By Scott MacDonald
It's commonly understood that writing can talk about writing, yet we infrequently give some thought to that movie can be utilized as a way of examining conventions of the industrial movie undefined, or of theorizing approximately cinema normally. over the last few a long time, even though, autonomous cinema has produced a physique of interesting motion pictures that supply in depth opinions of approximately each part of the cinematic gear. The event of those motion pictures concurrently depends upon and redefines our dating to the films. serious Cinema presents a set of in-depth interviews with one of the most comprehensive "critical" filmmakers. those interviews reveal the sophistication in their puzzling over movie (and a variety of different issues) and function an available creation to this crucial region of autonomous cinema. every one interview is preceded by means of a normal advent to the filmmaker's paintings; distinctive filmographies and bibliographies are integrated. severe Cinema should be a invaluable source for all these enthusiastic about the formal learn of movie, and should be crucial studying for movie enthusiasts drawn to conserving 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
MacDonald: I need to rethink my interpretation of the ﬁlm! ] Anger: Carmilla was a wonderful little lady who was patiently willing to work with me through a whole summer. The di‹cult thing about that project was that not only was I working in a place where I couldn’t simply do whatever I wanted, but also I had to work in certain areas of the garden at certain times of day. I was ﬁlming on 16mm reversal Ferrania ﬁlm using a deep red ﬁlter for the night eªect, which means I was using natural light as if it were artiﬁcial light.
Anger: That version was shown at the Brussels World’s Fair in 1958 and at a couple of ﬁlm festivals. That world’s fair in Brussels is where I met Marie Menken; she was there, too, as was Brakhage; they both saw the three-screen Inauguration. At that point, the ﬁrst part of the ﬁlm used a single screen, but for the last twenty minutes—the party sequence, which begins when the characters start putting on masks—the ﬁlm split into three images The two side images were mirror images of each other. I varied that a bit, but quite a lot of it had a kind of mirror eªect, so that one person might be looking toward the center image from one side and another person from the opposite side.
They were showing oª a little bit, or maybe a lot, for the camera. This was a case where the camera changed things, but it changed them in a direction that I wanted. So Scorpio Rising is my take on their lifestyle, not their lifestyle untouched. In fact, some of the men that you see getting dressed for the party in the ﬁlm weren’t even at the party. The blonde who puts on a leather jacket when you hear the song “Blue Velvet” wasn’t even in New York. When I got back to Los Angeles after ﬁlming most of what became Scorpio in Brooklyn and was cutting the ﬁlm, I met this young man, who was a model with the Athletic Model Guild, which was run by a friend of mine named Bob Mizer.
A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald