Responce 3

1. I really enjoyed the clash of all the variety of images and subjects within Dog Star Man. The color in particular struck me as exceptionally beautiful. It wasn't very elaborate, extreme, or surreal as Inauguration of the Pleasure Dome, nonetheless they were very vivid and breathtaking. The reds, oranges, and blacks in the blood and sun standout in my mind, but the greens on the mountain were also very beautiful. I'm not sure if I would quite have gotten the story without it being explained to me though. And, as always, I really think Brakhage's films benefit largely without sound.

2. Sitney argues that the endings of episodes within The End, help to predict ideas and events in subsequent episodes. The film knows more than the viewer doesn't and foreshadows what will occur. Brakhage loved the idea of the episodic and attempted to emulate them in future films. Dog Star Man is the prime example, having a prelude and four sections for the main story arch.

3. Both filmmakers liked to use their own signature film styles and technical discoveries within their films. Both loved to play with the camera and find new and interesting tricks to give each film its own unique look. Conner, typically edited in the style where he kept his ideas and messages within the same episode whereas Maclaine liked to foreshadow and predict his own future episodes.

4. Both of these films are examples of beat sensibility because they display an everyday and innocent hero and his adventures. The Great Blondino manages to show off much of San Fransisco city scape which places it in the picaresque form.

5. Experimental filmmakers such as Stan Brakhage and Kennith Anger often tried to connect the audience with the protagonist, allowing the viewer to get inside and explore the head and psyche of the character. Fluxfilms attempted to destroy this. They wanted the audience to be as absent from the characters in the film as possible. Their goal was to make the viewer question their belief in reality.

6. What Jenkins is trying to explain when he says the democratization in Fluxfilms is that most of the Fluxfilm filmmakers were all working on each others films, contribution their own style (as well as how they marketed them). Films often felt much less personal and auteur.

7. Jenkins claims that Zen for Film fixed material and aesthetic terms for production because it removed many of the technologies of traditional film productions. These types of Fluxfilms avoided using things such as lighting, sound mixing, and many common foundations of basic film production. By removing many of these elements it creates a much more pure and primal film.