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

By Scott MacDonald

A serious Cinema five is the 5th quantity in Scott MacDonald's serious Cinema sequence, the main broad, in-depth exploration of self reliant cinema to be had in English. during this new set of interviews, MacDonald engages filmmakers in distinctive discussions in their motion pictures and of the private stories and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the notable variety of contemporary self reliant cinema and the interactive neighborhood of filmmakers that has devoted itself to generating sorts of cinema that critique traditional media.

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

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Their monopoly broke up in the sixties, and then there were independent labs that could develop Kodachrome and were willing to print nude imagery. MacDonald: I think for me Inauguration of the Pleasure Dome is your most remarkable film. P. Adams Sitney talks about an early three-screen version of that film. Does that version still exist? Anger: That version was shown at the Brussels World’s Fair in 1958 and at a couple of film festivals. That world’s fair in Brussels is where I met Marie Menken; she was there, too, as was Brakhage; they both saw the three-screen Inauguration.

If I had been able to film their fights, I would have had quite a film because they did the most extraordinary things. Sometimes when they were both quite drunk, they would get up on this parapet overlooking the skyline of lower Manhattan and the river. It was a fifteen-story drop down to the sidewalk, and they’d be up on the parapet pushing each other; they both knew how to step back and not fall oª, but a slight miscalculation and one or both would have gone over that ledge. It was scary, but also entertaining.

MacDonald: I understand that at some point you and Curtis Harrington had a small distribution eªort. Anger: Yes, it was called Creative Film Associates. It was basically just Curtis and me, though we involved a few other people, like the Whitney brothers and Jordan Belson, who donated prints. We made these prints available for rental and sent out brochures. Creative Film Associates lasted about a year and a half. The prints were rented by colleges and film societies. MacDonald: Was there a demand?

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