By Scott MacDonald
It's broadly understood that writing can talk about writing, yet we not often examine that movie can be utilized as a way of examining conventions of the industrial movie undefined, or of theorizing approximately cinema in most cases. during the last few many years, in spite of the fact that, self sustaining cinema has produced a physique of interesting motion pictures that supply extensive opinions of approximately each section of the cinematic equipment. The event of those motion pictures concurrently depends upon and redefines our courting to the flicks. severe Cinema presents a set of in-depth interviews with one of the most finished "critical" filmmakers. those interviews display the sophistication in their puzzling over movie (and a variety of different issues) and function an available advent to this significant region of autonomous cinema. every one interview is preceded by means of a normal creation to the filmmaker's paintings; certain filmographies and bibliographies are incorporated. severe Cinema could be a invaluable source for all these taken with the formal examine of movie, and may be crucial examining for movie enthusiasts attracted to conserving abreast of contemporary 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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Additional resources for A Critical Cinema: Interviews with Independent Filmmakers
James. ent costumes; he would appear in one costume, then disappear and reappear in another. So I based the ﬁlm on his personality; he’s the main character, sort of the master of ceremonies of this event (which, by the way, was ﬁlmed in his house). MacDonald: In his ﬁlmography Haller lists The Story of O . What can you tell me about that project? Anger: When I was living in France, my publisher was Jean-Jacques Pauvert. He brought out the original edition of Hollywood Babylon, which I wrote in French, before it came out in English.
Kinsey, and later I went downtown to the Biltmore Hotel, where he was staying, to do the famous Kin- Kenneth Anger 23 sey interview. My statistics are part of Sexual Behavior in the Human Male, which came out in 1948. MacDonald: Did Fireworks have censorship trouble? Anger: No, because it was shown in so few places, and in a very discreet way. And when it was made available for rental, I had no particular problem: I assumed that the fact that it came back in one piece meant that the showing had gone well, wherever it was shown.
But I was able to get the ﬁlm shot. MacDonald: How did Carmello Salvatorelli get into the project? Anger: Ah, yes, she was a little midget I had met socially through Fellini in Rome, and of course . . MacDonald: You said “she”; it’s a “he,” right? Anger: No, it’s a lady. MacDonald: It’s not a man in drag? Anger: Absolutely no. No, no, no. Why would you think that? MacDonald: It’s spelled “Carmello” in the program note P. Adams Sitney reproduces in Visionary Film [New York: Oxford University Press, 1974, 2002], and in the ﬁlmography of Moonchild, edited by Jack Hunter [New York: Creation Books, 2002].