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If one rejects or questions that idea that cinema can function as a metaphor for interior experience through the abstraction of the image, what remains to consider? This idea of cinema-as-metaphor is deeply ingrained in the aesthetics of avant-garde cinema and is one of the reasons for its fetishing of celluloid in opposition to electronic video and digital technologies. This heritage of Stan Brakhages work continues to haunt this genre of production twenty years after his death, effectively holding the third major variety of cinematic production, the poetic, to a set of aesthetics and propositions that were never as restrictive when they were proposed as they have become now that celluloid is obsolete.
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