Table of contents

Preface by Linda Williams

 

Introduction

 

Chapter One: A Conservative Avant-garde: Brakhage, Tarkovsky and Syberberg

 

Stan Brakhage Texts

Brakhage text 1 “Closely Watched Blurs”

Brakhage text 2 “Brakhage at the Ninth Telluride”

Brakhage text 3 “Telluride Gold: Brakhage Meets Tarkovsky”

Brakhage text 3. 1 “Short Takes on Telluride:‘Straight’ European vs. New American”

 

Critical Interlude: Notes on the Films Brakhage Showed to Tarkovsky, 1983

 

Brakhage text 4 “Telluride Zinc”

Brakhage text 4. 1 “Mailer Madness, Torn Macho”

Brakhage text 4. 2 “Losey and Leigh”

Brakhage text 5 “Telluride Takes, Brakhage Talks”

Brakhage text 6 “Brakhage Observes: Telluride the 13th”

Brakhage text 7 “The Gold, the Bad & the Usual”

 

Chapter Two: A Certain Kind of Soviet: Brakhage, Parajanov and Shepitko

 

Conclusion

Epilogue: Pordenone, 2015

 

Appendices

Appendix A: Final Brakhage text: “International Cinema: The 12th Denver”

Appendix B: Blessings: Letters from Stan Brakhage

Appendix C: Ruby Rich: “Hitler: A Film From Germany: Is this a fascist film or an exposé of fascist filmmaking?”

Appendix D: A Stan Brakhage / Telluride filmography

Appendix E : A Stan Brakhage / Rolling Stock bibliography

 

Works Cited

Description

This work is both a heavily annotated collection of the reports Stan Brakhage did on the Telluride Film Festival for the magazine Rolling Stock and an analysis of his work that attempts to place his singular corpus in the context of world cinema—that is to say, alongside those filmmakers he was encountering in that mountain town.

Reviews

Impressively informative, exceptionally well written, thoroughly 'reader friendly' in organization and presentation, Stan Brakhage in Rolling Stock, 1980-1990 is an especially and unreservedly recommended addition to personal, community, and academic library Film & Media Studies collections in general, and Stan Brakhage supplemental studies reading lists in particular.

- Carl Logan

A book of nooks and crannies, Brakhage in Rolling Stock is amply annotated both with notes and White's own essays. In addition to a bibliography and index, the back matter includes a selection of Brakhage's letters to the festival directors, a Telluride filmography, and B. Ruby Rich's prescient review of Hans-Jürgen Syberberg's Hitler: A Film from Germany (1977), originally published in the L. A. Reader in 1980. White also cites a piece I wrote for American Film in 1983, bracketing Tarkovsky with Brakhage and Syberberg as conservative avant gardists, as an inspiration for his book. If so, I have been amply rewarded by the existence of this lively, eccentric volume.

- J. Hoberman