Get A Critical Cinema 2: Interviews with Independent Filmmakers PDF
By Scott MacDonald
This sequel to A serious Cinema bargains a brand new number of interviews with autonomous filmmakers that may be a banquet for movie fanatics and movie historians. Scott MacDonald finds the delicate taking into consideration 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 track and movies, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie bear in mind the hot York and California avant-garde movie tradition. the choice has a very robust workforce of ladies filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different awesome artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins.
Read or Download A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) PDF
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Additional resources for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
Breer: By the time of Jamestown Baloos I was enthusiastic. But at first I was scared of the camera. I had an aversion to photography, partly, I suppose, because of my father's enthusiasm for it. The only big fight I ever had with him was over his taking pictures of me, and of stopping things to take pictures of the family. He came to visit me in Europe, and we'd go to a restaurant, and he'd stand on the next table and take pictures. It was embarrassing. It seemed to me then that he photographed everything before he reacted and could only react after he'd developed his pictures.
I talked with Breer in January and February 1985. <><><><><><><><><><><><> MacDonald: One influence that seems clear in your first films, Form Phases I and Form Phases II is Emile Cohl. Breer: I hadn't seen Cohl's films at that point. After I did A Man and His Dog Out for Air, Noel Burch, who was also in Paris at that time, asked me if I'd seen Cohl. When I said no, he took me over to the Cinematheque, and we saw Cohl's films there. MacDonald: The similarity I see is the idea of animation being primarily about metamorphosis, rather than storytelling.
The critical dimension of the films discussed in A Critical Cinema is certainly not the only interesting aspect of those films. The long history of independent cinema has produced hundreds of films that can sustain a viewer's fascination regardless of whatever relationships exist between these films and the commercial cinema. While some independent filmmakers admit their interest in critiquing what they've experienced in commercial movie theaters and on television, others see their work as developing out of traditions that have little or nothing to do with the movie industry and its products.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald