Download A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald PDF

By Scott MacDonald

It truly is greatly understood that writing can speak about writing, yet we infrequently give some thought to that movie can be utilized as a way of reading conventions of the economic movie undefined, or of theorizing approximately cinema often. during the last few a long time, although, autonomous cinema has produced a physique of attention-grabbing motion pictures that offer extensive opinions of approximately each section of the cinematic gear. The adventure of those movies at the same time relies on and redefines our courting to the flicks. severe Cinema offers a suite of in-depth interviews with the most entire "critical" filmmakers. those interviews display the sophistication in their brooding about movie (and quite a lot of different issues) and function an obtainable advent to this crucial quarter of autonomous cinema. every one interview is preceded via a normal creation to the filmmaker's paintings; particular filmographies and bibliographies are incorporated. severe Cinema may be a important source for all these interested by the formal research of movie, and may be crucial interpreting for movie fanatics attracted to preserving abreast of contemporary advancements in North American cinema. INTERVIEWEES: Hollis Frampton, Larry Gottheim, Robert Huot, Taka Iimura, Carolee Schneeman, Tom Chomont, J.J. Murphy, Beth B and Scott B, John Waters, Vivienne Dick, Bruce Conner, Robert Nelson, Babette Mangolte, George Kuchar, Diana Barrie, Manuel DeLanda, Morgan Fisher.

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Extra info for A Critical Cinema: Interviews with Independent Filmmakers

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Anger: All along, I was experimenting with various tracks, some of which I never recorded. I had always known about Leo Janácek’s Slavonic Mass, and I had that in mind even when I was filming the imagery. I found a recording of The Slavonic Mass by Raphael Kubelik that I liked, and I used that. MacDonald: In my book on Cinema 16 I reprinted a number of letters between you and Vogel, written at a time when it looked like the film was going to have a Harry Partch sound track. Does a print with that sound track still exist?

But the film looks very carefully choreographed. Did you spend a lot of time rehearsing? Anger: They were professionals, thoroughly schooled in what they were doing. I explained that I wanted an imaginary tightrope walk, imaginary juggling; they had done things like that, so they knew what to do. And, of course, they were familiar with the characters of Pierrot, Harlequin, and Columbine. I was working with people who were in a sense already rehearsed. They were a very nice small cast to work with.

The 35mm raw stock came from Russian friends of the Cinémathèque who had come to Paris to do a film on UNESCO—the children’s division of the United Nations. They had a couple of thousand feet of 35mm, something like six cans of unexposed raw stock, left over. It was the same emulsion, they told me, that Eisenstein used to make Ivan the Terrible [part 1, 1943; part 2, 1946]: a very fine-grain, beautiful stock. It wasn’t fast; you needed quite a lot of light, compared to modern emulsions. I figured those six cans were just enough, if I just shot one take of everything, to make this little fantasy on the theme of the commedia dell’arte and end up with a short film.

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