By Scott MacDonald
This sequel to A serious Cinema deals a brand new number of interviews with self reliant filmmakers that may be a ceremonial dinner for movie enthusiasts and movie historians. Scott MacDonald finds the delicate considering 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 tune and flicks, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie remember the recent York and California avant-garde movie tradition. the choice has a very robust workforce of girls filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different amazing artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins.
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Additional resources for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
When I was making the collage films, I was more involved with what I was going to see on the screen at the end, which had more to do with editing and with thinking in terms of that big rectangle up on the wall with people looking at it. I alternated methods. I'd get tired of doing film one way, and the next time I'd do it the other way. I just had a flash about something you said about metamorphosis. Metamorphosis is just a natural thing. In animation you make each frame, and for something not to be dead on the screen, it has to change.
Breer: Right. I could tell from feedback at cine clubs that it was pretty outrageous. MacDonald: Another aspect of Recreation and Jamestown Baloos that seems new to you is a kind of self-reflexivity about filmmaking. Breer: I wrote a manifesto during Jamestown. I thought I was developing a whole new language (I didn't realize at the time how influenced I'd been by Fernand Leger's Ballet Méchanique, ). Anyhow, the manifesto was about painting being fossilized action, whereas film was real action, real kinesis.
But while Breer and Snow critique some of the same viewer assumptions in some of the same general ways, their films are also very different. Nearly all of Breer's films are brief animations of drawings and still photographs. Indeed, Breer is a central figure in the tradition of experimental animation, which has functioned as an alternative to the commercial cartoon and its replication of the live-action commercial cinema. With the exception of his first film, Snow has made live-action films, some of them very long.