By Scott MacDonald
This sequel to A severe Cinema bargains a brand new number of interviews with self reliant filmmakers that could be a ceremonial dinner for movie fanatics and movie historians. Scott MacDonald finds the subtle taking into account those artists concerning 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 flicks, 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 powerful team 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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Additional resources for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
Indeed, each decade of independent film production has been characterized by the simultaneous development of widely varying forms of critique. And yet, having said this, I would also argue that certain general changes in focus are discernible. One of these is the increasingly explicit political engagement of filmmakers. The films of Breer and Snow emphasize fundamental issues of perception, especially film perception. From time to time, one of their,' films reveals evidence of the filmmaker's awareness of the larger social/political developments of which their work is inevitably a part, but 'in general they focus on the cinematic worlds 'created by their films.
I moved the shapes around and had them grow and replace each other. I went from making paintings to animating paintings. For me, that was the whole point of making a film. I was very involved with the abstract, geometric, post-Cubist orthodoxy: a painting is an object and its illusions have to acknowledge its surface as a reality. The tricks you use to do that are Cubist tricks: figure/ground reversals, intersections, overlappings. Of course, [Hans] Richter did all this in 1921 in Rhythm 21. I guess it's pretty obvious that I'd seen that film by the time I made Form Phases IV.
The interviews in A Critical Cinema are in no instance conceived as exposés; they are attempts to facilitate a communication to actual and potential viewers of what the filmmakers would like viewers to understand about their work, in words they are comfortable with. While my general approach as an interviewer has remained the same, the implicit structure of Volume 2 differs from that of Volume 1, in which the interviews are arranged roughly in the order I conducted and completed them. In Volume 2 the arrangement of the interviews has nothing to do with the order in which they were conducted.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald