By Scott MacDonald
A serious Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main vast, in-depth exploration of self sustaining cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in distinctive discussions in their movies and of the private reviews and political and theoretical currents that experience formed their paintings. The interviews are prepared to precise the awesome variety of recent self sustaining cinema and the interactive neighborhood of filmmakers that has committed itself to generating different types of cinema that critique traditional media.
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Extra resources for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)
I loved his still photography. He was the ﬁrst one to photograph car accidents and things like that and show that they could be a brutal kind of art. In Scorpio Rising, the songs are an ironic commentary on what’s going on in the picture. They’re a kind of narration. ” It’s a deliberate gender switch that suggests that he’s as vain as any girl would be. Of course, men have a right to be vain about their appearance, to take pains to decorate themselves; that’s a human trait, from primitive man or woman on.
They had gone back to Pittsburgh to attend the funeral of an uncle. MacDonald: What did your parents do? I know very little about your background. Anger: I was the third child, and there was a lapse of about eight years 22 A Critical Cinema 5 between me and my older brother and sister. I was the tail end of the family. The member of the family I was closest to was my maternal grandmother, who had worked in costumes in the silent era. She told me a lot of stories about Valentino and Clara Bow and sparked my interest in the silent period.
Did it work as a small business? Anger: On a very small scale, yes. I gave it up when I moved to Europe in 1950, and Curtis didn’t express any interest in continuing it on his own. MacDonald: I’ve heard that there was even a phantom secretary. Anger: Yes. Curtis and I thought her up. Her name was Violet Parks. We didn’t do any telephone orders, so she didn’t need to speak. We bought some violet ink and Curtis signed for her. She was our phantom lady. MacDonald: You were making ﬁlms very young, and by the time of Es- 20 A Critical Cinema 5 cape Episode you had a body of work.
A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5) by Scott MacDonald