By Scott MacDonald
This sequel to A serious Cinema deals a brand new selection of interviews with self sustaining filmmakers that could be a banquet for movie enthusiasts and movie historians. Scott MacDonald finds the delicate considering 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 song and movies, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie keep in mind the hot York and California avant-garde movie tradition. the choice has a very powerful team of girls filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different striking artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins.
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Extra resources for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
That was counter to my feeling of how life should be experienced. I didn't like the idea of the lens between me and what I was looking at. I wouldn't even wear sunglasses. It's a wonder I ever got into film. MacDonald: From what you say, I assume that the history of film was not particularly interesting to you. Film simply became a way of doing things with painting that you couldn't do on a still canvas. And the filmmakers whose work seems related to your early films tend to have come to film for the same reason.
I want every square inch of the screen potentially active, alivethe whole damned screen. I don't want any one thing to take over. The problem with narration is that the figures always dominate the ground. In the theater, the actors have their feet planted on the stage, and there's a large space above them. That space is justified because the actors are three-dimensional, living, breathing, sweating human beings who make sound when they move and have real physical presence. It doesn't matter that gravity keeps them all at the bottom of the stage.
Breer: Well, sound was too big a deal to think about in the first films. But once I saw my films in public, I began to think about it. I had my first one-person show of paintings in Brussels in 1955, right after I got married, at Gallery Aujourd'hui. Opening in Brussels instead of Paris was sort of like opening in New Haven instead of New York. The idea was that I was then going to open at Denise René Gallery, but we had a falling out. Anyhow, I took Form Phases IV to Brussels, and Jacques LeDoux (I didn't know him then) arranged a screening of it in the gallery.