By Scott MacDonald
It's commonly understood that writing can speak about writing, yet we infrequently think of that movie can be utilized as a way of reading conventions of the industrial movie undefined, or of theorizing approximately cinema normally. over the last few a long time, even if, self sufficient cinema has produced a physique of attention-grabbing movies that supply extensive evaluations of approximately each portion of the cinematic equipment. The adventure of those motion pictures concurrently relies on and redefines our courting to the flicks. severe Cinema offers a suite of in-depth interviews with the most finished "critical" filmmakers. those interviews show the sophistication in their brooding about movie (and quite a lot of different matters) and function an available creation to this crucial quarter of autonomous cinema. each one interview is preceded by means of a basic creation to the filmmaker's paintings; exact filmographies and bibliographies are incorporated. serious Cinema might be a worthy source for all these inquisitive about the formal learn of movie, and should be crucial examining for movie fanatics attracted to conserving 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
I was very grateful for that. 30 A Critical Cinema 5 Carmilla is a mysterious ﬁgure in an eighteenth-century costume, wearing a mask, who you never see in close-up; she’s always seen at a distance. I knew I wanted a small person, because when I was ﬁrst studying the gardens, I compared them to Piranesi’s etchings of the same gardens in the eighteenth century. Piranesi also did etchings of the ruins of Rome and other famous old buildings, and when he wanted to give the viewer a sense of scale, he would use very small people, to make the ruins or the fountains or the monuments seem bigger.
MacDonald: You were making ﬁlms very young, and by the time of Es- 20 A Critical Cinema 5 cape Episode you had a body of work. It’s surprising to me that you got so much work done so young. Anger: Well, they were all short ﬁlms. The longest, Escape Episode, was a half hour, but most of them were ﬁve or ten minutes. Fireworks was ﬁfteen. MacDonald: You told Robert Haller that it was no great loss that most of those early ﬁlms no longer exist. Anger: I don’t remember saying that! MacDonald: How did those ﬁlms get lost?
I went to Beverly Hills High School and took French. I was motivated and got As. I’m sure I had an American accent, but I knew my basic grammar, and I could speak French and I certainly could hear it. At the time, we had a theater here in LA, called the Esquire, which specialized in foreign ﬁlms with subtitles. There was always an audience for European ﬁlm in Hollywood, especially French ﬁlms. I would go to these French ﬁlms, which included Cocteau—as I remember, they had Blood of a Poet  and ﬁlms made in France during the occupation and afterward, like The Eternal Return [1943, directed by Jean Delannoy] and Un Carnet de bal , a beautiful ﬁlm by Julien Duvuvier, which was very popular.
A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald