By Scott MacDonald
It's extensively understood that writing can talk about writing, yet we not often give some thought to that movie can be utilized as a way of reading conventions of the economic movie undefined, or of theorizing approximately cinema usually. during the last few many years, even though, self reliant cinema has produced a physique of interesting motion pictures that supply in depth evaluations of approximately each section of the cinematic equipment. The event of those movies concurrently depends upon and redefines our dating to the films. severe Cinema presents a set of in-depth interviews with essentially the most entire "critical" filmmakers. those interviews show the sophistication in their puzzling over movie (and a variety of different matters) and function an obtainable advent to this significant region of autonomous cinema. each one interview is preceded by means of a normal advent to the filmmaker's paintings; specific filmographies and bibliographies are incorporated. severe Cinema might be a worthy source for all these fascinated with the formal research of movie, and may be crucial analyzing for movie fanatics attracted to protecting abreast of contemporary advancements in North American cinema. INTERVIEWEES: Hollis Frampton, Larry Gottheim, Robert Huot, Taka Iimura, Carolee Schneeman, Tom Chomont, J.J. Murphy, Beth B and Scott B, John Waters, Vivienne Dick, Bruce Conner, Robert Nelson, Babette Mangolte, George Kuchar, Diana Barrie, Manuel DeLanda, Morgan Fisher.
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Extra resources for A Critical Cinema: Interviews with Independent Filmmakers
James. : McFarland, 2002)], there have been quite a few suicides among people I’ve known. It is odd that I’ve known so many. I’ve recently ﬁnished a ﬁlm tribute—Elliott’s Suicide—to another friend of mine who committed suicide not long ago. He was a songwriter and singer named Elliott Smith. He’s on the Dreamworks label. He killed himself last October. He was thirty-four and had had a ﬁght with his girlfriend and stabbed himself in the chest with a steak knife in his girlfriend’s kitchen, which was so stupid—but people do stupid things.
You start with this one character, Lord Shiva, who seems, ﬁrst, to split into, or to see within himself, two characters—Kali and the Great Beast—and then to keep opening out into more and more ﬁgures. I don’t think of Inauguration as a narrative but as a ritual that allows the complex multiplicity of the central ﬁgure’s psyche—and, in a sense, everyone’s psyche—to be revealed. Anger: And that’s all quite deliberate. The ﬁlm is based on a musical form—theme and variation. MacDonald: Did the three-screen version have the Janácek sound track?
Anger: Well, Scorpio Rising isn’t a cautionary tale. I’m not trying to say, “Don’t do this because you’ll end up a Nazi,” but I did ﬁnd an element of swagger and bullying in this culture. Actually the particular guys I knew weren’t threatening, at least to me, and I became quite good friends with some of them—they accepted me as some sort of camera nut, and they saw me accepting them as bike nuts—but there often is a rebellious dimension in biker groups that makes some bikers deﬁantly enjoy doing things that might scare other people—like sporting swastikas.
A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald