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The Melancholy Lens - Loss and Mourning in American Avant-Garde Cinema (Paperback)
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The Melancholy Lens - Loss and Mourning in American Avant-Garde Cinema (Paperback)
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The prevalence of loss and mourning, and of charged relationships
with parents or parental figures has had a surprising influence on
several American avant-garde filmmakers' work . To date, however,
little attention has been given to these themes. In The Melancholy
Lens, author Tony Pipolo offers a detailed look at the significant
role of underlying biographical and psychological factors in
specific works by leading avant-garde filmmakers. Covering a range
of filmmakers including Maya Deren, Stan Brakhage, Gregory
Markopoulos, Robert Beavers, Ken Jacobs, and Ernie Gehr, The
Melancholy Lens takes a sensitive approach to understand the
motivations of each filmmaker as related to a given work. Pipolo
argues, for example, that the work of Deren and Brakhage lends
itself to a more aggressive appreciation of psychoanalytic
principles. The Deren films studied-Meshes of the Afternoon, At
Land, and Ritual in Transfigured Time-are read as varying responses
to the death of her father, with whom she had a strained
relationship. Tortured Dust-the final film Brakhage made about his
first family-was, by his own account, a work of contention and
desperation. The elusiveness of Gregory Markopoulos' The Mysteries
cannot conceal its naked obsession with death any more than it can
diminish the film's poignancy. Robert Beavers' Sotiros is an
especially rich and vivid exposure of a vulnerable chapter in the
filmmakers's life. In the final two chapters on Ken Jacobs and
Ernie Gehr, Pipolo looks outward for artistic motivation to show
how both filmmakers' fascination with the history of film and video
manifests as a melancholic view of greater history in their work.
In the afterword, the author considers later figures whose work is
kindred to the theme of this book, among them Nathaniel Dorsky,
Phil Solomon, David Gatten, and Lewis Klahr.
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