By Scott MacDonald
It truly is largely understood that writing can talk about writing, yet we not often contemplate that movie can be utilized as a way of studying conventions of the industrial movie undefined, or of theorizing approximately cinema commonly. during the last few many years, besides the fact that, self sustaining cinema has produced a physique of attention-grabbing movies that offer in depth evaluations of approximately each component to the cinematic equipment. The adventure of those motion pictures at the same time will depend on and redefines our courting to the flicks. serious Cinema offers a set of in-depth interviews with essentially the most entire "critical" filmmakers. those interviews display the sophistication in their puzzling over movie (and a variety of different issues) and function an obtainable advent to this significant quarter of autonomous cinema. each one interview is preceded through a normal advent to the filmmaker's paintings; specific filmographies and bibliographies are incorporated. severe Cinema can be a worthwhile source for all these concerned with the formal research of movie, and should be crucial interpreting for movie enthusiasts attracted to protecting 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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Additional resources for A Critical Cinema: Interviews with Independent Filmmakers
We made these prints available for rental and sent out brochures. Creative Film Associates lasted about a year and a half. The prints were rented by colleges and ﬁlm societies. MacDonald: Was there a demand? Did it work as a small business? Anger: On a very small scale, yes. I gave it up when I moved to Europe in 1950, and Curtis didn’t express any interest in continuing it on his own. MacDonald: I’ve heard that there was even a phantom secretary. Anger: Yes. Curtis and I thought her up. Her name was Violet Parks.
MacDonald: You said “she”; it’s a “he,” right? Anger: No, it’s a lady. MacDonald: It’s not a man in drag? Anger: Absolutely no. No, no, no. Why would you think that? MacDonald: It’s spelled “Carmello” in the program note P. Adams Sitney reproduces in Visionary Film [New York: Oxford University Press, 1974, 2002], and in the ﬁlmography of Moonchild, edited by Jack Hunter [New York: Creation Books, 2002]. I saw the spelling and assumed it was a man. Anger: No, it’s Carmilla, as in J. ” MacDonald: I need to rethink my interpretation of the ﬁlm!
MacDonald: You’ve obviously spent a lot of time studying world mythologies. When you were making Inauguration of the Pleasure Dome, how fully did you assume the audience would make particular identiﬁcations? I ask the question on two diªerent levels. Anaïs Nin plays Astarte. I’ve always assumed that you assumed a substantial portion of the audience would recognize not just the mythological role Nin plays but that it’s her playing this role. Nin herself was/is something of a mythical ﬁgure. To what extent did you think about the audience’s awareness, or lack of awareness, about the history of mythologies when you were making the ﬁlm?
A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald