By Scott MacDonald
This sequel to A severe Cinema bargains a brand new selection of interviews with self reliant filmmakers that may be a ceremonial dinner for movie enthusiasts and picture historians. Scott MacDonald finds the delicate deliberating 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 flicks, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie bear in mind the recent York and California avant-garde movie tradition. the choice has a very powerful staff 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)
Breer: My earliest paintings in Paris were influenced by early Vasarelynot by what got to be called "op art," but by his earlier paintings, which were very simple and much less systematic than the later op works. By the time I was making films, I wasn't interested in Vasarely, though maybe there's some residue. The movement show at Denise René Gallery opened in 1955. And to go along with it, Pontus Hulten was supposed to organize a film show. He's an art historian and until recently was the director of the Beauborg Art Museum in Paris.
I talked with Breer in January and February 1985. <><><><><><><><><><><><> MacDonald: One influence that seems clear in your first films, Form Phases I and Form Phases II is Emile Cohl. Breer: I hadn't seen Cohl's films at that point. After I did A Man and His Dog Out for Air, Noel Burch, who was also in Paris at that time, asked me if I'd seen Cohl. When I said no, he took me over to the Cinematheque, and we saw Cohl's films there. MacDonald: The similarity I see is the idea of animation being primarily about metamorphosis, rather than storytelling.
But a nicer way to think of it is to see the figurative and narrative elements in my films as establishing norms from which to depart. MacDonald: Image by Images is the earliest of your films where you use actual photographed images of reality. Your hand appears in that film, and part of a face. Breer: And the eyeglasses, right. At a flea market one time we walked by a blanket on which this old ladyshe must have been a widowwas selling what looked to be parts of her husband. She had his teeth and his glasses and other parts of him out on this blanket.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald