By P. Adams Sitney
Sitney analyzes intimately the paintings of 11 American avant-garde filmmakers as heirs to the aesthetics of excitement and leading edge imaginative and prescient articulated by means of Ralph Waldo Emerson and explored through John Cage, Charles Olson and Gertrude Stein. the flicks mentioned span the sixty years because the moment international warfare. With 3 chapters each one dedicated to Stan Brakhage and Robert Beavers, every one to Hollis Frampton and Jonas Mekas, and unmarried chapters on Marie Menken, Ian Hugo, Andrew Noren, Warren Sonbert, Su Friedrich, Ernie Gehr, and Abigail baby, Eyes Upside Down is the fruit of Sitney's lifelong examine of visionary aspirations within the American avant-garde cinema.
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Additional resources for Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson
463. (emphasis mine). 38. Olson, The Human Universe, p. 70 (emphasis mine). introduction: emersonian poetics 19 . . [Do] we not have to leave compulsions on the other side of syntax, no matter how much syntax does give us the means to indicate all stages of propulsion, including that quietist of all movements, doing nothing—contemplating a leaf of grass? . All I want to do is to beat you into the recognition that things—the hard things—are, wherever, . . 39 Thus, even though there is no direct expression of the Emersonian concept of motion as a key to a new aesthetic perspective in Olson aside from that implicit in the opening of Call Me Ishmael (“I take SPACE to be the central fact to man born in America, from Folsom cave to now.
As the third, made the same year: 1957. It is just possible that she screened Visual Variations on Noguchi and Glimpse of a Garden to the scientist and then made Hurry! Hurry! later that year out of the materials he sent her. 8. Willard Maas, “The Gryphon Yaks,” Film Culture no. 29 (Summer 1963), p. 49. marie menken and the somatic camera 27 occurred in conjunction with Cunningham’s dance The Seasons, she claimed, convincingly, that the schema of Maya Deren’s A Study in Choreography for Camera (1945) was her idea, which she presented to Deren as a hypothetical illustration of a theoretical argument Deren was expounding to Maas and Menken’s guests at their Montague Street penthouse; and that she showed Deren how the ﬁnal leap in that ﬁlm could be ﬁlmed from the picnic table on the penthouse terrace, where it was eventually shot.
Clearly Whitman was on his mind: Why, in short, a noun is so vital is not at all that it so much differs from a verb (does not have motion) but because it is a motion which has not yet moved. 36. Emerson, Essays and Lectures, pp. 456–57 (emphasis mine). 37. Ibid. 463. (emphasis mine). 38. Olson, The Human Universe, p. 70 (emphasis mine). introduction: emersonian poetics 19 . . [Do] we not have to leave compulsions on the other side of syntax, no matter how much syntax does give us the means to indicate all stages of propulsion, including that quietist of all movements, doing nothing—contemplating a leaf of grass?
Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson by P. Adams Sitney