By Scott MacDonald
This sequel to A serious Cinema deals a brand new choice of interviews with self reliant filmmakers that may be a banquet for movie enthusiasts and picture historians. Scott MacDonald unearths the delicate 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 flicks, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie keep in mind the hot York and California avant-garde movie tradition. the choice has a very powerful workforce of ladies filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different impressive 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)
In Line Describing a Cone (1973) and his other "Cone films," as well as in Long Film for Four Projectors (1974) and Four Projected Movements (1975), McCall focuses the moviegoer's attention on the projector beam (the movie projector is located in the room during these films) for relatively long periodsLine Describing a Cone lasts thirty minutes; Long Film for Four Projectors, six hoursas a means of calling attention to the cinema environment and its sociopolitical implications: what does it mean that nearly all of our public film viewing involves our sitting in rigid rows of chairs looking up at the shadow products of an apparatus kept out of the view, and control, of the audience?
And obviously that'll call for an asynchronous event of the same kind. 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.
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. You could rent a projector and buy a bunch of frosted three-by-three-inch slides and draw on them. I made sequences and projected them singly onto a screen, and then filmed them off the screen, one at a time. That's how I made Form Phases I.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald