By Scott MacDonald
This sequel to A serious Cinema deals a brand new selection of interviews with autonomous filmmakers that could be a ceremonial dinner for movie fanatics and picture historians. Scott MacDonald finds the delicate 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 tune and flicks, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie keep in mind the hot York and California avant-garde movie tradition. the choice has a very powerful workforce of girls filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different outstanding 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)
It seemed to me then that he photographed everything before he reacted and could only react after he'd developed his pictures. That was counter to my feeling of how life should be experienced. I didn't like the idea of the lens between me and what I was looking at. 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.
In Volume 2 the arrangement of the interviews has nothing to do with the order in which they were conducted. Rather, the volume is organized so as to suggest general historical dimensions of the film careers explored in the interviews and to highlight the potential of the work of individual independent filmmakers not only to critique the conventional cinema but to function within an ongoing discourse with the work of other critical filmmakers. Page 5 The audience investigates the projector beam during McCall's Line Describing a Cone (1973).
By the mid sixties Breer was moving away from collage and back toward abstraction in 66 (1966), 69 (1968), 70 (1970), and 77 (1977). Not only is 69 the most impressive of these (among other things it creates a remarkably subtle palette of shimmering color); its paradoxical structure enacts a procedure which seems basic to much of Breer's work. 69 begins as a rigorously formal work: a series of perspectival geometric shapes move through the image again and again, each time with slight color, texture, and design variations.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald