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

By Scott MacDonald

ISBN-10: 0520245954

ISBN-13: 9780520245952

A severe Cinema five is the 5th quantity in Scott MacDonald's severe 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 movies and of the non-public reviews and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the amazing range of contemporary self sustaining cinema and the interactive neighborhood of filmmakers that has devoted itself to generating different types of cinema that critique traditional media.

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Additional info for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)

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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. I knew about Abel Gance and his Napoléon [1927], which used a triptych format. I met Abel Gance, and Nellie Kaplan, who was his assistant; they showed some of their films at the Brussels World’s Fair too. Gance was fascinated with my film and not at all upset; he was pleased that I had picked up on his three-screen idea and used it.

He committed suicide by jumping oª a boat to Cuba. As I wrote in the preface to my friend’s book on celebrity suicide [David K. Frasier, Suicide in the Entertainment Industry: An Encyclopedia Kenneth Anger 43 From Kenneth Anger’s Scorpio Rising (1963). Courtesy David E. James. : McFarland, 2002)], there have been quite a few suicides among people I’ve known. It is odd that I’ve known so many. I’ve recently finished a film tribute—Elliott’s Suicide—to another friend of mine who committed suicide not long ago.

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. Because there were a lot of tall cypresses in the garden, the light would sometimes be right in a certain area only for ten or fifteen minutes.

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A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5) by Scott MacDonald

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