Season 1996 Official Team Roster


The Bolex Poetics were created on February 26, 1996 and have been commissioned to play in the CBA Underleague.

The players are derived from films made by independent filmmakers associated with avant-garde cinema. The coaches and staff represent important books covering the history and theory of avant-garde film.


The Roster


Mother's Day, Pitcher
1948, 23 minutes, black & white
by James Broughton

This film is...a nostalgic comedy, it eschews chronological accuracy in either the period details or the dramatic events...since this is a film about mothers and children, about families and forms of social experience it is dominated by the circle...The visual style of Mother's Day is based on play. The film is concerned with aspects and aftermaths of play. The spirit of play is the key to the order of images, for the actions-- even when they are dealing with the most unfrivolous matters-- are conceived in terms of play.-- Broughton


Puce Moment, Secondbase
1949, 7 minutes, color
by Kenneth Anger


A Movie, Pitcher
1958, 12 minutes, black & white
by Bruce Conner


Anticipation of the Night, Shortstop
1958, 40 minutes, color
by Stan Brakhage

Imagine an eye unruled by manmade laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of "Green?" -- Brakhage


Little Stabs at Happiness, Pitcher
1959-1963, 18 minutes, color
by Ken Jacobs


Science Friction, Infield
1959, 12 minutes, color
by Stan Vanderbeek


Prelude: Dog Star Man, Firstbase
1961, 25 minutes, black & white
by Stan Brakhage


Mothlight, Pitcher
1963, 4 minutes
by Stan Brakhage


Scorpio Rising, Thirdbase
1963, 29 minutes, color
by Kenneth Anger


Mass for the Dakota Sioux, Leftfield
1963-1964, 24 minutes, black & white
by Bruce Baillie


Castro Street, Rightfield
1966, 10 minutes, black & white
by Bruce Baillie


Notes on the Circus, Centerfield
1966, 12 minutes, color
by Jonas Mekas

At first I thought that there was a basic difference between the written diary which one writes in the evening, and which is a reflective process, and the filmed diary. In my film diary, I thought, I was doing something different: I was capturing life, bits of it, as it happens. But I realized very soon that it wasn't that different at all. When I am filming, I am also reflecting. I was thinking that I was reacting to the actual reality. I do not have much control over reality at all, and everything is determined by my memory, my past. So that this "direct" filming becomes also a mode of reflection. Same way, I came to realize, that writing a diary is not merely reflecting, looking back. Your day, as it comes back to you during the moment of writing, is measured, sorted out, accepted, refused, and re-evaluated by what and how you are at the moment you write it all down...Therefore, I no longer see such big differences between a written diary and the filmed diary, as far as the processes go. -- J. Mekas


The Flicker, Pitcher
1966, 30 minutes, black & white
by Tony Conrad

The film scholar has never been up to dealing efficaciously with the problem of anticipation, suspense, temporal composition. This is nothing out of the ordinary: nobody (film scholars or makers, or the corresponding commentators and artists in any of the fields of music, dance, theater, etc.) has been able to do much more than annotate the decisions of taste which underlie temporal composition strategies. -- Conrad


Wavelength, Infield
1966-1967, 45 minutes, color
by Michael Snow

WAVELENGTH is a summation of my nervous system, religious inklings and aesthetic ideas and a definite statement of pure film space and time and a time monument. -- Snow


Institutional Quality, Outfield
1969, 5 minutes, color
by George Landow


Bleu Shut, Catcher
1970, 33 minutes, color
by Robert Nelson


Endurance/ Remembrance/ Metamorphosis, Infield
1970, 12 minutes, color
by Barry Gerson


Serene Velocity, Outfield
1970, 23 minutes, color
by Ernie Gehr

In Serene Velocity the optical and psychological factors-- persistence of vision/reciprocal tension-- that allow for the movie illusion of motion and space become the subject of the film itself. -- Gehr


Nostalgia, Pitcher
1971, 36 minutes, black & white
by Hollis Frampton

Film, even in its physical attributes, has become a kind of metaphor for consciousness for me. And I think of the incremental frame...as a dim but still appealing metaphor for the quantum nature, the chunk nature, of light itself. --Frampton


Gulls & Buoys, Catcher
1972, 6 minutes, color
by Robert Breer



Visionary Film, Owner
1974, Oxford University Press
by P. Adams Sitney


Movie Journal, General Manager
1972, Collier Books
by Jonas Mekas


Underground Film, Field Manager
1969, Grove Press
by Parker Tyler


An Introduction to the American Underground Film, Batting and Firstbase Coach
1967, E. P. Dutton Books
by Sheldon Renan


New American Cinema, Fielding and Thirdbase Coach
1967, E. P. Dutton Books
by Gregory Battcock


Expanded Cinema, Pitching Coach
1970, E. P. Dutton Books
by Gene Youngblood




Links to more information about avant-garde film and filmmakers...

The Anthology Archives


Maya Deren at the Picture Palace
Millenium Film Journal
Pacific Film Archive
The Flicker Homepage
Ernie Gehr at Flicker
Bruce Baillie at Flicker
Kenneth Anger at Mystic Fire
Stan Brakhage at Mystic Fire
Jonas Mekas at Mystic Fire
Jonas Mekas at the Picture Palace
Harry Smith at Mystic Fire
Peter Kubelka link
Thane's Film Page



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Bolex Poetics- 1996 Team Roster
URL http://www.cosmicbaseball.com/96bpr.html
Published: March 3, 1996
Updated: January 17, 1997
Copyright © 1996 by the Cosmic Baseball Association

E-mail: editor@cosmicbaseball.com
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