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.
Read Online or Download A Critical Cinema: Interviews with Independent Filmmakers PDF
Similar movies books
Movie noir, which flourished in Nineteen Forties and 50s, mirrored the struggles and sentiments of postwar the USA. Dennis Broe contends that the style, with its emphasis on darkish subject material, paralleled the category clash in hard work and union events that ruled the interval.
Ever because horror leapt from well known fiction to the silver monitor within the past due Nineties, audience have skilled worry and enjoyment in beautiful mixture. Wheeler Winston Dixon's A heritage of Horror is the one booklet to provide a complete survey of this ever-popular movie style. prepared by means of a long time, with outliers and franchise movies overlapping a few years, this one-stop sourcebook finds the ancient origins of characters corresponding to Dracula, Frankenstein, and the Wolfman and their a variety of incarnations in movie from the silent period to comedic sequels.
Hailed for its dramatic expressionist visuals, movie noir is likely one of the so much sought after genres in Hollywood cinema. but, regardless of the "boom" in sound reviews, the position of sonic results and resource track in vintage American noir has no longer got the eye it merits. Siren urban engagingly illustrates how sound tracks in Nineteen Forties movie noir are usually simply as compelling because the genre's vaunted portraits.
"Once in an entire life. " The word comes up again and again from the folks who labored on Peter Jackson's The Lord of the earrings. The film's seventeen Oscars, record-setting gains, large fan base, and thousands of ancillary items attest to its significance and to the truth that earrings is way greater than a movie.
- Screening the Beats: Media Culture and the Beat Sensibility
- What's A Nice Actor Like You Doing In A Movie Like This?: The ultimate guide to the most embarrassing movies in history, and the celebrities who appeared in them.
- The German Patient: Crisis and Recovery in Postwar Culture (Social History, Popular Culture, and Politics in Germany)
- All That Hollywood Allows: Rereading Gender in 1950's Melodrama (Gender and American Culture)
- Cinematic Identity: Anatomy of a Problem Film (Theory Out Of Bounds)
Extra info for A Critical Cinema: Interviews with Independent Filmmakers
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.