Scott MacDonald's A Critical Cinema 5: Interviews with Independent Filmmakers PDF

By Scott MacDonald

ISBN-10: 0520245954

ISBN-13: 9780520245952

A severe Cinema five is the 5th quantity in Scott MacDonald's severe Cinema sequence, the main vast, in-depth exploration of autonomous cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in certain discussions in their motion pictures and of the private reviews and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the amazing range of recent autonomous cinema and the interactive neighborhood of filmmakers that has committed itself to generating varieties of cinema that critique traditional media.

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Extra resources for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)

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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. MacDonald: In the little monograph by Robert Haller that accompanies The Magic Lantern Cycle videos, Scorpio Rising is dedicated to “Jack Parsons, Victor Childe, Jim Powers, James Dean, T.

Anger: Carmilla was a wonderful little lady who was patiently willing to work with me through a whole summer. The di‹cult thing about that project was that not only was I working in a place where I couldn’t simply do whatever I wanted, but also I had to work in certain areas of the garden at certain times of day. I was filming on 16mm reversal Ferrania film using a deep red filter for the night eªect, which means I was using natural light as if it were artificial light. Because there were a lot of tall cypresses in the garden, the light would sometimes be right in a certain area only for ten or fifteen minutes.

Anger: Yes. I love The Four Seasons, and I figured that I would just use one movement, the winter movement, Yes, I always had Vivaldi in mind. ” Anger: That was my working title. But then I realized that “waterworks” often means sewers, so I decided not to use it. “Eaux d’artifice” is a pun I invented. ” So I use e-a-u-x, rather than f-e-u-x: waters of artifice. I wanted to refer back to Fireworks and forward to this new project. The French aren’t oªended by my pun; I’ve asked various people in France, and they’ve all said it’s okay.

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A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5) by Scott MacDonald


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