Stan Brakhage and the Potential Image
Andrea Amoroso

In this essay Brakhage’s intention to investigate cinematographic filming possibilities is seen as an indissoluble bond between two documentaries: Window Water Baby Moving (1962) and The Act of Seeing with one’s own eyes (1971). In the first documentary the unity of the female body during childbirth is represented through experimentations between the camera and the human shape. In the second one, the representation of the bodies, which are undergoing autopsy, testifies that a dead body cannot communicate through the image and is, therefore, missing. In both cases it is the triumph
of the potential which is sensed but cannot be shown.