By Scott MacDonald
This sequel to A serious Cinema deals a brand new number of interviews with self sufficient filmmakers that may be a banquet for movie fanatics and picture historians. Scott MacDonald unearths the subtle deliberating 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 song and flicks, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie bear in mind the hot York and California avant-garde movie tradition. the choice has a very robust workforce of girls filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different remarkable 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)
Page iii A Critical Cinema 2 Interviews with Independent Filmmakers Scott MacDonald Page iv University of California Press Berkeley and Los Angeles, California University of California Press Oxford, England Copyright © 1992 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data MacDonald, Scott, 1942 A critical cinema. Includes bibliographical references and index. 423-435. Title. Murphy, Bob Huot, Morgan Fisher, Frank Bergmann, Su Friedrich, Ian MacDonald Page vii Contents Acknowledgments ix Introduction 1 Robert Breer 15 Michael Snow 51 Jonas Mekas 77 Bruce Baillie 109 Yoko Ono 139 Anthony McCall 157 Andrew Noren 175 Anne Robertson 206 James Benning 220 Lizzie Borden 249 Ross McElwee 265 Su Friedrich 283 Page viii Anne Severson (On Near the Big Chakra) 319 Laura Mulvey (On Riddles of the Sphinx) 333 Yvonne Rainer (On Privilege) 344 Trinh T.
Imagery and explores the impact of durations of time in the movie theater, using a variety of systems of measurement. Iimura's films simultaneously create new, "minimal" forms of film experience, and they focus on the issue of duration in a way that enables us to think more extensively about the nature and implications of the conventional cinema's manipulations of time. The critical dimension of the films discussed in A Critical Cinema is certainly not the only interesting aspect of those films.
He said he could hear his nervous system and his blood flowing, or something like that. Anyhow, I knew I had to deal with sound in some way. MacDonald: Are you a music lover? The motif structure you often use in the films seems musical. Breer: Well, if I said I'm a music lover, I'd have to make good on that claim with great erudition. When I painted in Paris, I used to listen to Mozart every morning on the radio. But after a while I found it intolerable. I couldn't listen to organized sound, because it would confuse my signals.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald