By Scott MacDonald
This sequel to A serious Cinema deals a brand new choice of interviews with self sufficient filmmakers that may be a ceremonial dinner for movie fanatics 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 tune and movies, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie keep in mind the recent York and California avant-garde movie tradition. the choice has a very robust crew of girls 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)
I had to deal with it. MacDonald: Do you feel comfortable with sound? For some filmmakersKubelka in Our African Journey , Len Lye in his direct animationssound is central to the making of the film. Breer: For me the most exquisite parts of a film have to do with some kind of plastic event that's silent. Generally I think that sound is padding in a predominantly visual experience, and necessary at times and fine, cathartic. Sometimes I'll use some sound just to announce that there is a sound track, so don't be uneasy, you're not going to have to suffer in silence and be afraid to cough, or whatever.
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. Fischinger, for example. Breer: In a way, I suppose that's true, but somebody I always mention as having a powerful influence on me was Jean Vigo, who didn't make animated abstract films.
I alternated methods. I'd get tired of doing film one way, and the next time I'd do it the other way. I just had a flash about something you said about metamorphosis. Metamorphosis is just a natural thing. In animation you make each frame, and for something not to be dead on the screen, it has to change. One of my tricks used to be to see if I could trace an image as exactly as possible. I knew it would still vary a little bit and that that variation would give it a sort of breathing presence on the screen.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald