By Scott MacDonald
This sequel to A severe Cinema deals a brand new selection of interviews with self sufficient filmmakers that may be a ceremonial dinner for movie enthusiasts and picture historians. Scott MacDonald unearths the subtle taking into account those artists relating to movie, politics, and modern gender issues.The interviews discover the careers of Robert Breer, Trinh T. Minh-ha, James Benning, Su Friedrich, and Godfrey Reggio. Yoko Ono discusses her cinematic collaboration with John Lennon, Michael Snow talks approximately his song and movies, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie remember the hot York and California avant-garde movie tradition. the choice has a very robust workforce of girls filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different remarkable artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins.
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Extra resources for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
Of course, another practical value of including a range of independent film in film courses at all levels of formal film study (and in the many other sectors of academe that can profit from them) is the maintenance of forms of film production that remain financially marginal: the more often independent films are rentedfor whatever reasonthe more vital independent film production is likely to be. My decision to become involved in an ongoing interview project developed from my recognition that those who are interested in using independent film as a critique of mainstream cinema and television are likely to appreciate the historical and ideological context extensive interviews with filmmakers can provide.
When the telephone rings in TZ, you hear the voice saying, "Hello," first, and then the phone ringing. It always gets a giggle. It's deliberate that the sound-picture relationship is obverse, perverse, and sometimes absolutely synch. Have you seen 70 recently? I decided to leave it silent, and I had the option of a black sound track or a clear one. For some reason I decided on a clear track, which, it turns out, picks up dirt and glitches, so that if you leave the audio on, there's sound. I show 70 now with instructions to leave the projector sound on.
Fischinger, for example. Breer: In a way, I suppose that's true, but somebody I always mention as having a powerful influence on me was Jean Vigo, who didn't make animated abstract films. His spirit of free association in A propos de Nice , for instance, and the kind of cutting he does there, moved me. And I liked Zéro de Conduite , his anarchism, his humor, and his esprit. I could identify with him. I have an aversion to just purely abstract films. That's why I have trouble with Fischinger.