By Scott MacDonald
It's largely understood that writing can speak about writing, yet we hardly think about that movie can be utilized as a way of examining conventions of the industrial movie undefined, or of theorizing approximately cinema generally. during the last few many years, besides the fact that, self sufficient cinema has produced a physique of attention-grabbing motion pictures that supply extensive reviews of approximately each portion of the cinematic equipment. The adventure of those movies at the same time relies on and redefines our dating to the films. severe Cinema presents a set of in-depth interviews with the most complete "critical" filmmakers. those interviews display the sophistication in their puzzling over movie (and a variety of different issues) and function an available advent to this crucial quarter of self sufficient cinema. every one interview is preceded by way of a basic creation to the filmmaker's paintings; special filmographies and bibliographies are incorporated. serious Cinema could be a worthwhile source for all these serious about the formal learn of movie, and should be crucial interpreting for movie fans drawn to maintaining abreast of modern 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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Additional info for A Critical Cinema: Interviews with Independent Filmmakers
Fortunately, I was oªered a job by Henri Langlois, the head of the Cinémathèque Française. MacDonald: How did the job come about? Anger: Henri had a reception for me in Paris and showed Fireworks. He had invited Jean Genet and Cocteau. And he decided to hire me to be his assistant at the Cinémathèque Française. “Hire me” should be in quotes, because I wasn’t paid but was housed and fed (of course, Langlois loved eating in the best restaurants, so I ate very well—the beginning of a lifetime of aªection for French cuisine).
I suppose in retrospect you can put a badge of courage on it, but I don’t necessarily choose to think of it that way—though I suppose it was reckless. MacDonald: It has a great sense of humor, a whistling-in-the-dark kind of humor, which still works wonderfully. Anger: Yes. Thank you. If you don’t catch the humor of the ﬁlm, you really miss the point. MacDonald: A general question: You’re regularly cited, along with Jack Smith and Jean Genet, as one of the fathers of what’s now called Queer Cinema.
MacDonald: The diªerent sound tracks tend to create diªerent experiences of the ﬁlm, with diªerent emphases. Juxtaposed with the ELO sound track, the elegance and extravagance of your imagery moved to the foreground; but with the Janácek, the humor of the visuals becomes the foreground—at least for me. Anger: All along, I was experimenting with various tracks, some of which I never recorded. I had always known about Leo Janácek’s Slavonic Mass, and I had that in mind even when I was ﬁlming the imagery.
A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald