By Scott MacDonald

A serious Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main vast, in-depth exploration of self sustaining cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in designated discussions in their movies and of the private studies and political and theoretical currents that experience formed their paintings. The interviews are prepared to precise the striking variety of contemporary self sufficient cinema and the interactive group of filmmakers that has committed itself to generating sorts of cinema that critique traditional media.

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Extra info for A Critical Cinema 5: Interviews with Independent Filmmakers

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MacDonald: The music on some of your films changes over time, and I’m wondering whether that’s because you have a love-hate relationship with pop music; pop music can come to seem out-of-date more quickly than some other forms of music. Is that why the sound tracks change? Anger: Absolutely not. I consider myself an experimental artist, and even once a film is “done,” if I want to try something else, and make a new version of a film, I will. This may annoy critics who are trying to keep track of everything, but this tendency of mine dates back to my earliest films, which were like three-minute or five-minute shorts that had to be run at silent speed because the only camera I had at that time ran at sixteen frames a second.

Anger: I was the third child, and there was a lapse of about eight years 22 A Critical Cinema 5 between me and my older brother and sister. I was the tail end of the family. The member of the family I was closest to was my maternal grandmother, who had worked in costumes in the silent era. She told me a lot of stories about Valentino and Clara Bow and sparked my interest in the silent period. She bought me my first 16mm camera, as a birthday present. It was a used Bell & Howell. It had seen some war service; those handheld Bell & Howells were used by cameramen during the war.

He’s quite a poetic figure, and he has two passions: he has a longing for the moon—the phrase “reaching for the moon” refers to something you want but can never have—and he’s infatuated with Columbine, who’s a tease. His rival is Harlequin, who is a devil figure—the devil in his form of the prankster. Just with variations on this simple combination of three characters the Commedia dell’Arte made any number of little plays that were popular across Europe. It started in Italy, then went to France, and was very popular in the seventeenth and eighteenth centuries.

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