1. After World War I, the world was left in panic and unease. People wanted change and they revolted. This led to a new era that broke free of tradition and former norms, which allowed avant garde films to flourish. People wanted something different in their lives, and they were left open minded about that something being a very bizarre genre of filmmaking. Avant garde films were like a revolution in themselves for a civilization that was tired of the same old same old.

2. Abstract art began with Cubism. This was an artistic style that strove to express the basic elements that made up an object, rather than it's natural appearance and traits. Abstract art evolved into something that sought to capture a universal feeling rather than an individual perception. Despite it's connotation, abstract art is more about control than anything. To capture the essentials of an object and break it down, if you will, into an emotion that is truly asthetic...that's the main goal of abstract art.

3. Fischinger states that conventional films, like Hollywood blockbusters, lack artistic creativeness. Of course, being a film major, I'd have to disagree with him or my whole college career would mean nothing to me. However, I do see what he is trying to say. Much like Richter's definition of abstract art, Fischinger argues that avant garde films dig deeper. Where conventional films show the world as it is seen normally, experimental films strive to express the feelings and creative forces that are beyond the surface. He also states that true art is made by one individual, and that is the only way the creation can be pure. When working with a production team and crew, the wholy pure idea is broken down with each person who contributes until it is but a piece of it's original creative potential.

4. I was a little bit confused with this section of the reading, but I did gather what I hope is a basic understanding for what Sitney was trying to say. I think the main reason Sitney believes "Reflections on Black" anticipates a lyrical film is because of the "visions" that this blind man has. One aspect of a lyrical film is that the protagonist is understandably the one behind the camera, and although it sounds like the blind man is shown, a majority of the film is through his "eyes" or thoughts. Brakhage was slowly bridging the gap between imagination and reality. The film is an example of the protagonist's search for consciousness, and all these aspects make it a film that is teetering on the edge of a new type of avant garde filmmaking, lyrical.

5. Characteristics of a lyrical film include:
~ The person behind the camera is the protagonist of the film, and everything is seen from his point of view.
~ The viewer is made aware of the filmmaker's presence, and his/her reactions to what is being seen. This is often expressed with movement, either of the camera or in editing, to express that that protagonist is looking.
~ The protagonist is passive, there is no hero.
~ Like Abstract Expressionst painting, the space is flat. Depth and different perspectives are possible through superimposition, but are used sparingly.
~ The filmmaker uses the camera, not like a window, but in taking on this flatness, more like a painting on a palette, which he/she is a part of.

6. Brakhage was greatly influenced by his friend and fellow filmmaker, Marie Menken. He incorporated her habits of including herself in her films as filmmaker and protagonist, a characteristic of lyrical films. She would have her hand come into the frame from behind the camera, and he incorporated similar techinques to make himself a presence in his own creation.