Relevant bibliographies by topics / Brakhage, Stan

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Brakhage, Stan'

Author: Grafiati
Published: 10 December 2022
Last updated: 19 July 2025

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Journal articles on the topic "Brakhage, Stan"

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Giżycki, Marcin. "Stan Brakhage (1933-2003)." Kwartalnik Filmowy, no. 41-42 (June 30, 2003): 348–51. https://doi.org/10.36744/kf.3818.

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Sylwetka zmarłego w 2003 roku Stana Brakhage’a – bodaj najbardziej znanego twórcy filmów awangardowych, którego Giżycki nazywa ostatnim romantycznym utopistą kina, ojcem chrzestnym amerykańskiej awangardy filmowej. Paradoksalnie, odżegnując się od jakichkolwiek technicznych wynalazków, Brakhage był „rzemieślnikiem”, na swój sposób popularnym artystą zafascynowanym autonomicznymi właściwościami obiektywu i filmu.
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Brakhage, Stan. "Metafory wizji." Kwartalnik Filmowy, no. 70 (June 30, 2010): 38–53. https://doi.org/10.36744/kf.3049.

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Tekst Stana Brakehage’a – jednej z najciekawszych postaci w historii awangardy filmowej – jest fragmentem jego książki Essential Brakhage. Selected Writings on Filmmaking by Stan Brakhage (2001). Reżyser snuje poetycką, pełną gier słownych refleksję nad tytułowymi metaforami wizji. Ustanawia i stara się opisać swoistą relację między okiem kamery a okiem twórcy, filmowca. Charakteryzując rozmaite metafory widzenia, śledzi z pozoru oczywiste, a jednak pełne tajemnic funkcje ludzkiego oka i szuka przełożenia tychże funkcji na praktykę filmowca, odnajduje ich echa w pracy kamery. Brakhage dostrzega przy tym, że ludzkie oko (jego oko) zdolne jest do każdego wyobrażenia (otwiera przed nami nieograniczoną rzeczywistość), zaś oko kamery to pierwotny kłamca (oferuje nam same ograniczenia i złudzenia). Tekst jest tłumaczeniem rozdziału z książki Essential Brakhage. Selected Writings on Filmmaking by Stan Brakhage, McPherson & Company, New York 2001. © 2001 by McPherson & Company. Ze względu na ograniczenia praw autorskich artykuł jest dostępny tylko w wydaniu papierowym.
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Peterson, Jennifer. "Barbara Hammer's Jane Brakhage." Feminist Media Histories 6, no. 2 (2020): 67–94. http://dx.doi.org/10.1525/fmh.2020.6.2.67.

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This essay analyzes Barbara Hammer's 1974 experimental nonfiction film Jane Brakhage. Both an homage and a rebuttal to the many films of Jane Brakhage made by her husband, Stan Brakhage, Hammer's film gives Jane the voice she never had in Stan's work. The article contextualizes Jane Brakhage's production at a moment when competing strands of feminist thought took different approaches to the fraught topic of nature. Hammer's films were criticized as essentialist by feminists in the 1980s, but this essay argues that Jane Brakhage complicates that reading of Hammer's work. The film documents Jane's creative life in the mountains, but critiques the limitations of her role as a heterosexual wife and mother. By locating this short film within a larger genealogy of feminist and environmental thought, we can better appreciate the extent to which Hammer's films explore the feminist and queer potential of nature.
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MacDonald, Scott. "The Filmmaker as Visionary: Excerpts from an Interview with Stan Brakhage." Film Quarterly 56, no. 3 (2003): 2–11. http://dx.doi.org/10.1525/fq.2003.56.3.2.

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After providing a brief introduction to Brakhage's prolific career, MacDonald interviews the legendary avant-garde filmmaker about four pivotal films: Anticipation of the Night (1958), the controversial film that established Brakhage's commitment to a new form of cinematic sight and threw the avant-garde film world into an uproar; the four-part Scenes from Under Childhood (1969-1970), one of Brakhage's most elaborate evocations of how the freedom of a baby's vision is lost as the child is acculturated into language; The Loom (1986), Brakhage's requiem for his remarkable marriage with Jane Collum Brakhage; and Commingled Containers(1997), a film made during the first moments of Brakhage's confrontation with bladder cancer. He died on March 9, 2003.
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McClure, Michael, and Steve Anker. "Realm Buster: Stan Brakhage." Chicago Review 47/48 (2001): 171. http://dx.doi.org/10.2307/25304814.

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Sihvonen, Jukka. "Stan Brakhage, näkyjen kuljettaja." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 30, no. 4 (2018): 57–66. http://dx.doi.org/10.23994/lk.69011.

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 Nykyelokuvan tunnetuimpiin kuuluvalla amerikkalaisella elokuvantekijällä ja -ajattelijalla, Stan Brakhagella (syntymänimeltään Robert Sanders), oli kuollessaan 70-vuotiaana maaliskuussa vuonna 2003 noin viidenkymmenen työteliään vuoden ja lähes neljänsadan elokuvan tuotanto takanaan. Elokuvista lyhimmät ovat alle kymmenen sekunnin mittaisia, mutta pisimmät vastaavasti yltävät yli neljään tuntiin. Laajan ja moniaineksisen tuotannon pysyväksi tavoitteeksi muodostui jo varhain pyrkimys taltioida ihmissilmän rajatonta kykyä nähdä ilmeisen tuolle puolen.
 
 
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Michelson, Annette. "Stan Brakhage (1933–2003)." October 108 (April 2004): 112–15. http://dx.doi.org/10.1162/016228704774115744.

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Dorsky, Nathaniel. "Stan Brakhage: Four Silent Nights." Chicago Review 47/48 (2001): 192. http://dx.doi.org/10.2307/25304817.

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Simon, Emőke. "(Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (2013): 35–48. http://dx.doi.org/10.2478/ausfm-2014-0003.

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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
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Nesthus, Marie. "The "Document" Correspondence of Stan Brakhage." Chicago Review 47/48 (2001): 133. http://dx.doi.org/10.2307/25304811.

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Dissertations / Theses on the topic "Brakhage, Stan"

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Vergé, Emilie. "Une étude stylistique du cinéma de Stan Brakhage (1952-2003)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030154.

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Cette thèse monographique, consacrée à l'oeuvre filmique du cinéaste expérimental Stan Brakhage, constitue un apport en histoire et en esthétique du cinéma. Une recherche en archives a permis l'analyse de la filmographie complète du cinéaste composée de près de quatre cent films réalisés entre 1952 et 2003, et l'étude de ses archives non-film. Cette thèse propose une synthèse de ces analyses, dans une étude stylistique de l'oeuvre filmique du cinéaste.L'étude stylistique est fondée sur des analyses esthétiques, formelles et iconographiques.Un style naturaliste a pu être identifié et défini, avec en particulier les théories du naturalisme de Worringer dans Abstraction et Einfühlung, de Kris dans Le Style rustique, et de Zola avec la méthode expérimentale, réactualisées avec les théories du modernisme dont de Greenberg, et adaptées aux formes cinématographiques avec les théories d'Eisenstein et de Brakhage. Cette thèse stylistique prétend donner une synthèse d'ensemble monographique<br>This monographic thesis, dedicated to the film work of the experimental film-maker Stan Brakhage, constitutes a contribution in film history and aesthetics. A research in archives allowed the analysis of the complete filmography of the film-maker composed of about four hundred films made between 1952 and 2003, and the study of its non-film archives. This thesis provides a synthesis of these analyses, in a stylistic study of the film work of the film-maker.Stylistic study is founded on aesthetic, formalist and iconographic analyses. A naturalist style could be identified and defined, with particularly the theories of the naturalism byWorringer in Abstraction and Einfühlung, by Kris on rustic style, and by Zola with experimentalmethod, updated with the theories of modernism including by Greenberg, and adapted to filmforms with the theories of Eisenstein and Brakhage. This stylistic thesis pretends to give anoverall monographic synthesis
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Evans, Gareth David. "Images of indetermination : the emancipation of vision in the work of Stan Brakhage." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.715830.

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Andrade, Patrícia Mourão de. "A invenção de uma tradição: caminhos da autobiografia no cinema experimental." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-22092016-153733/.

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No final da década de 1960 e início da seguinte, dentro do contexto que se convencionou chamar de cinema experimental ou de vanguarda norte-americano, um número sem precendetes de cineastas dedicou-se à elaboração de filmes-diário ou autobiografias filmadas. Esse movimento é acompanhado, no caso de alguns dos realizadores, por um interesse por outras formas (literárias ou pictóricas) de autorre- presentação e escrita de vida e por um esforço reflexivo sobre as possibilidades, usos e potências dessas formas no cinema. Partindo do entendimento que a autobiografia transforma-se em um campo de interesses para cineastas, críticos e público apenas a partir deste momento, esta tese pretende abordar como ela é formulada e inventada por cineastas como uma forma possível para o cinema. A partir da análise de textos e filmes de três cineastas centrais para essa elaboração, notadamente Stan Brakhage, Jonas Mekas e Hollis Frampton, demonstramos o papel do gênero na transformação de um panorama artístico e criativo. De um lado, como se verá, a autobiografia afirma-se e inventa-se como uma tentativa de dialogar e responder a uma história artística que incluí o próprio cineasta, de outro, ela propõe-se como um lugar de singularização e transformação dessa história.<br>On the threshold of the seventies, the autobiographical genre emerged as one of the main tendencies of the north-american avant-garde film. This event was followed by a growing interest in other forms of self representation and life narratives in painting and literature and by an intellectual effort to reflect on the uses, qualities, possibilities and predecessors of the new form in film. Understanding that autobiography becomes a field of interest for filmmakers, critics and public alike only at this moment in time, this dissertation intends to broach how autobiography is fashioned by filmmakers into a form viable for cinema. Relying on a vast documentation of writings by Jonas Mekas, Stan Brakhage and Hollis Frampton, three filmmakers whom we consider to be central to the understanding of the genre as such, and on close readings of their autobiographical films we demonstrate the role played by the genre in the transformation of a creative and artistic environment. As will be seen, the emergence of the genre responds to a historical and aesthetic transformation in experimental films and offers itself as a peronal narrative for this changing history.
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Vokjan, Viktor. "Poetické mýty Stana Brakhage." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78759.

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Average American does not desire to watch a movie that has no single meaning and is layered and requires thinking and some fantasy. He/she wants to see things he/she is dreaming about. Most likely those are materialistic and earthly things. Hollywood film studios largely fulfill this desire. Nevertheless, there are people a bit different then that. In his early works Breakage?s style was, as he had named it himself, ?surrealistic neorealist?, but soon enough he starts experimenting with a new formal approach and it could b named as abstract expressionism. According to the style in painting, represented by Jackson Pollock. Rituals of the family life and the family were predominant subjects of his work of late fifties and early sixties. Birth, sex and death are three corner stones of his film work. During this period he had written his famous book ?Metaphors on Vision?. It is a kind of a key, a manual to his films. ?Window Water Baby Moving? and ?Thigh Line Lyre Triangular? are film about the birth of his first two children. Unusually to most of his films there is a unity of place and time in this film. In his film ?Sirius Remembered? Brakhage is dealing with the matters of death and physical decay. Brakhage`s most ambitious work of the sixties was ?Dog Star Man?. This film marks a definitive end of his ?lyrical? style, focused on impressions of an individual. Later in his work he turns more into the more abstract metaphysical subjects.
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Lori, Marco. "Stan Brakhage's spiritual imperative : its origins, corporeality, and form." Thesis, Birkbeck (University of London), 2017. http://bbktheses.da.ulcc.ac.uk/257/.

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This thesis examines the topic of film-maker Stan Brakhage’s occult-derived spirituality. The origins and contents of his positions about spirituality and art are traced back to an occult-derived philosophical tradition discussed by and subsequently associated with the poet Ezra Pound. Pound recovered and reworked certain occult-related beliefs which in turn had roots in a medieval synthesis of ancient Greek doctrines. These beliefs constitute a precise historical perspective against which to read and understand Brakhage’s apparently eccentric positions about art as spiritual revelation, trance states, the Muses, the artist as instrument, and the divine as ineffable. After defining the origins and substance of what I term Brakhage’s spiritual imperative, other aspects of his spiritual quest are considered. The corporeality as functional to it, positioning it beyond a mere metaphysical sphere, and the formal features through which such spirituality is articulated and manifested, constitute the other two directions of my investigation. The corporeality of the world is discussed as a vital part of Brakhage’s spiritual imperative in his stances towards science, sex, the body, and rhythm. The actual form through which it is manifested his spirituality in art, and the theoretical implications of that form, are the topic of the third and last part of the investigation. This form is identified as fragmentation, intended by Brakhage to produce not only a continuous present for the viewers of his work, but also to imply a precise model for reality. Such model relates Brakhage’s spiritual imperative with his lifelong aversion to what he regarded as constricting forms, such as narrative and grammatical structures. The thesis aims to demonstrate the origins and theoretical content of Brakhage’s spiritual ideas as occult-derived, mainly through Pound; and to assess the resulting spirituality as deeply intertwined with the corporeality of the world, and manifested through a form related to his critical stances towards language and narration.
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Arsenault, Nadia. "La divine comédie de Stan Brakhage : une lecture du film lyrique The Dante Quartet." Thèse, 2011. http://hdl.handle.net/1866/8343.

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Film abstrait peint à la main sur de la pellicule recyclée, The Dante Quartet de Stan Brakhage est une adaptation personnelle de La divine comédie de Dante. Agissant comme un palimpseste où chaque couche révèle des éléments caractéristiques de l’oeuvre du cinéaste ainsi que l’influence de certains poètes et artistes, The Dante Quartet reprend certaines caractéristiques de l’ekphrasis. Dans ce mémoire, je travaille avec l’hypothèse heuristique que The Dante Quartet est une ekphrasis, et plus précisément une ekphrasis inversée. Ce mémoire s’intéresse à ce qui reste du pré-texte après son passage d’un média à un autre. Compte tenu du laps temporel qui sépare ces deux œuvres, il est aussi question d’influences contemporaines au travail de Brakhage. Le cinéaste basant son travail sur les phénomènes de vision (et plus particulièrement sur les visions hypnagogiques dans le cas qui m’occupe), le point sera fait sur la pensée de Brakhage à ce sujet, pensée qu’il expose dans son livre-manifeste Metaphors on Vision.<br>The Dante Quartet by Stan Brakhage is a personal adaptation of The Divine Comedy of Dante who took the form of an abstract movie made from hand painted images on recycled footage. Acting as a palimpsest in which each layer reveals characteristic features of Brakhage's work and the influence of different poets and artists on it, The Dante Quartet also includes some features of ekphrasis. In this thesis, I work with the heuristic assumption that The Dante Quartet is an ekphrasis, specifically a reverse ekphrasis. This thesis looks at what remains of the pre-text after the transfer from one medium to another. Given the temporal interval between these two works, I will also discuss of certain contemporary influences to Brakhage's work. As the filmmaker based his work on vision phenomena (especially on hypnagogic visions in that movie), the point will be made regarding Brakhage's thinking about this, thought that he describes in his manifesto Metaphors on Vision.
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Kashmere, Brett. "Freedom of expression : John Coltrane, Stan Brakhage and the American avant-garde, 1957-67." Thesis, 2004. http://spectrum.library.concordia.ca/8007/1/MQ94776.pdf.

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During the early 1960s American avant-garde jazz and cinema gained ascendancy in many of the same urban centres but their coterminous development has been under-recognized by jazz and film scholars alike. Despite the fact that numerous filmmakers have represented or incorporated elements of improvised jazz in their work, leaving enduring traces of influence and fruitful collaboration, a gap remains in the comparative literature. Reasons for this lack of interdisciplinary crossover may include a difference of signification between image and sound, and the perceived opposition between the open, performative spontaneity of jazz and the closed, mediated film. Inter-cutting cultural history with formal, stylistic, textual and comparative analysis, I attempt to resolve these issues by opening a "dialogue" between two leading architects of the postwar avantgarde: jazz saxophonist John Coltrane (1927-1967) and filmmaker Stan Brakhage (1933-2003), focusing on work they produced between 1957 and 1967. Some of the questions to be addressed are: How do social and cultural forces shape artistic forms? How does the improvising artist navigate between harmony and chaos? What is the relationship between improvisation and composition? How are Brakhage's films and Coltrane's music similar, and what do these similarities tell us about their social, political and cultural contexts?
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Rocha, Sara Maria do Valle 1987. "A materialidade da imagem : anatomias inventadas." Master's thesis, 2013. http://hdl.handle.net/10451/9465.

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Tese de mestrado, Arte e multimédia - Audiovisuais, Universidade de Lisboa, Faculdade de Belas Artes, 2013<br>The theoretical-practical dissertation entitled ‘A Materialidade da Imagem: Anatomias Inventadas’, has tautology of media as fundamental reflective activity. It has deep connections between Body, Medicine, Science and Art. Since Renaissance, Investigation is guided by the parameters of exploration, experimentation and proposed problem resolution. The constituent phases of systematic methodology show the complementarity versus conflict between Art and Science. The body-body – human, real, in praesentia –, and the body-image or the graphical representation of the body are compared in artistic practice to a canal or synthesized body, in which runs a constant stream of material. This refers primarily to a combination of liquids and organic products that flow through the body and secondly to media that carry images and use time and wear as essential conditions for apperception. Study of image is combined with the study of language origin. The language units of verbal/textual discourse feature a close link with the units of cinematography language, engaged with time and duréé (Bergson). The visual product of this project results from selection and recycling processes of analog support medium images designed to forgetfulness, that by a clinical look, thoroughly filtered time, rhythm and shape
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Larouche, Peggy. "Le boulevard des allongés : la représentation de la morgue au cinéma et dans les autres arts." Thèse, 2008. http://hdl.handle.net/1866/7366.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal<br>Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Books on the topic "Brakhage, Stan"

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1945-, James David E., ed. Stan Brakhage: Filmmaker. Temple University Press, 2005.

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James, David, ed. Stan Brakhage: Filmmaker. Temple University Press, 2005.

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printer, Walz Jason, Ivry Judith binder, Harrison Clay, Naomi Juniper, calligrapher, and Deming Richard 1970-, eds. Selections from the Jane Wodening and Stan Brakhage scrapbooks, 1962-1966. Granary Books, 2021.

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Elder, Bruce. The films of Stan Brakhage in the American tradition of Ezra Pound, Gertrude Stein and Charles Olson. Wilfrid Laurier University Press, 1998.

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Elder, R. Bruce. The Films of Stan Brakhage in the American tradition of Ezra Pound, Gertrude Stein and Charles Olson. Wilfrid Laurier University Press, 1998.

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Miró, Neus. Los tiempos de un lugar: Robert Smithson, Stan Brakhage, Chris Welsby, James Benning, Tacita Dean, Patricia Dauder, Darren Almond, Beryl Korot, Melik Ohanian. CDAN, Fundación Beulas, 2008.

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Baracco, Alberto. Philosophy in Stan Brakhage's Dog Star Man. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7.

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interviewer, Momo Alberto, ed. Atlante sentimentale del cinema per il XXI secolo: Conversazioni con Abel Ferrara, Adolfo B. Alix jr., Aki Kaurismaki, Alberto Grifi, Aleksandr Sokurov, Amir Naderi, Amos Gitai, Andrej Ujica, Angela Ricci Lucchi, Atom Egoyan, Béla Tarr, David Lynch, Enrico Ghezzi, Franco Maresco, Frederick Wiseman, George Romero, Goutam Ghose, Hou Hsiao-hsien, Jean-Marie Straub, Jia Zhang-ke, John Torres, Johnnie To, Julio Bressane, Khavn de la Cruz, Kira Muratova, Kiyoshi Kurosawa, Lav Diaz, Lee Kang-sheng, Lisandro Alonso, Manoel de Oliveira, Mohsen Makhmalbaf, Monte Hellman, Naomi Kawase, Onde filippine, Otar Iosseliani, Paulo Rocha, Pedro Costa, Philippe Garrel, Quentin Tarantino, Raoul Ruiz, Raya Martin, Roger Corman, Shinya Tsukamoto, Stan Brakhage, Takeshi Kitano, Tonino De Bernardi, Tsai Ming-liang, Wai Ka-fai, Wang Bing, Werner Herzog, Yervant Gianikian, Želimir Žilnik. DeriveApprodi, 2013.

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Stan Brakhage. Museo Nacional Centro de Arte Reina Sofía, 2004.

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Brakhage, Stan. Stan Brakhage. Centre Georges Pompidou Service Commercial,France, 1998.

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Book chapters on the topic "Brakhage, Stan"

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Grice, Malcolm Le. "Stan Brakhage and Malcolm Le Grice Debate [1978]." In Experimental Cinema in the Digital Age. British Film Institute, 2001. http://dx.doi.org/10.1007/978-1-349-91371-8_9.

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Baracco, Alberto. "Introduction." In Philosophy in Stan Brakhage's Dog Star Man. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_1.

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Baracco, Alberto. "DSM and Philosophy." In Philosophy in Stan Brakhage's Dog Star Man. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_2.

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Baracco, Alberto. "Understanding DSM’s Film World." In Philosophy in Stan Brakhage's Dog Star Man. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_3.

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Baracco, Alberto. "Explaining DSM’s Film World." In Philosophy in Stan Brakhage's Dog Star Man. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_4.

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Baracco, Alberto. "Critical Understanding of DSM’s Film World." In Philosophy in Stan Brakhage's Dog Star Man. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_5.

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Baracco, Alberto. "Conclusion." In Philosophy in Stan Brakhage's Dog Star Man. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12426-7_6.

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Ganguly, Suranjan. "Stan Brakhage:." In Stan Brakhage. University Press of Mississippi, 2017. http://dx.doi.org/10.2307/jj.399523.10.

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MacDonald, Scott. "Stan Brakhage." In Stan Brakhage. University Press of Mississippi, 2017. http://dx.doi.org/10.2307/jj.399523.11.

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"Stan Brakhage." In Critical Cinema 4. University of California Press, 2005. http://dx.doi.org/10.1525/9780520938212-004.

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Conference papers on the topic "Brakhage, Stan"

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Uya, Yifan. "Collaborative Vibration: The Mythic Journey of A Coal Boy." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.119.

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Acknowledging the Anthropocene crisis, my research examines myth and myth-making to reimagine the role of Claude Lévi-Strauss’ bricoleur concept. Following Joseph M. Coll’s Taoist and Buddhist systemic thinking inspired theory of sustainable transformation, the practice-led project evolves into the making of an essayist film that conveys a specific personal myth.My research reckons that a bricoleur should perceive myth-making as an organic growing organisation that acquires intuition and posteriori knowledge. And focus on a narrative that evolves into the mythic identity of a piece of coal and a bar-tailed godwit corresponding to designated oppositional values and semiotic assets. Apart from the practitioner works of Stan Brakhage, Chris Marker and Adam Curtis, my research also dives into Elysia Crampton Chuquimia, Howie Lee and Yaksha‘s musical languages to explore the other narrative possibilities when re-examining history in a socially conscious manner. As the film soundtrack is also part of the myth-making production. My practice-led project inevitably evolves into the subject of the self as the production presents a negotiation through metaphors and signifiers concerning memory, history and experience. The filmmaking echoes a search for the wisdom of self-acceptance. It adopts Stephen Yablo’s understanding of conceivability to generate and regenerate meaningful assets. Concepts are planted to grow into newer representations compromising posteriori knowledge and self-realisations, with informal syllogistic reasoning concerning the epistemological nature of imagination and the transformative structure of myth. The contextual knowledge of my research examines the subject of myth and myth-making through Jacques Lacan's theory of fantasy, Jungian analytical psychology and Claude Lévi-Strauss knowledge of structural linguistics. It adopts Lévi-Strauss’ canonical myth formula concerning the missing discussion of experience, community, and the wilder contexts of shamanology. Maurice Merleau-Ponty's phenomenological body and Martin Heidegger's thoughts on the philosophy of technology concerning the body-to-technology relation and the notion of symbolic light and darkness. With critics on the instrumentalist stance of technology and Rene Descartes's modal metaphysics concerning Arnold Gehlen’s conservative alert of mankind’s debased condition of modern existence, my research proposes that myth-making is a necessary altruistic form of social technology that can transform experience into wisdom. Acknowledging that will is the priority for behaviour change. The production examines the Dao of myth and myth-making as a specific technological answer to resolve David Attenborough's calling for a global transformation and collaboration in his book A Life of Our Planet. To further develop such a technology, my research seeks a systemic understanding of myth and myth-making. Therefore, my research hypothesis a wholistic and heuristic methodology, namely Daoist bricoleur. By experiencing a personal myth, I celebrate my Manchu and Chinese culture origin and the complexity of my upbringing. My research visits the endangered Manchu Ulabun storytelling tradition and reckons the film production rely on the structural establishment of critical mythic fragments founded on autobiography and social conventions. As a permanent resident of New Zealand born in a coal-mining town in eastern Inner Mongolia, China, with an unverifiable ancestral clan name related to Kangxi, Yongzheng and Qianlong Emperor of the Qing Dynasty and much more.
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