1. Richard Whitehall, "Interview with Bruce Baillie," Film Culture , No. 47, pp. 17-18.

2. Bruce Baillie, Program for Castro Street . File: Museum of Modern Art.

3. Bruce Baillie in P. Adams Sitney, Visionary Film (New York: Oxford University Press, 1974), p. 208.

4. Bruce Baillie, Notebook entry, May 22, 1966.

5. Sergei Eisenstein, Film Form (New York: Harcourt, Brace and World, 1949), p. 48.

6. Bruce Baillie, MOMA Cineprobe Tape, April 7, 1970.

7. Richard Corliss, "Bruce Baillie: An Interview," Film Comment , Vol. 7, No. 1 (Spring 1971), p. 25.

8. Whitehall, op. cit ., p. 7.

9. Bruce Baillie, MOMA Cineprobe Tape, April 7, 1970.

10. Ibid .

11. Corliss, op. cit ., p. 26.

12. Bruce Baillie, MOMA Cineprobe Tape, April 7, 1970.

13. Bruce Baillie, in Harbinger , Vol. 1, No. 1 (July 1967), p. 32.

14. R. L. Gregory, Eye and Brain (New York: McGraw-Hill, 1973), p. 119.

15. Corliss, op. cit ., p. 31.

16. Rudolf Arnheim, Film As Art (Berkeley: University of California Press, 1957), pp. 131-32.

17. Sitney, op. cit ., p. 208.

18. Bruce Baillie in Harbinger , Vol. 1, No. 1 (July 1967), p. 34.

19. Sitney, Museum of Modern Art Circular #66.

20. Eisenstein, Film Sense (New York: Harcourt, Brace and World, 1947), p. 93.

1. "Respond Dance," in P. Adams Sitney, ed., Film Culture Reader (New York: Praeger, 1970), pp. 239-40.

2. Experimental Cinema (New York: Universe Books, 1971), p. 132. "Song V," a third childbirth film, cannot be divorced from the aesthetic context of the complete Songs and is therefore omitted from this discussion.

3. "The Birth Film," in FCR , p. 231.

4. "Interview with Stan Brakhage," FCR , pp. 208-10.

5. See, for example, Sheldon Renan, An Introduction to the American Underground Film (New York: Dutton Paperbacks, 1967), p. 122; and Sitney, Visionary Film (New York: Oxford U.P., 1974), p. 191.

6. "Interview with Stan Brakhage," pp. 202-03.

7. Ibid ., pp. 208-09.

8. Just so, Carol Emshwiller pointed out to me that the beauty of "The Act of Seeing with One's Own Eyes" ("Autopsy"), the third segment of The Pittsburgh Trilogy , derives from the pattened rituals of dissection opposed to the nearly intolerable vision of humans reduced to meat.

9. Sitney, Visionary Film , p. 189. Subsequent references to this edition will be included in the text (as VF ).

10. "The Birth Film," pp. 232-33.

11. "Interview with Stan Brakhage," p. 225.

12. Ibid ., p. 225. See also Film-Makers' Cooperative Catalogue No. 6 (New York: Harry Gantt, 1975), p. 27.