Home    Film   My Art    Art     Other: (Travel, Rants, Obits)    Links    About    Contact
Brakhage Links Page       Brakhage Stills Page       Projecting Brakhage Films
Stan Brakhage Filmography

See also my page on Projecting Brakhage Films.

This draft of a Brakhage filmography began as a document prepared by Scott MacDonald to accompany his interview with Stan Brakhage in his upcoming book, A Critical Cinema 4. Having made additions and changes, I post this version in the hope of soliciting further corrections, and because though I'm virtually certain it contains errors I also believe it to be the most accurate Brakhage filmography thus far. It is my intention to seek a grant for the many months of work that will be needed to determine accurate running times, titles, years of completion, and years films were released.

Running Times. Most of the running times are based on figures in the most recent (2003) sales catalogue, which in turn were based on footage counts, but they are not always correct. For some films Brakhage provided different running times in different rental and sales catalogues. When the running time listed below differs from one that provided in the 2003 sales catalogue, the one below is generally based on an actual timing of a print. As a result of a project to preserve Brakhage's films now underway at the Academy of Motion Picture Arts and Sciences, Mark Toscano has started to measure the originals to determine exact running times from first projection image to last, and as he determines those his running times in minutes and seconds and footage and frames appear in brackets and small type after the main information for each film, and when they do appear then the running time in larger type is also corrected when necessary, rounded off to the nearest minute.

Dates. The years of the films come from different sources, and no consistent standard has been used in previous sources. It's also not clear how to apply the convention for feature film filmographies, which is to use the year of release rather than the year of completion, to Brakhage. Different years have appeared in print for the same film in the past. I know of at least one film, Ascension, that reads "Copyright 2001" but was finished in 2002. This is very much a subject for future research. The best I can say now that in most every case the year listed below is no more than one year off. Where possible, films made in the same year are listed in the order in which they were made, but this is also very much a subject for further research.

Series Films. Brakhage made many films in series. Generally, the series is itself a work, and the individual films are also separate works. Sometimes he released the series only on a single reel, sometimes each film was released on a separate reel, and sometimes the films within a series were released in smaller groups of two to six films on single reels. In the latter cases the "reel" is listed on a single line, with the separate titles if available listed after the main title. But this was often done just for convenience, and in general the films in a series should be regarded as separate films, while the entire series constitutes a film as well. When the parts of the series were available, at least at once time, for rental or purchase separately, they are listed on separate lines. In almost all cases the films in a series are listed together, at the year in which the last film in the series was completed. In some cases Brakhage also released several films together on a single reel not necessarily because they were part of a series but because they were very short; if they were only ever released on the same reel they are listed on a single line, even though arguably they are more autonomous films than they are part of a series. Other films with "series" in the title (Chartres Series, Chinese Series — and also many films without the word "series" in the title) consist of a number of short sections separated by black.

Titles. Brakhage stated that what is actually written as a title on the print constituted the title. The intention here is to follow that wherever possible, with any title in use that differs from what appears on the film also noted after the listing for the title. But there are exceptions. Brakhage wrote some titles in all caps (Mothlight) or all lower case (Interim) on the films, but did not do so in printed sources. In both of these cases I have used the "normal," title case capitalizations of the sales catalogues, and those are also in common use in writings on those films. At the same time, for some films Brakhage did provide unusual capitalizations both on the print and in at least some other references to the film, and in those cases the unusual form had been followed. Brakhage knew that some publications would not permit unusual capitalizations and as I far as I know never raised a huge complaint about publications that converted his titles into standard title case.

Gauges. Where a film is currently available in more than one gauge, both are listed ("16mm and 35mm"). I have not attempted thus far to list original formats; some films were painted on IMAX and reduced for release; others were shot in super-8 with the intention of never releasing them in super-8, but rather in 16mm. At one time a number of 16mm films were also available for purchase in 8mm, including Window Water Baby Moving, Mothlight, and others.

Prints and Color Fading. Most prints of Brakhage films that were struck between the early 1970s and early 1980s were printed from internegatives onto a Kodak positive stock whose colors faded rather quickly. Specifically, it was the cyan dye that faded, leaving the colors a muddy reddish-brown. Many will have seen such prints of older commercial films in revival theaters. The fading speed could not be predicted; in some cases the films will have a slight reddish tinge; in others the colors will be mostly or totally gone, and the film ruined. This process is irreversible; beware of it when renting prints or purchasing used prints, though I believe most or all of the faded rental prints have been replaced. Also be cautious about public screenings: some archives who own badly faded prints nonetheless sometimes show them to the public. While any color print can fade, the danger of rapid fading largely passed after the early 1980s, when due in part to a campaign by Martin Scorsese Kodak introduced a low fade print stock. The fading risk was never as large for camera originals or reversal prints.

Projection Speeds. Most Brakhage films were intended to be projected at 24 fps. The standard-8mm Songs were "intended to cohere rhythmically at speeds ranging from 8 to 24 frames per second." A number of other films that were enlarged from standard-8mm and super-8mm are listed as intended to be shown at 18 fps. However Brakhage himself permitted 24 fps and showed them himself at that speed on a number of occasions. See my note on projection speed for more information.

Seeing Brakhage Films. Prints are available for purchase from Marilyn Brakhage (email her at vams@shaw.ca). For other information, see the Seeing Brakhage's Films section of my Brakhage links page.

Other Notes and Acknowledgments: The word "available" referring to a print or version of a film as used below means available for rental, or available for purchase, or (but not necessarily) both. In addition to Scott MacDonald, sources consulted for this filmography include the Canyon Cinema and Filmmakers Cooperative rental catalogues, the 1973 Artforum filmography and 1995 Museum of Modern Art (New York) filmography, both prepared under Brakhage's supervision, and three sales catalogues for Brakhage films, one from the 1970s, one from the 1987, and the current 2003 edition. Marilyn Brakhage, Bruce Elder, Dominic Angerame of Canyon Cinema, M. M. Serra of the Filmmakers Cooperative, P. Adams Sitney, Brad Poulsen, and others have provided invaluable information and suggestions. Fred Camper

Distributors: CC=Canyon Cinema (San Francisco), FMC=The Filmmakers' Cooperative (New York), CFDC=, The Canadian Filmmakers' Distribution Centre (Toronto), MoMA=The Museum of Modern Art (New York), LUX=The Lux Centre (London), LC=Light Cone (Paris), MIS="Mistral Japan. "NA" means "not available." Note: While films have distributor codes after them, this information is known to be not completely accurate; check with each distributor directly. Please email me with corrections.
The links on film titles either link to my own writing on these films, though sometimes this is only a sentence or two, or to stills. In some cases the film title on the stills page will also link to my writing, and for certain late films the film titles in the filmography link to both a review of and adjacent stills from the flms.

The Films
Interim. 1952. 16mm; 25 ½ minutes; black and white; sound (music by James Tenney) (CC, LUX).
The Boy and the Sea. 1953. 16mm; 2 minutes; black and white; silent (NA).
Unglassed Windows Cast a Terrible Reflection. 1953. 16mm; 29 minutes; black and white; silent (NA). [1043 feet 20 frames; 28 minutes, 59 seconds]
Desistfilm. 1954. 16mm; 7 minutes; black and white; sound (CC, FMC, MoMA).
The Extraordinary Child. 1954. 16mm; 13 minutes; black and white; silent (NA). [462 feet 12 frames, 12 minutes 51 seconds]
The Way to Shadow Garden. 1954. 16mm; 11 ½ minutes; black and white; sound (CC, FMC, CFMDC, LC, LUX).
In Between. 1955. 16mm; 10 ½ minutes; color; sound (music by John Cage) (CC).
Reflections on Black. 1955. 16mm; 12 minutes; black and white; sound (CC, FMC, CFMDC, LC, LUX).
Untitled film of Geoffrey Holder’s Wedding (co-made with Larry Jordan). 1955. 16mm.
The Wonder Ring. 1955. 16mm; 6 minutes; color; silent (CC, FMC, CFDC, LC, LUX, MoMA). [200 feet 17 frames; 5 minutes 34 seconds]
Gnir Rednow (co-made with Joseph Cornell). c.1955-1956. 16mm; 6 minutes; color; silent (CC).
Centuries of June (co-made with Joseph Cornell). c.1955-1956. 16mm; 10 minutes; color; silent (FMC). [364 feet 37 frames, 10 minutes 08 seconds]

[Alternative titles that have been used for this film: Tower House, Bolts of Melody, Portrait of June, and June.]

Flesh of Morning. 1956 (revised 1986). 16mm; 22 minutes; black and white; sound (CC, FMC).
Nightcats. 1956. 16mm; 8 minutes; color; silent (CC, FMC).
Zone Moment. 1956. 16mm; 3 minutes; color; silent (CC, FMC). [115 feet 01 frames, 3 minutes 12 seconds]
Daybreak and Whiteye. 1957. 16mm; 8 minutes; black and white; sound (CC, FMC, LUX, MoMA).
Loving. 1957. 16mm; 5 minutes; color; silent (CC, FMC).
Anticipation of the Night. 1958. 16mm; 40 minutes; color; silent (CC, CFDC, FMC, LUX, MoMA, MIS). [1436 feet 00 frames, 39 minutes 53 seconds]
Cat’s Cradle. 1959. 16mm; 6 minutes; color; silent (CC, FMC, MoMA).
Sirius Remembered. 1959. 16mm; 11 minutes; color; silent (CC, FMC, LUX, MIS).
Wedlock House: An Intercourse. 1959. 16mm; 11 minutes; black and white; silent (CC, FMC). [388 feet 14 frames; 10 minutes 47 seconds]
Window Water Baby Moving. 1959. 16mm; 12 minutes; color; silent (CC, CFDC, FMC, LC, LUX, MoMA, MIS). [439 feet 7 frames; 12 minutes 12 seconds]
The Dead. 1960. 16mm; 11 minutes; color; silent (CC, FMC, LC, LUX, MoMA, MIS).
Thigh Line Lyre Triangular. 1961. 16mm; 6 minutes; color; silent (CC, CFDC, FMC, LC, LUX). [213 feet 25 frames; 5 minutes 56 seconds]
Films by Stan Brakhage: An Avant-Garde Home Movie. 1961. 16mm; 4 minutes; color; silent (CC, FMC, MoMA).
Blue Moses. 1962. 16mm; 10 minutes; black and white; sound (CC, CFDC, FMC, LUX, MoMA). [375 feet 9 frames, 10 minutes 25 seconds]
Silent Sound Sense Stars Subotnick and Sender. 1962. 16mm; 2 minutes; black and white; sound (NA).
Sartre's Nausea [135 feet 34 frames, 3 minutes 46 seconds]
Mothlight. 1963. 16mm; 3 minutes; color; silent (CC, FMC, LC, LUX).
Oh Life - a Woe Story - The A-Test News. 1963. 16mm; 6 minutes; black and white; silent (CC, FMC).
Dog Star Man. 1961-64. 16 mm, 75 minutes, color, silent (CC, CFDC, FMC, LC, LUX, MoMA, MIS).[Released as separate films.]

[Brakhage, and hence others, often wrote the part numbers in Roman numerals, i. e. Dog Star Man: Part I, etc. But they appear in Arabic numerals on the film. Because Roman numerals have long been in common use, it would seem that either is acceptable.]

The Art of Vision. 1961-1965. 16mm; 270 minutes; color; silent (CC, FMC).

[This is a longer version of Dog Star Man, based on the same material. All the parts of Dog Star Man except for Part 1 consist of two or more separate reels that were superimposed in the printing. The Art of Vision consists of all the parts of Dog Star Man, and also all those original reels in every possible combination, as follows: the A roll and then B roll of Dog Star Man: Prelude are followed by AB in superimposition (which is Dog Star Man: Prelude); Part 1; Part 2 followed by the A and B rolls of Part 2; the reels of Part 3 in the order A, B, C, AB, AC, BC, and ABC (which is Dog Star Man: Part 3); Dog Star Man: Part 4, which is a superimposition of A, B, C, and D rolls, followed by the separate rolls of Part 4 in this order: ABC, ABD, ACD, BCD, AB, AC, AD, BC, BD, CD, A, B, C, and D.]

Black Vision. 1965. 16mm; 3 minutes; black and white; silent (CC). [96 feet 17 frames, 2 minutes 41 seconds]

[An earlier version was broadcast on television in 1962.]

Fire of Waters. 1965. 16mm; 7 minutes; black and white; sound (CC, CFDC, FMC, LC, LUX, MIS).
Pasht. 1965. 16mm; 5 minutes; color; silent (CC, FMC, LUX).
Three Films: Blue White, Blood’s Tone, Vein. 1965. 16mm; 9 minutes; color; silent (CC, FMC, LUX). [Three films only available mounted on a single reel.]
Two: Creeley/McClure. 1965. 16mm; 3 minutes; color; silent (CC, FMC). [115 feet 05 frames, 3 minutes 12 seconds]

[This is a section of 15 Song Traits, enlarged to 16mm and released separately. As a part of one of the Songs, it was ""intended to cohere rhythmically at speeds ranging from 8 to 24 frames per second," in Brakhage's words.]

The Female Mystique and Spare Leaves (For Gordon). 1965. 16mm; 5 minutes; color; silent (CC).
Eye Myth. 1967. 16mm and 35mm; 9 seconds; color; silent (CC).
The Horseman, the Woman, and the Moth. 1968. 16mm; 19 minutes; color; silent (CC, CFDC, FMC, LUX).
Lovemaking. 1968. 16mm; 36 minutes; color; silent. [In four sections; initially released as a single film; some sections were later sold separately.] (NA, except that Part 2 available from LUX).
Songs 1964-1969

[Released either as separate films or as reels of two films, the Songs were made in standard-8mm (also known as "regular 8") but are no longer available in 8mm. Most can be rented or purchased in 16mm reissues, as indicated below. The running times for the Songs appear to be based on a 24 fps projection speed, except where noted. The title of each Song appears separately on the screen, with the ampersands below indicating those cases in which two films were mounted together on single reels in 8mm rather than released separately. Important note on projection speeds: The Songs were, Brakhage wrote, "intended to cohere rhythmically at speeds ranging from 8 to 24 frames per second." But Brakhage also indicates a preference for 18 fps for some, and a preference for 24 fps for others, specifically naming 23rd Psalm Branch as one that is better at 24fps.]

Scenes From Under Childhood. 1967-70 [Released as separate films.]

[No titles indicating part numbers appear on the four reels of this film, though they have always been available separately and Brakhage has variously referred to them as "Part 1," "Part One," "Section No. 1," and "Section One." My suggestion is to use the "Section One" format.]

The Weir-Falcon Saga. 1970. 16mm; 29 minutes; color; silent (CC, CFDC, FMC). [1033 feet 11 frames, 28 minutes 42 seconds]
The Machine of Eden. 1970. 16mm; 11 ½ minutes; color; silent (CC, CFDC, FMC, LUX, MoMA).
The Animals of Eden and After. 1970. 16mm; 35 minutes; color; silent (FMC).
"The Pittsburgh Trilogy," which Brakhage also referred to as "The Pittsburgh Documents" [Released as separate films.] Wecht. 1971. 16mm, 3 minutes; color; silent (NA).
Angels’. 1971. 16mm; 2 minutes; color; silent (CC).
Door. 1971. 16mm; 2 minutes; color; silent (CC, FMC).
Fox Fire Child Watch. 1971. 16mm; 3 minutes; color; silent (CC, FMC).
The Peaceable Kingdom. 1971. 16mm; 8 minutes; color; silent (CC, FMC).
Western History. 1971. 16mm; 8 minutes; color; silent (CC, CFDC, FMC, LUX). [294 feet 09 frames, 8 minutes 10 seconds]
The Trip to Door. 1971. 16mm; 12 ½ minutes; color; silent (FMC).
Sexual Meditations (1970-72) [Released as separate films.] Eye Myth Educational. 1972. 16mm; 2 minutes; color; silent (CC, FMC, LC, LUX).

[This repeats the single-frame images of Eye Myth (1967) at various speeds.]

The Presence. 1972. 16mm; 3 ½ minutes; color; silent (CC, CFDC, FMC).
The Process. 1972. 16mm; 9 minutes; color; silent (CC, FMC).
The Riddle of Lumen. 1972. 16mm; 13 minutes; color; silent (CC, CFDC, FMC, LUX). [480 feet 37 frames, 13 minutes 22 seconds]
The Shores of Phos: A Fable. 1972. 16mm; 10 minutes; color; silent (CC, FMC, MoMA).
The Wold-Shadow. 1972. 16mm; 2 ½ minutes; color; silent (CC, CFDC, FMC, LC, MoMA).
Gift. 1973. Super-8, 3 minutes, color, silent.
The Women. 1973. 16mm; 3 ½ minutes; color; silent.
Aquarien. 1974. 16mm; 3 minutes; color; silent (CC, FMC).
Clancy. 1974. 16mm; 4 ½ minutes; color; silent (CC, FMC).
Dominion. 1974. 16mm; 4 minutes; color; silent (CC, FMC, LC, LUX).
Flight. 1974. 16mm; 5 ½ minutes; color; silent (CC, CFDC, FMC, LUX).
"He was born, he suffered, he died". 1974. 16mm; 7 ½ minutes; color; silent (CC, FMC, LUX).
Hymn to Her. 1974. 16mm; 2 ½ minutes; color; silent (CC, FMC, LUX, MoMA).
Skein. 1974. 16mm; 5 minutes; color; silent (CC, CFDC, FMC, MoMA).
Sol. 1974. 16mm; 4 minutes; color; silent (CC, FMC).
Star Garden. 1974. 16mm; 22 minutes; color; silent (CC, CFDC, FMC, LC, LUX, MoMA).
The Text of Light. 1974. 16mm; 71 minutes; color; silent (CC, CFDC, FMC, LC, LUX).
The Stars Are Beautiful. 1974. 16mm; 19 minutes; color; sound (CC, FMC, MoMA).
Short Films: 1975. 1975. 16mm; 38 minutes; color; silent (CC, FMC). [These were mounted on a single reel and not available separately for rental; they were at one time offered separately for purchase.]

[The words after the numbers appear in catalogues but not on the screen. This has also been written Short Films 1975 Parts I-X in catalogues.]

Short Films 1976. 1976. 16mm; 25 minutes; color; silent (CC, FMC). [Four films mounted on a single reel and not released separately.]
While the ten super-8 films below do not have a series title, they were made and released around the same time; eight were also enlarged to 16mm later: Tragoedia. 1976. 16mm; 35 minutes; color; silent (CC, FMC).
The Domain of the Moment. 1977. 16mm; 15 ½ minutes; color; silent (CC, FMC).
The Governor. 1977. 16mm; 57 ½ minutes; color; silent (CC, FMC, MoMA).
Soldiers and Other Cosmic Objects. 1977. 16mm; 22 minutes; color; silent (CC, FMC).
Bird. 1978. 16mm; 4 minutes; color; silent (CC, CFDC, FMC).
Burial Path. 1978. 16mm; 18fps; 15 minutes; color; silent (CC, FMC, LC, LUX).
Centre. 1978. 16mm; 18fps; 13 minutes; color; silent (CC, FMC).
Nightmare Series. 1978. 16mm; 20 minutes; color; silent (CC, CFDC, FMC).
Purity and After. 1978. 16mm; 18fps; 5 minutes; color; silent (CC, FMC).
Sluice. 1978. 16mm; 18fps; 6 minutes; color; silent (CC, FMC, LUX, MoMA).
Thot-Fal’N. 1978. 16mm; 18fps; 9 minutes; color; silent (CC, FMC).
@. 1979. 16mm; 18fps; 6 minutes; color; silent (CC, FMC, LUX, MoMA).
As many as five silent films, made with Polaroid's super-8 instant-processing "Polavision" system. Circa 1979. Super-8 Polavision, 2 ½ minutes each, color, silent. (NA)

[This super-8 film had the same dimensions as other super-8, but was denser, came in a unique cartridge, and was viewed on a special back-projection processor-player not unlike a small TV. These films were edited in camera. Present location uncertain.]

Creation. 1979. 16mm; 17 minutes; color; silent (CC, FMC, LC, LUX, MoMA).
Sincerity (1973-80) [Released as separate films.] Duplicity (1978-80) [Released as separate films.] Romans, or, "The Roman Numeral Series." (1979-80) [Released as separate films.]

[The only titles that appear on these films are the actual Roman numerals, such as "I," "II," etc. For clarity in the context of referring to them alongside other films outside the series, they can also be referred to as Roman 1, or Romans 2, etc.]

Made Manifest. 1980. 16mm; 12 minutes; color; silent (CC, CFDC, FMC, LC, MoMA).
Other. 1980. 16mm; 18fps; 3 minutes; color; silent (CC, FMC).
Salome. 1980. 16mm; 18fps; 3 minutes; color; silent (CC, FMC).
Murder Psalm. 1980. 16mm; 18 minutes; color; silent (CC, CFDC, FMC, LC).
Aftermath. 1981. 16mm; 8 minutes; color; silent (CC, FMC, LUX).
The Garden of Earthly Delights. 1981. 16mm and 35mm; 1 ½ minutes; color; silent (CC, CFDC, FMC, LC, LUX).
Nodes. 1981. 16mm; 3 minutes; color; silent (CC, FMC). [97 feet 38 frames, 2 minutes 43 seconds]
RR. 1981. 16mm; 8 minutes; color; silent (CC, FMC, MoMA).
Unconscious London Strata. 1981. 16mm; 22 minutes; color; silent (CC, CFDC, FMC, MoMA).
Arabics, or, "Arabic Numeral Series." (1980-82) [Released as separate films.]

[The only titles that appear on these films are the actual Arabic Numerals, such as "1," "2," etc. For clarity in the context of referring to them alongside other films outside the series, they can also be referred to as Arabic 1, or Arabics 2, etc.]

Hell Spit Flexion. 1983. 16mm and 35mm versions; 1 minute; color; silent (CC, FMC, LUX).

[A different version of this film forms the second part of The Dante Quartet (1987).]

Egyptian Series. 1984. 16mm; 17 minutes; color; silent (CC, CFDC, FMC, MoMA).
Tortured Dust. 1984. 16mm; 94 minutes; color; silent (CC, CFDC, FMC, LUX). [Released as a single film; each part is also available separately.] Jane. 1985. 16mm; 13 minutes; color; silent (CC, FMC, LC, LUX, MoMA).
Fireloop. 1986. 16mm; 3 minutes; color; sound (by Joel Haertling) (CFDC).
[Also included in Caswallon Trilogy (1986).]
Caswallon Trilogy. 1986. 16mm; 10 minutes; color; sound (CC, FMC, LUX). [Includes The Aerodyne, Fireloop, and Dance Shadows by Danielle Helander; of the three, only Fireloop has sound (by Joel Haertling).]
Confession. 1986. 16mm; 27 minutes; color; silent (CC, CFDC, FMC, LUX).

[Originally released with the title Love Sacrifice.]

The Loom. 1986. 16mm; 43 ½ minutes; color; silent (CC, CFDC, FMC, LUX).
Night Music. 1986. 16mm or 35mm; ½ minute; color; silent (CC, CFDC, LC, LUX, MoMA, MIS).[This film also forms the first part of Three Hand-painted Films (1990).The title of this film has also appeared in Brakhage's sales catalogues as Nightmusic.]
Loud Visual Noises. (Silent version) 1987. 16mm; 3 ½ minutes; color; silent (CC, CFDC, FMC).
Loud Visual Noises. (Sound Version; sound compiled by Joel Haertling from music created for the film by Die Tödliche Doris, Zoviet France, The Hafler Trio, Nurse With Wound, and Joel Haertling, and I.H.T.S.O.) 1987. 16mm; 3 ½ minutes; color; silent (CC, CFDC, LUX).
The Dante Quartet. 1987. 16mm or 35mm; 6 minutes; color; silent (CC, CFDC, FMC, LUX, MIS). [In four parts: Hell Itself, Hell Spit Flexion, Purgation, and "existence is song".]

[Hell Spit Flexion (1983) was released separately, but in a different version than appears in The Dante Quartet.]


Kindering. 1987. 16mm; 3 minutes; color; sound (music by Architects Office: Joel Haertling, tape compositions and French Horn; Douglas Stickler synthesis; Trevor Haertling, voice.) (CC, FMC).
I . . . Dreaming. 1988. 16mm; 7 minutes; color; sound (music by Joel Haertling and Stephen Foster) (CC, CFDC, FMC).
Marilyn’s Window. 1988. 16mm; 9 minutes; color; silent (CC, CFDC, FMC).
Matins. 1988. 16mm; 2 ½ minutes; color; silent (CC, FMC).
Rage Net. 1988. 16mm and 35mm versions 1 minute; color; silent (CFDC, MIS).

[Also released as the second part of Three Hand-painted Films (1990).]

Faustfilm (1987-89) [Released as separate films.] Visions in Meditation (1989-90) [Released as separate films.] Babylon Series (1989-1990) [Released as separate films.] City Streaming. 1990. 16mm; 19 ½ minutes; color; silent (CC, CFDC, LUX).
The Thatch of Night. 1990. 16mm; 5 minutes; color; silent (CC, LUX). [193 feet 25 frames, 5 minutes 23 seconds]
Vision of the Fire Tree. 1990. 16mm; 5 minutes; color; silent (CC, CFDC, LC, LUX).
Passage Through: A Ritual. 1990. 16mm; 49 minutes; color; sound (music by Philip Corner) (CC, LC, LUX).
Glaze of Cathexis. 1990. 16mm; 3 minutes; color; silent (CC, LUX, MIS).

[Also released as the third of Three Hand-painted Films (1990)]

Three Hand-painted Films. 1990. 16mm; 4 minutes; color; silent [This consists of Nightmusic (1986), Rage Net (1988), and (1990).]
Agnus Dei Kinder Synapse. 1991. 16mm; 4 minutes; color; silent (CC, CFDC, LUX). [126 feet 36 frames, 3 minutes 32 seconds]
A Child’s Garden and the Serious Sea. 1991. 16mm; 74 minutes; color; silent (CC, CFDC, LC, LUX).

[This is the first of the four films that Brakhage called the "Vancouver Island films." The other three are The Mammals of Victoria (1994), The God of Day Had Gone Down Upon Him (2000), and Panels for the Walls of Heaven (2002).]

Christ Mass Sex Dance. 1991. 16mm; 4 minutes; color; sound (music by James Tenney) (CC, CFDC, LC, LUX).
Delicacies of Molten Horror Synapse. 1991. 16mm; 8 minutes; color; silent (CC, LC).
Crack Glass Eulogy. 1992. 16mm; 6 minutes; color; sound (music by Rick Corrigan) (CC, CFDC, LC).
Interpolations 1-5. 1992. 35mm; 12 minutes; color; silent (CC, MoMA).

[The title of this film has also appeared in Brakhage's sales catalogues and filmographies as Interpolations I-V.]

Untitled (For Marilyn). 1992. 16mm; 11 minutes; color; silent (CC CFDC).

[The title that appears on the film is For Marilyn, but Brakhage declared that his intention was to have this film be untitled, and the title of this film has appeared in Brakhage's sales catalogues and filmographies as Untitled (For Marilyn).]

Boulder Blues and Pearls and . . .. 1993. 16mm; 23 ½ minutes; color; sound (music by Rick Corrigan) (CC, CFDC, LUX).
Blossom Gift Favor. 1993. 16mm; 2 minutes; color; silent (CC, CFDC, LUX).
Autumnal. 1993. 16mm; 5 minutes; color; silent (CC, CFDC, LC).
Ephemeral Solidity. 1993. 16mm; 4 ½ minutes; color; silent (CC, CFDC, LC).
The Harrowing. 1993. 16mm; 2 minutes; color; silent. [Also released with Tryst Haunt as The Harrowing and Tryst Haunt; see that entry for rental information.]
Tryst Haunt. 1993. 16mm; 3 minutes; color; silent. [Also released with Tryst Haunt as The Harrowing and Tryst Haunt; see that entry for rental information.]
The Harrowing and Tryst Haunt. 1993. 16mm; 4 ½ minutes; color; silent (CC, FMC, CFDC, LC). [Also released as two separate films; see above.]
Stellar. 1993. 16mm; 2 ½ minutes; color; silent (CC, CFDC, LC).
Study in Color and Black and White. 1993. 16mm; 2 minutes; color; silent (CC, CFDC, LC).
Three Homerics: Diana Holding Back the Night, The Rolling Sea, and Love Again. 1993. 16mm; 6 minutes; color; silent (CC, CFDC, LC).
Black Ice. 1994. 16mm; 2 minutes; color; silent (CC, CFDC, LC).
Cannot Exist. 1994. 16mm; 1 minute; color; silent (CC, CFDC, LC).
Cannot Not Exist. 1994. 16mm; 8 minutes; color; silent (CC, CFDC, LC).
Chartres Series. 1994. 16mm; 9 ½ minutes; color; silent (CC, CFDC, LC).
Elementary Phrases (co-made with Phil Solomon). 1994. 16mm; 34 ½ minutes; color; silent (CFDC, LC, MIS).
First Hymn to the Night — Novalis. 1994. 16mm; 4 minutes; color; silent (CC, CFDC).
The Mammals of Victoria. 1994. 16mm; 35 ½ minutes; color; silent (CC, CFDC).

[This is the second of the four films that Brakhage called the "Vancouver Island films." The other three are A Child's Garden and the Serious Sea (1991), The God of Day Had Gone Down Upon Him (2000), and Panels for the Walls of Heaven (2002).]

Naughts. 1994. 16mm; 6 minutes; color; silent (CC, CFDC, LC).
Trilogy (1995.) [Released as separate films.] In Consideration of Pompeii. 1995. 16mm; 18fps; 4 ½ minutes; color; silent (CC, CFDC).
Paranoia Corridor. 1995. 16mm; 3 ½ minutes; color; silent (CC, CFDC).
The "b" Series. 1995. 16mm; 12 ½ minutes; color; silent (CC, CFDC). [This consists of five titled "sections" (Brakhage's word) mounted on one reel: Retrospect: The Passover; Blue Black: Introspection; Blood Drama; I Am Afraid: And This Is My Fear; Sorrowing.]

[The main title on the print is written all caps but it is not written that way in the sales catalogue.]

Earthen Aerie. 1995. 16mm; 3 minutes; color; silent (CC, CFDC, MIS).
The Lost Films. 1995. 16mm; 45 minutes; color; silent (CC, LC). [This consists of nine separate untitled films completed in 1991 and 1992.]
Spring Cycle. 1995. 16mm; 11 minutes; color; silent (CC).
...Preludes (1995-1996) [Not released as separate films, but in groups as indicated.] Beautiful Funerals. 1996. 16mm; 2 minutes; color; silent (CC, CFDC, MIS).
Blue Value. 1996. 16mm; 3 minutes; color; silent.
Concrescence (co-made with Phil Solomon). 1996. 16mm; 4 minutes; color; silent (CC, MIS).
The Fur of Home. 1996. 16mm; 3 minutes; color; silent (CC).
Polite Madness. 1996. 16mm; 3 minutes; color; silent (CC).
Sexual Saga. 1996. 16mm; 3 minutes; color; silent (CC).
Shockingly Hot. 1997. 16mm; 4 minutes; color; silent (CC, CFDC, LC).
Through Wounded Eyes (co-made with Joel Haertling). 1996. 16mm; 7 minutes; color; silent (CC).
Two Found Objects of Charles Boultenhouse. 1996. 16mm; 7 minutes; color; silent (CC, CFDC).
Commingled Containers. 1996. 16mm; 3 minutes; color; silent (CC, LC. MIS).

[While the title on the film is written as "Comingled Containers," it appears as "Commingled Containers" in Brakhage's catalogue entries, and the title on the film seems a case of an unintentional misspelling. Also, the film has been referred to in print most often as "Commingled Containers."]

The Cat of the Worm’s Green Realm. 1997. 16mm; 15 ½ minutes; color; silent (CC, LC).
Last Hymn to the Night — Novalis. 1997. 16mm; 19 minutes; color; silent (CC).
Divertimento. 1997. 16mm; 2 ½ minutes; color; silent (CC, CFDC).
Self Song & Death Song. 1997. 16mm; 4 ½ minutes; color; silent (CC, CFDC). [Two films released on the same reel, signed "SB" separately but without separate titles.]

[This has also been written as Self Song and Death Song and Self Song/Death Song in sales and rental catalogues.]

Yggdrasill: Whose Roots Are Stars in the Human Mind. 1997. 16mm; 17 minutes; color; silent (CC, CFDC).
" . . ." (1998) [Also released as separate films; Brakhage has said that it's acceptable to show any number of these in any order.]

[Brakhage has said that in situations where editors will not permit it or where otherwise necessary for the sake of clarity it is permissible to refer to the film " . . ." as Ellipses. Thus " . . ." Reel 2 would be Ellipses Reel 2.]

The Birds of Paradise. 1999. 16mm; 3 minutes; color; silent (CC, CFDC).
Coupling. 1999. 16mm; 5 minutes; color; silent (CC, CFDC, MIS).
Cloud Chamber. 1999. 16mm; 4 minutes; color; silent (CC).
Cricket Requiem. 1999. 16mm; 3 minutes; color; silent (CC, LC).
The Dark Tower. 1999. 16mm; 3 minutes; color; silent (CC, CFDC).
The Earthsong of the Cricket. 1999. 16mm; 3 minutes; color; silent (CC, LC).
The Lion and the Zebra Make God’s Raw Jewels. 1999. 16mm; 8 ½ minutes; color; silent (CC, LC).
Moilsome Toilsome. 1999. 16mm; 6 minutes; color; silent (CC).
Stately Mansions Did Decree. 1999. 16mm; 5 ½ minutes; color; silent (CC, CFDC).
Worm and Web Love. 1999. 16mm; 4 ½ minutes; color; silent (CC).
The Persian Series (1999-2000) [Not released as separate films, but in groups as indicated.] Cornell’s Portrait of June. 2000. 16mm; 10 minutes; color; silent (CFDC).
Dance. 2000. 16mm; 6 ½ minutes; color; silent. Dancer: Vivienne Palmer (CC, CFDC).
The God of Day Had Gone Down Upon Him. 2000. 16mm; 49 minutes; color; silent (CC, CFDC).

[This is the third of the four films that Brakhage called the "Vancouver Island films." The other three are A Child's Garden and the Serious Sea (1991), The Mammals of Victoria (1994), and Panels for the Walls of Heaven (2002).]

Water for Maya. 2000. 16mm; 3-/12 minutes; color; silent (CC, CFDC).
Jesus Trilogy and Coda. 2000. 16mm; 17 minutes; color; silent (CC, CFDC). [This consists of The Baby Jesus, In Jesus' Name, Jesus Wept, and Christ on Cross].
Rounds. 2001. 16mm; 14 minutes; color; silent (CC).
Garden Path (co-made with Mary Beth Reed). 2001. 16mm; 7 minutes; color; silent (CC).
Micro Garden. 2001. 16mm; 4 minutes; color; silent (CC, MIS).
Night Mulch (2001. 16mm and 35mm; 2 minutes; color; silent) and Very (2001. 16mm and 35mm; 4 minutes; color; silent) (CC, FMC). [Two films only available mounted on a single reel.]
Occam's Thread. 2001. 16mm; 6 minutes; color; silent (CC).
Dark Night of the Soul. 2002. 16mm; 3 minutes; color; silent (CC).
Lovesongs (2001-2002) [Released as separate films except as noted.] Song of the Mushroom. (co-made with Joel Haertling). 2002. 16mm; 2 minutes; color; silent. [NA.]
Ascension. 2002. 16mm; 2 ½ minutes; color; silent (CC, CFDC).
Resurrectus Est. 2002. 16mm; 8 minutes; color; silent (CC).
Max. 2002. 16mm; 3 minutes; color; silent (CC, CFDC).
SB (One Minute for Vienna). 2002. 16mm; ½ minute; color; silent (CC).

[No title appears on screen, and Brakhage referred to this film as "One Minute For Vienna," and also authorized the title "SB."]

Seasons... (co-made with Phil Solomon). 2002. 16mm; 15 minutes; color; silent.
Panels for the Walls of Heaven. 2002. 16mm; 31 minutes; color; silent (CC).

[This is the last of the four films that Brakhage called the "Vancouver Island films." The other three are A Child's Garden and the Serious Sea (1991), The Mammals of Victoria (1994), and The God of Day Had Gone Down Upon Him (2000).]

Stan's Window and Work in Progress. 2003. 16mm, 13 minutes, color, silent. [The last edited film Brakhage made is followed by some of the last rolls he ever photographed.] (CC)
Chinese Series. 2003. 16mm or 35mm; 2 ½ minutes, black and white, silent (CC, LC).
Commercial Films, and Films as Cinematographer [Partial list.]
Martin Missil Quarterly Reports, made for Hughes Sound Films. 1957. (NA).
Pittsburgh (director). 1957. Promotional film about Pittsburgh.
Opening (produced for G.E. Television Theatre by On Film Co.). 1958. ½ minute (NA).
Untitled film on Pittsburgh (produced for On Film Co.). 1959. 35mm; 45 minutes (NA)
The Ballad of the Colorado Ute (produced for the State of Colorado). 1961. 16mm; color; sound (NA).
Colorado Legend (produced for the State of Colorado). 1961. 16mm; color; sound (NA).
Mr. Tomkins Inside Himself. 1962. 16mm; color; sound (NA).
Films on Mt. Rushmore, Korczak Ziolkowski, and Sitting Bull. 1963-1964 (NA).
Short television spots for Rural Electric of Dakota. 1963-1964 (NA).
Nuptiae (directed by James Broughton; cinematography by Brakhage). 1969. 16mm; 14 minutes; color; sound (CC, FMC).
Film in Which Brakhage Appears
Stan Brakhage appears in many of his own films, including Dog Star Man / The Art of Vision, Sincerity, Duplicity, I...Dreaming, and many others. He acts briefly in Cannibal! The Musical, also known as Alferd Packer: The Musical and appears in portrait films and videos by Ken Jacobs, Brian Frye, and many others. Brakhage's film appearances outside of his own work are not yet fully documented. He also appears in, and is the subject of, the documentary Brakhage, by Jim Shedden, and, according to imdb, appears as himself in Jonas in the Desert, Keepers of the Frame, Garden Path, Jonas at the Ocean , Im Spiegel der Maya Deren, also known as In the Mirror of Maya Deren, and Vakvagany. Please email me with corrections and additions.

Brakhage Links Page       Brakhage Stills Page       Projecting Brakhage Films
Home    Film   My Art    Art     Other: (Travel, Rants, Obits)    Links    About    Contact