Eyes Upside Down

• Selling point: Dulmination of Sitney's decades-long study of avant-garde cinema
• Selling point: New view of American avant-garde films in the light of native aesthetics
• Selling point: Extensive documentation of filmmaker's writings, interviews, and correspondence
• Selling point: Full treatment of later films of Stan Brakhage is field's best primer on this major artist

Readership: Students and scholars of cinema studies.

P. Adams Sitney, Professor of Visual Studies, Princeton University

Introduction: Emersonian Poetics
1: Marie Menken and the Somatic Camera
2: Ian Hugo and Superimposition
3: Stan Brakhage's Autobiography as a Cinematic Sequence
4: Jonas Mekas and the Diary Film
5: Hollis Frampton and the Spectre of Narrative
6: Robert Beavers's Winged Distance/Sightless Measure: The Cycle of the Ephebe
7: Beavers's Second Cycle: The Past in the Present - The Present in the Past
8: Andrew Noren and the Open-Ended Cinematic Sequence
9: Ernie Gehr and the Axis of Primary Thought
10: Warren Sonbert's Movements in a Concerto
11: Brakhage and the Tales of the Tribes
12: Frampton's Magellan
13: Abigail Child: Textual Self-Reliance
14: Su Friedrich: "Giving Birth to Myself"
15: Brakhage: Meditative Cinema
16: Beavers's Third Cycle: The Theater of Gesture
17: Mekas's Retrospection
Conclusion: Perfect Exhilaration
Appendix: Chronology of Films