By Scott MacDonald
This sequel to A severe Cinema bargains a brand new selection of interviews with self reliant filmmakers that could be a dinner party for movie fanatics and picture historians. Scott MacDonald finds the delicate taking into consideration those artists relating to 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 track and movies, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie remember the recent York and California avant-garde movie tradition. the choice has a very powerful staff of girls 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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Extra info for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)
I walked to the kiosk in Montparnasse and bought a Paris Match. In this Paris Match there was an essay on Pope Pius XII, with a lot of photographs. My vision was that this film would go from live action into animation or vice versa, and back again. The idea was just as general as that. But after buying the Paris Match, I saw the possibility of doing a number on Pope Pius. My anti-Catholicism was pretty fervent in those days. Pius XII was accused of reneging on allowing Jews to escape from Germany and was generally very aloof and removedpious in the worst sense.
Was there a specific incident involving Pope Pius XII that caused you to do Un Miracle? Breer: It must have been inspired by something I saw, but I'll be damned if I know what. I had had this vision of doing a film based on The Metamorphosis, the Kafka story where the main character changes into an insect. I wasn't interested in illustrating Kafka, but in using the notion of metamorphosis. I had my camera set up in Montparnasse. It was Sunday, I remember, and I was going to shoot film. I walked to the kiosk in Montparnasse and bought a Paris Match.
His films are sensual but avoid the erotic, and in recent years they have celebrated the joys of the conventional nuclear family. Baillie's filmmaking began when he moved to San Francisco and often reflects the Eastern influences that were so pervasive on the West Coast during the sixties. While he too developed a hand-held personal style, its tendency has always been toward the meditative. Indeed, with Yoko Ono, he was probably the first modern filmmaker to explore the potential of the single-shot film, in All My Life (1966) and Still Life (1966).