By Scott MacDonald
This sequel to A serious Cinema deals a brand new selection of interviews with self sustaining filmmakers that could be a banquet for movie enthusiasts and picture historians. Scott MacDonald unearths the subtle contemplating those artists concerning 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 flicks, 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 extraordinary 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)
Because "critical films" are unconventional, they almost inevitably create problems for audiences, even audiences that consider themselves open to new film experiences. And while comments by filmmakers about the particular films they make can never be the final wordas Hollis Frampton says in Volume 1, "It's obvious that there are things that spectators can know about a work, any work, that the person who made it can ever know" (p. 57)their attitudes about what they've made and their revelations of the personal, social, and theoretical contexts out of which particular works developed can be of considerable interest and use to the viewer trying to come to terms with difficult films.
Later I did the editing. That show was the first time Vasarely showed those grids that would swing in front of one another. Maybe that was the first gallery show of exclusively kinetic art, although, of course, Denise was preceded in general by the futurists. But after the war, kineticism was one of the things she picked up on. [Jean] Tinguely was incorporated into her gallery after his first show. On a visit home in 195152, I went to an art supply store in downtown Detroit and saw this device"Slidecraft" I think it was called.
Sometimes I guess I'm showing off my confidence that I can do conventional animation if I want to. But a nicer way to think of it is to see the figurative and narrative elements in my films as establishing norms from which to depart. MacDonald: Image by Images is the earliest of your films where you use actual photographed images of reality. Your hand appears in that film, and part of a face. Breer: And the eyeglasses, right. At a flea market one time we walked by a blanket on which this old ladyshe must have been a widowwas selling what looked to be parts of her husband.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald