By Scott MacDonald
It really is greatly understood that writing can speak about writing, yet we infrequently contemplate that movie can be utilized as a way of studying conventions of the industrial movie undefined, or of theorizing approximately cinema more often than not. during the last few a long time, although, autonomous cinema has produced a physique of interesting movies that supply extensive reviews of approximately each section of the cinematic gear. The event of those movies at the same time is determined by and redefines our dating to the flicks. severe Cinema offers a suite of in-depth interviews with probably the most comprehensive "critical" filmmakers. those interviews reveal the sophistication in their puzzling over movie (and quite a lot of different matters) and function an obtainable advent to this significant region of autonomous cinema. every one interview is preceded by way of a common creation to the filmmaker's paintings; specific filmographies and bibliographies are incorporated. severe Cinema may be a beneficial source for all these focused on the formal examine of movie, and may be crucial interpreting for movie enthusiasts attracted to maintaining abreast of modern 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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I looked at the package more carefully and realized that it was addressed to the same street address, but to a diªerent street. ” And that’s how I got Last Journey to Jerusalem . I thought of it as the gods acting up, doing a little prank, doing me a favor. The ﬁlm was perfect for my purposes. I immediately saw the parallel between the disciples following Jesus and the “disciples” in the motorcycle gang following some idea. And I saw that in both cases, this kind of following could lead into dangerous territory, as it did for the Hell’s Angels, who started out just as guys who had been vets in World War II, a little wild, but not dangerous; but later morphed into something else, drifted into drug dealing, and gained quite a negative reputation.
I combined that Japanese mythology of the Rabbit in the Moon with the European commedia dell’arte tradition of mime theater, which involved basically three characters. There’s Pierrot, the white clown—a lunar spirit who dates back to the Middle Ages—who is unhappy, but it’s OK to make fun of him. He’s quite a poetic ﬁgure, and he has two passions: he has a longing for the moon—the phrase “reaching for the moon” refers to something you want but can never have—and he’s infatuated with Columbine, who’s a tease.
Anger: No, it’s Carmilla, as in J. ” MacDonald: I need to rethink my interpretation of the ﬁlm! ] Anger: Carmilla was a wonderful little lady who was patiently willing to work with me through a whole summer. 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.