Download e-book for iPad: A Critical Cinema 5: Interviews with Independent Filmmakers by Scott MacDonald

By Scott MacDonald

A severe Cinema five is the 5th quantity in Scott MacDonald's severe Cinema sequence, the main large, in-depth exploration of self sufficient cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in particular discussions in their movies and of the non-public reports and political and theoretical currents that experience formed their paintings. The interviews are prepared to precise the striking range of contemporary self sustaining cinema and the interactive neighborhood of filmmakers that has devoted itself to generating sorts of cinema that critique traditional media.

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A Critical Cinema 5: Interviews with Independent Filmmakers by Scott MacDonald PDF

A severe Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main large, in-depth exploration of autonomous cinema to be had in English. during this new set of interviews, MacDonald engages filmmakers in unique discussions in their motion pictures and of the private reviews and political and theoretical currents that experience formed their paintings.

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Extra info for A Critical Cinema 5: Interviews with Independent Filmmakers

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The film is based on a musical form—theme and variation. MacDonald: Did the three-screen version have the Janácek sound track? When I was first seeing Inauguration, it had an Electric Light Orchestra sound track . . Anger: For a short while, yes—another experiment. MacDonald: The diªerent sound tracks tend to create diªerent experiences of the film, with diªerent emphases. Juxtaposed with the ELO sound track, the elegance and extravagance of your imagery moved to the foreground; but with the Janácek, the humor of the visuals becomes the foreground—at least for me.

He was considering calling the FBI, as if Fireworks were some subversive thing. ” MacDonald: I think what strikes those of us who see it as courageous is that it’s the first film, at least the first I’m aware of, where a man openly, clearly expresses a desire for other men. I grew up in that postwar period— I’m a little younger than you are, but I remember the era—and there was so much repression . . Kenneth Anger 21 Anger: As I said, it’s just something I wanted to do, and I did it. I suppose in retrospect you can put a badge of courage on it, but I don’t necessarily choose to think of it that way—though I suppose it was reckless.

And I was fortunate to have actors from the Parisian mime school (later it became the Kenneth Anger 27 Marcel Marceau School), who were trained in pantomime and were happy to work with me. MacDonald: You mentioned that you only had stock for a limited number of takes. But the film looks very carefully choreographed. Did you spend a lot of time rehearsing? Anger: They were professionals, thoroughly schooled in what they were doing. I explained that I wanted an imaginary tightrope walk, imaginary juggling; they had done things like that, so they knew what to do.

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