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 BroughtonThis 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 BrakhageImagine 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 MekasAt 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 ConradThe 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 SnowWAVELENGTH 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 GehrIn 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 FramptonFilm, 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
To the top of this plate
To Season 1996 Plate
Sign the Member/Guest Book
To CBA's Home Plate
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 AssociationE-mail: editor@cosmicbaseball.com
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