Visions in mediation #4 : (D.H Lawrence) (1990)Other(s) author(s) : Brakhage, Stan, [zuzendari]Uniform titles : Visions in meditation #4 (D. H. Lawrence).(18 minutu) : isila, kolorezIrudia (mugimenduan ; bidimentsiokoa): bideoaVisions in Meditation #4: D.H. Lawrence (Filmaffinity) | Visions in Meditation #4: D.H. Lawrence (IMDb) | Film osoa (isila) In : By Brakhage - [New York] : The criterion collection, copyrigth 2010
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Photographing bear Taos, New mexico, where D.H. Lawrence lived, and in the room in which his ashes may be entombed, Brakhage also cites a statement of the writer´s in connection with the film: "There must be mutation swifter than iridescence, haste, not rest, come-and-go, not fixity, inconclusiveness, immeduacy, the quality of life itself, without denouement or close." And in fact, there is even less "fixity" here than in the first three films in the series: no seen object or landscape is stable, and everything is desmaterialized by a panoply of techniques, including rapid camera movement, focus changes, zooms, and light shifts. Images from a moving car add to the sense that the world is constantly in motion, though the real subject here is not the external world but everchanging consciousness, for which all these visual shifts are metaphors.
Canadian Filmakers Distribution Centre web:
I've made three pilgrimages in my life: the 40-some-year home of Sigmund Freud in Vienna, Emily Dickinson's in Amherst, and the mountain ranch and crypt - would you call it? - of D.H. Lawrence, outside Taos. I keep returning to the Lawrence environs again and again; and this last time attempted photography in that narrow little building where his ashes were (or were not) deposited (contradictory stories about that). There is a child-like sculpture of “The Phoenix” at the far end of the room, a perfectly lovely emblem to deflate any pomposity people have added to Lawrence’s “I rise in flames...”
The building is open, contains only a straw chair (remindful of the one Van Gogh painted) and a broom, which I always use with delight to sweep the dust and leaves from his simple abode. I have tried to make a film as true to the spirit of Lawrence as is this gentle chapel in homage to him. I have attempted to leave each image within the film free to be itself and only obliquely in the service of Lawrence’s memory. I have wanted to make it a film within which that child-Phoenix can reasonably nest.
Bruce Elder sends me this quote from D.H. Lawrence, which may help to explain why “Visions in Meditation: #4” is subtitled in his name: “...there must be mutation swifter than iridescence, haste, not rest, come-and-go, no fixity, inconclusiveness, immediacy, the quality of life itself, without denouncement or close” (“Poetry of the Present,” Introduction to the American Edition of New Poems, 1918).