”This little film (originally painted on IMAX) attempts to capture the beauty of sadness, as the eyes have it when closed in meditation on sorrow." -S.B.

“The hand-painted work six years in-the-making (37 in the studying of The Divine Comedy) demonstrates the earthly conditions of 'Hell', 'Purgatory' (or Transition), and 'Heaven' (or 'existence is song,' which is the closest I'd presume upon heaven from my experience), as well as the mainspring of/from 'Hell' (Hell Spit Flexion) in four parts." -S.B.

非常自传片过程中强烈的抑郁期他离婚从简，他的第一任妻子，和分离从他的五个孩子后，电影制片人制作。 Brakhage称之为“一个真正的，叙事的，戏剧性的心理剧”。影片的背景音乐是​​一块是短暂的短语来自不同斯蒂芬·福斯特的歌曲，其共同的主题是损失拼贴。 Brakhage划痕从电影这些歌个别单词的间隔，以及摇摇欲坠的信件跨越架不确定性跳舞。主要的视觉主题是55岁的电影制片人自己在一个孤独的公寓耿耿于怀的，坐在地板上，靠在墙上，多次从床上赤裸的上升和回落。这是剪切片段制成年前，在70年代，当他的孩子小很多，因为他们在他们曾经共享家庭快乐地玩镜头。即使在他非常最低点，Brakhage继续把他的生活变成艺术。

"This film presents the voice of a child play-singing in relation to full orchestral 'takes' of The Times and visually juxtaposed with children-at-play (my grandchildren Iona and Quay Bartek) in Americana backyard. They are seen, as in dream, to be already caught-up in ── yet absolutely distinct ── from the rituals of adulthood." -S.B.

"A series of shocks of recognition of daily living as a series of big bangs - creations of the universe." -S.B.

This film (related to Mothlight) is a collage composed entirely of montane zone vegetation. As the title suggests, it is an homage to (but also argument with) Hieronymous Bosch." -S.B.

”My laboriously painted vision of the god of the forest." -S.B.

After the title, a white screen gives way to a series of frames suggestive of abstract art, usually with one or two colors dominating and rapid change in the images. Two figures emerge from this jungle of color: the first, a shirtless man, appears twice, coming into focus, then disappearing behind the bursts and patterns of color, then reappearing; the second figure appears later, in the right foreground. This figure suggests someone older, someone of substance. The myth? Preserved by the Academy Film Archive in 2012.

"What a moth might see from birth to death if black were white and white were black." -S.B.

　　他在《水窗中的颤动婴儿》（Window Water Baby Moving，1959）中，以倒叙和一连串的主题元素画面，描绘珍•布莱凯吉（Jane Brakhage）怀孕和生产的情景。

"Sexual witchcraft involving two couples and a 'medium' cat." -S.B.

尸体解剖过程纪实。

A man is supine on a mountain side. Images rush past of nature and a stained glass saint. An infant is born. We see a lactating nipple. Images include a mountain peak, farm buildings, a tree stump, a fire, a crawling baby, and the sun. The man falls and rolls. Then, later, he swings his ax.

Sexual intimacy. Three kinds of images race past, superimposed on each other sometimes: two bodies, a man and a woman's, close up, nude - patches of skin, wisps of hair, glimpses of a face and genitalia; strips of celluloid with lines and squiggles scratched on them; and, close-up shots of what appear to be the insides of living bodies - a heart beating, muscle and sinew and tissue wet with fluids. The exterior and interior of desire.

A man, accompanied by a dog, struggles through snow on a mountain side. We see film stock blister; drawn square shapes appear. Then, we see an infant's face. The images of struggling climber, baby, blurred film stock, large snow flakes, and what may be microscopic details of matter are superimposed on each other, one dominating the frame briefly to be replaced by another. As the man falls in the snow and tries to regain his feet, the baby continues to appear, first with eyes closed. Alternately, images rush by - montages of paper cutouts and life under a microscope.

Stan Brakhage的代表作《狗．星．人》(Dog Star Man，1961—1964)，他稱之為「影像的史詩」(Visual Epic)，當中表達了人離去社會與文明後的狀態。《狗．星．人》分為五大部分：前奏是關於日與夜的夢，第一部分是關於攀爬雪山的過程，第二部分是關於誕生，第三部分是關於性愛的白日夢，第四部分是複合的崩潰。從以上的簡介可知，布力奇治承接了超現實主義的傳統，夢佔了一個重要的位置，但他在抽象的哲學性議題上有所開拓，這一點大大擴展了詩的電影的內涵。

"The first months of marriage, with moments of mutual awareness, frightening understandings, lovemaking." -S.B.

Four young men and a young woman sit in boredom. She smokes while one strums a lute, one looks at a magazine, and two fiddle with string. The door opens and in comes a young man, cigarette between his lips, a swagger on his face. The young woman laughs. As the four young men continue disconnected activities, the other two become a couple. When the four realize something has changed, first they stare at the couple who have kissed and now are dancing slowly. The four run from the house in a kind of frenzy and return to stare. The power of sex has unnerved them.

本片取自狄德罗小说中的一个片断，讲一个上流社会女子被情人抛弃后，想出一招：她鼓励对方跟一名有卖淫背景的女子结合，先实行广泛的保密工作，事成后再把这则天塌地裂的消息公诸于众。

继上一部“黄译本”后导演继续在下一年拍出了“蓝译本”。导演及其演员都收到了糟糕的否定。时值大街上的人们深信“非暴力”运动的亢奋时候，丽娜（莱娜•尼曼 Lena Nyman 饰）在瑞典大街上向人们提出对婚前性行为、避孕、阶级制度等问题的看法。导演维尔戈特•斯耶曼提出要她和伯耶拍一部有结果的电影的想法，叫丽娜在摄影机后看着眼前表演的一对男女回忆自己的童年。影片之外，丽娜本就和伯耶关系亲密，伯耶甚至要丽娜向导演撒谎和自己同居。随后丽娜与旧情人相遇在游乐场尽情玩乐……
本片故事脉络和上一部“黄译本”平行进行，使用的是上部没用到和重拍的镜头，从另一角度来表现丽娜自我发现的故事。