By Scott MacDonald
This sequel to A severe Cinema bargains a brand new selection of interviews with self sustaining filmmakers that could be a dinner party 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 track and movies, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie bear in mind the recent York and California avant-garde movie tradition. the choice has a very robust team 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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Additional info for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
Those films came more from sitting at a drawing table or a desk, looking out the window, and having a nice time. And later committing it to film. When I was making the collage films, I was more involved with what I was going to see on the screen at the end, which had more to do with editing and with thinking in terms of that big rectangle up on the wall with people looking at it. I alternated methods. I'd get tired of doing film one way, and the next time I'd do it the other way. I just had a flash about something you said about metamorphosis.
In several of Mekas's major films, for example, the filmmaker's real homeland (Lithuania) is ultimately "replaced" by the creation of an "aesthetic homeland" that, exists within themselves and Within the social and institutional world documented by the films. Mekas may ''really lave only in my editing room" but his life there is, as his films make clear contextualized by the personal/ethnic/political history out of which this current "real life" developed. With few exceptions, the remaining interviews in Volume 2 reveal a growing interest in national and global concerns.
I cannot imagine teaching effectively without exposing students to an intertextual discourse of the broadest possible variety of film experiences, including those "avant-garde" or ''experimental" films that provide the most extensive and deepest shocks to viewers whose definition of cinema is primarily a product of commercial entertainments in the theater and on television. 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.
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