By Scott MacDonald
This sequel to A serious Cinema bargains a brand new number of interviews with self reliant filmmakers that could be a ceremonial dinner for movie lovers and picture historians. Scott MacDonald unearths the delicate taking into consideration 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 tune and flicks, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie remember the recent York and California avant-garde movie tradition. the choice has a very robust workforce 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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Extra info for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
15, no. 5 (December 1987), pp. 69; "Damned If You Don't: An Interview with Su Friedrich," vol. 15, no. 10 (May 1988), pp. 610. The Independent, for "The Nuclear War Film: Peter Watkins Interviewed," vol. 7, no. 9 (October 1984), pp. 2224, 32; "Daddy Dearest: Su Friedrich Talks about Filmmaking, Family, Feminism," vol. 13, no. 10 (December 1990), pp. 2834. Cinematograph, for "A Picture a Day Keeps the Doctor Away: An Interview with Anne Robertson," vol. 4 (1991), pp. 5366. " Article reprinted from Feminist Studies, vol.
In cartooning it's a cartoon figure. Grotesque as he or she might be, the figure becomes an identity you follow. If that figure is anthropomorphic or animal, it has a face, and that face will dominate, the way an active ingredient in a passive landscape dominates the field. It sets up a constant visual hierarchy that to me is impoverished. 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.
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