By Scott MacDonald
This sequel to A severe Cinema deals a brand new selection of interviews with self reliant filmmakers that could be a banquet for movie enthusiasts and movie historians. Scott MacDonald finds the delicate taking into consideration those artists concerning 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 flicks, 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 team of ladies filmmakers, together with Yvonne Rainer, Laura Mulvey, and Lizzie Borden. different remarkable 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)
Breer: There's another thing too, that has to do with trajectory, with cutting on motion.
15, no. 2 (Summer 1989), pp. , c/o Women's Studies Program, University of Maryland, College Park, MD, 20742. Journal of Film and Video (Journal of the University Film Associa- Page x tion), for "Interview with Peter Watkins," vol. 34, no. 3 (Summer 1982), pp. 4755. October, for "Interview with Jonas Mekas," no. 29 (Summer 1984), pp. 82116. The Velvet Light Trap, for "But First a Little Ru Ru: An Interview with Robert BreerRecent Films," no. 24 (Fall 1989), pp. 7584. The Velvet Light Trap is published by the University of Texas Press.
In Line Describing a Cone (1973) and his other "Cone films," as well as in Long Film for Four Projectors (1974) and Four Projected Movements (1975), McCall focuses the moviegoer's attention on the projector beam (the movie projector is located in the room during these films) for relatively long periodsLine Describing a Cone lasts thirty minutes; Long Film for Four Projectors, six hoursas a means of calling attention to the cinema environment and its sociopolitical implications: what does it mean that nearly all of our public film viewing involves our sitting in rigid rows of chairs looking up at the shadow products of an apparatus kept out of the view, and control, of the audience?