2017 | 65 | 11: Anglica | 75-89
Article title

Seeing with a Filmmaker’s Eyes: Glimpses of Mobilized Landscapes in Stan Brakhage’s The Wonder Ring (1955) and Visions in Meditation #2: Mesa Verde (1989)

Title variants
Mignięcia ruchomych krajobrazów w The Wonder Ring (1955) i Visions in Meditation #2: Mesa Verde (1989) Stana Brakhage’a
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In this paper I present various ways in which Stan Brakhage’s The Wonder Ring (1955) and Visions in Meditation #2: Mesa Verde (1989) tend to challenge the concept of American landscape by means of cinematic conventions traditionally associated with phantom rides, city symphonies and contemporary road movies. It seems that Brakhage’s works do not only employ non-standard editing, camera movement and extended shot to reproduce a continuous flow of motion, but they also exploit the dynamics between the spectactor’s “mobilized virtual gaze” (Friedberg, Window 2) and passing views by evoking a distorted experience of sensational and meditative voyages, hence questioning panoramic perception and an idealized image of American (film) landscape intrinsically bound with the natural and technological sublime. Particularly, both films draw on rapid handheld camerawork, superimpositions, anamorphic lens, bright or dim exposures, fades, odd angles, softened focus and other techniques to defamiliarize and objectify the protagonist’s journey and thus document Brakhage’s perception and extra-objective reality.
Przedmiotem artykułu jest próba analizy reprezentacji amerykańskiego krajobrazu w filmach eksperymentalnych Stana Brakhage’a The Wonder Ring (1955) i Visions in Meditation #2: Mesa Verde (1989), przedstawionego za pomocą wybranych konwencji gatunków filmowych obejmujących phantom ride, symfonię miejską i film drogi. Analiza materiału filmowego autorstwa Brakhage’a pod względem wspomnianych cech gatunkowych może prowadzić do wniosku, że stosowany przez reżysera niekonwencjonalny montaż, ruchy kamerą i długie ujęcia mają na celu przywołanie zniekształconego doświadczenia czuciowej i kontemplacyjnej podróży poprzez wyeksponowanie dynamiki między mobilnym spojrzeniem wirtualnym (“mobilized virtual gaze”; Friedberg 1993) ze strony widza a mijanymi obiektami obserwowanymi z perspektywy pojazdu. W szczególności, dzięki wykorzystaniu takich technik jak kamerowanie “z ręki”, supernałożenie, dynamiczny “fast cutting”, obiektyw anamorficzny czy też wielokrotna ekspozycja, oba filmy zdają się kwestionować panoramiczną percepcję i wyidealizowany obraz amerykańskiego krajobrazu, nierozłącznie związanego z koncepcją naturalnej i technologicznej wzniosłości (natural/ technological sublime).
Physical description
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