "ways of seeing," Hollywood narrative drama, and film criticism, compared to Baillie’s technique and the reception to his work. He returns to the work of Canyon Cinema. 00:21:50 Brakhage returns to Tung and Quixote, in contrast to Hollywood narrative. He discusses politics of the films. 00:24:30 Brakhage mentions Baillie’s Mass for the Dakota Sioux (1964). He describes “social art.” 00:26:05 Brakhage takes a question about the “technique of being out of focus” in Baillie’s film. He speaks about human vision, compared to sharp focus on Hollywood film and television shows. 00:28:50 Brakhage talks about the definition of art. He introduces Baillie’s Quixote. 00:30:06 Audio cuts to after film has screened. Question from audience comparing Baillie to John Steinbeck. 00:31:11 Audio briefly cuts, repeats the previous 20 seconds. 00:31:40 Brakhage discusses themes of Baillie and Steinbeck, his interest in people who are oppressed and suffering. 00:34:59 Question from audience about Baillie’s current work. Brakhage mentions Roslyn Romance (ca. 1978) and Baillie’s struggle for grant funding, his reliance on lecture tours and funding from friends. He mentions a shared event they had intended in Kalamazoo, Michigan. 00:38:06 Brakhage describes a section of Baillie’s film superimposing images of pigs with businessmen. 00:40:12 Brakhage returns to definitions of art, representation of private life, and its reception. 00:41:08 Question from the audience about interpretations of the pig scene. 00:42:20 Question from audience. Brakhage discusses contrast of color and black-and-white in Baillie’s film, mentioning human perception and memory. He discusses a sequence with images of field workers, mentioning Jean-Francois Millet’s Man with a Hoe (1860-62), in contrast with images of athletes. He compares the sequence to the work of Bruce Conner. 00:45:23 Brakhage introduces Baillie’s Roslyn Romance. 00:45:30 End of recording.
Note
false