By Scott MacDonald
This sequel to A serious Cinema bargains a brand new number of interviews with autonomous filmmakers that could be a banquet for movie fanatics and picture historians. Scott MacDonald unearths the subtle contemplating 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 song and movies, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie keep in mind the recent York and California avant-garde movie tradition. the choice has a very robust crew of ladies 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)
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. While Breer's films move so quickly as to continually befuddle us, Snow's films often move so slowly as to challenge our patience.
For Un Miracle (1954) he cartooned with paper cutouts to create a tiny satire of Pope Pius XII. In Image by Images (1956), A Man and His Dog Out for Air (1957), and Inner and Outer Space (1960), the focus is the drawn line and Breer's ability to use it to create a continuous metamorphosis of two-dimensional abstract design and three-dimensional illusionism. To define Breer as an animator, as I have done, is misleading, for beginning with Recreation (1956) and Jamestown Baloos (1957) he began to explore the impact of radically altering the imagery in successive frames in a manner that has more in common with Peter Kubelka's films and theoretical writings than with any area in the history of animation up to that point.
Line Describing a Cone and McCall's other early films were designed for small groups in art gallery contexts (indeed, the Cone films and Long Film for Four Projectors can be understood as "light sculptures"), and his collaborative films were designed as catalysts for small discussion groups in big-city art-ghetto screening spaces, or in academic settings. The volume's final pairing reveals similarities and differences in two filmmakers who have worked toward a "global" approach to filmmaking: Watkins most obviously in the 14 1\2-hour The Journey (1987) and Reggio in a trilogy of films, the first two of whichKoyaanisqatsi (1983) and Powaqqatsi (1988)have been completed.
A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2) by Scott MacDonald