What’s vital is that in fact, the whole of The Art of Vision has the structure of closed-eye vision: the way he sees each of the objects, the way he cuts between pictures (instinctively and dramatically, for visible impression however not pre-calculated movement) are all similar to the dots and pictures we see when we close our eyes. He is utilizing the subjective digicam right here not simply to point out what the character sees, however to show a complete mind-set. The pure world is analyzed and seen in relation to the modern world and to Brakhage’s battle partly I. A shot of a single snowflake enlarges to show the entire body white, out of which comes Brakhage. But were still a good way out. Out of the context of the mountain comes Brakhage, and by examining Brakhage we must see al I of him. The story that’s shown is treated like a form of modern delusion, shown as it’s in the context of your complete world (a world created by the film-myth itself).
Kourtney continues in confession, ‘I’m studying a bedtime story, like a sleep story. The story is considered one of a really real and intense struggle. It additionally offers the battle some foundation; we are able to perceive its nature higher if we now have an goal framework (even if that framework is only one fundamental shot). There is a shot of him writhing throughout the frame, flattened by an anamorphic lens, a shot of him writhing in damaging: the struggle is cosmic. There are times when Brakhage will paint coloration over a whale frame, giving almost the identical impact as a color filter. The digicam strikes a bit up the snow and two fingers enter the body, grasping on the ice. There is a few trace of psychodrama, a form that Brakhage made some of his early films in (FLESH OF MORNING), in part I. The usage of subjective shots of the digital camera gliding throughout the snow, instead of Brakhage’s eye, very near it, have a horrifying, intense subjectivity harking back to ANTICIPATION OF THE Night. About half of the material consists of pictures of Brakhage on the mountainside, or the mountain itself.
Prelude is, first, a “prelude” in the traditional sense: it consists of material drawn fully from the remainder of the work. And Prelude is also a dream, the man’s dream before he begins his day, earlier than he begins climbing up the mountain in part I. Brakhage’s concept was that one’s dreams whereas sleeping structure the next day, and he wished to create a sense of the dream of Prelude creating, or structuring, the rest of the film. What’s so tough and cosmic about climbing a mountain? The remaining is materials directly associated to the DSM’s try to climb the mountain. Perhaps essentially the most disturbing factor about Prelude and the rest of The Art of Vision for many audiences is that it isn’t possible to tell apart most of the objects. Prelude is probably the most independent of the sections, and all the Art of Vision have to be seen by way of it. The coloration filters within the Art of Vision are to an extent extensions of, the “closed-eye imaginative and prescient” principle: including to the objects a type of subconscious, or extra precisely, unconscious, component. That is how closely The Art of Vision resembles our closed (and open) eye seeing.
The superimposition and blurring is merely his means of seeing the texture. There might be little question now each of the immensity of the battle, the subjectivity of it (climbing a mountain is not so troublesome, Brakhage solely sees it that manner), and of a sure absurdity in all the actions. We’re given the one actual sense of geography in these few clear pictures of Brakhage on the mountain. There is a continuous mixture of varying degrees of subjectivity partially I (from the least subjective pictures of Brakhage on the mountain; to essentially the most subjective the distorted, black and white pictures of him); and one way to find a shot’s meaning in the context of the part is to ask the questions, “How subjective is it? How does it relate to Brakhage on the mountain?” Brakhage is a woodsman, that is his occupation. The basic context is established but now proven clearly. Part I shows us the context `during which the only motion of making an attempt to climb a mountain exists for him. The mixture of relatively goal shots with clearly subjective ones once more supplies a contrast, exhibiting other ways of viewing the same action.