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Black Mountain Blues (2025)
Character: N/A
Colin Still's BLACK MOUNTAIN BLUES invites Robert Creeley to reflect on his life and work with patience and unobtrusive guidance. The film provides an invaluable view of Creeley in the last years of his life, with commentary from Charles Bernstein and Susan Howe, two of Creeley's closest colleagues, and from poet, musician, artist, and teacher Bobbie Louise Hawkins, who was married to Creeley for nearly 20 years. Vincent Ferini figures prominently, having put Olson in touch with Robert Creeley, shaping midcentury American writing.
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Notes on the Buffalo Conference: “Autobiography in American Independent Cinema” (1973)
Character: N/A
During the 1970s I shot, helped to make, or commissioned about ten document films, mainly about film-makers. This film is one of them. It was made with Dan Ochiva, who acted as cameraman on about half of the footage. I shot the rest, and then edited the film. It is a record of a conference held at the State University of New York at Buffalo on March 22-25, 1973. Among the participants filmed were Gerald O'Grady (who organized the conference), Will Hindle, Stan Brakhage, Jonas Mekas, Robert Creeley, Bruce Baillie, Scott Bartlett, Hollis Frampton, Ken Jacobs, Ed Pincus, Stan Vanderbeek, Ed Emshwiller, Sally Dixon, James Cox. This footage will eventually become part of my film PEOPLE, PLACES, THE 1970S. –R. H.
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Two: Creeley/McClure (1965)
Character: N/A
Two portraits in relation to each other, the first of Robert Creeley, the second of Michael McClure. Preserved by the Academy Film Archive in 2007.
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The Source (1999)
Character: Self
Traces the Beats from Allen Ginsberg and Jack Kerouac's meeting in 1944 at Columbia University to the deaths of Ginsberg and William S. Burroughs in 1997. Three actors provide dramatic interpretations of the work of these three writers, and the film chronicles their friendships, their arrival into American consciousness, their travels, frequent parodies, Kerouac's death, and Ginsberg's politicization. Their movement connects with bebop, John Cage's music, abstract expressionism, and living theater. In recent interviews, Ginsberg, Burroughs, Kesey, Ferlinghetti, Mailer, Jerry Garcia, Tom Hayden, Gary Snyder, Ed Sanders, and others measure the Beats' meaning and impact.
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Poetry in Motion (1982)
Character: Self
More than 20 contemporary North American poets recite, sing, and perform their work. Early in the film, Charles Bukowski talks about the energy of poets and of a poem. These poets are the children of Walt Whitman and of Charles Olson, incantatory and oratorical, radical, sometimes incorporating contemporary political imagery. Black Mountain poets, the Beats, minimalists like John Cage, the wordless Four Horsemen, Tom Waits, and others capture aspects of poets as troubadours.
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