Image courtesy of the Estate of Stan Brakhage and Fred Camper ()
Stan Brakhage: Life, Death, and the Elements
New Restorations from the Academy Film Archive
Date: April 15, 2018
Location: Echo Park Film Center
Address: 1200 N. Alvarado St, Los Angeles, CA. 90026
Co-presented by Los Angeles Filmforum, in collaboration
with the UCLA Film & Television Archive
Touching on some of Stan Brakhage’s (1933-2003) most recurring and fundamental themes, this selection of five films pairs an early, celebrated masterpiece (Scenes From Under Childhood) and a truly monumental but neglected work made the year before his death (Panels for the Walls of Heaven). Three other short films––all distinctly visually striking and reflecting a palpable viscerality ––balance out this program of new restorations from the Academy Film Archive, the majority appearing here in their first public screenings in the Academy’s new 16mm prints.
Program: Scenes from Under Childhood (Section One) (1967); Stately Mansions Did Decree (1999); Fires of Water (1965); Self Song & Death Song (1997); Panels for the Walls of Heaven (2002). All films showing on new 16mm prints.
The Academy Film Archive has been home to the Stan Brakhage collection (comprising his originals, printing elements, and other film materials) since 2004. Since that time, Academy film preservationist Mark Toscano has worked to inspect, catalog, identify, and document the collection, as well as preserve, restore, and reprint over 80 of Brakhage’s films, with additional titles always in progress.
On April 13 and 14, in celebration of the recently reissued Metaphors on Vision, the UCLA Film & Television Archive will present two different Brakhage shows at the Billy Wilder theater. More info here.
One of the great documents of the American cinema.
J. Hoberman on Metaphors on Vision
[Scenes from Under Childhood is] a glorious, romantic epic.
J. Hoberman, Village Voice
One of the last works the filmmaker completed, [Panels of the Walls of Heaven is] staggering, filled with lava flows of irradiated rust-reds and sludge-mercury blues so dense they seem to bulge from the frame. A masterpiece.
Chuck Stephens, Cinema Scope