Screenplays of three of Bergman's most famous films- which combine universal themes with incredibly intimate situations and superb characterisation:all the figures are recognisable in the modern cosmology of the spirit.

    Two of the twelve beggars in the film were not professional actors: the woman dwarf (she was a lottery ticket vendor in Madrid) and the leper. "I remember in particular the remarkable character who played the leper," Bunuel wrote. "He was half beggar, half madman, and was allowed to live in the studio courtyard during the shooting. The man paid no attention whatsoever to my directions, yet he's marvelous in the movie." - from the foreword by Inga Karetnikova

    an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of 'Green?'" So begins Stan Brakhage's (1933-2003) classic Metaphors on Vision. Originally published in 1963 by Jonas Mekas as a special issue of Film Culture, and designed by George Maciunas, it stands as the major theoretical statement by one of avant-garde cinema's most influential figures, a treatise on mythopoeia and the nature of visual experience written in a style as idiosyncratic as his art. Long out of print, the volume is now available in this definitive edition from Anthology Film Archives and Light Industry, featuring Brakhage's complete text in its distinctive original layout, as well as annotations by scholar P. Adams Sitney.