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Editorial Reviews
From Library Journal
With its antecedents, A Critical Cinema (Univ. of California, 1988) and A Critical Cinema 2 (Univ. of California, 1992), this book gives a detailed look at independent filmmaking. The filmmakers in these volumes strive to create new kinds of imagery, narratives, and audiences that challenge Hollywood norms. Here, MacDonald (film studies and American literature, Utica Coll.) expands the geopolitical range of the previous volumes, treating independent filmmaking as an international and multiethnic undertaking. Interviews with filmmakers from such countries as Armenia (Arthur Peleshian), Austria (Valie Export, Martin Arnold), India (Mani Kaul), and the Philippines (Nick Deocampo) are supplemented by a concise, informative overview of each filmmaker, together with film/videographies and selected bibliographies. British filmmaker Sally Potter (Orlando) is singled out for extensive attention. As with its predecessors, this volume belongs in all undergraduate and research libraries that support film studies.?Neal Baker, Ball State Univ. Lib., Muncie, Ind.
Copyright 1998 Reed Business Information, Inc.
Product Description
A Critical Cinema 3 continues Scott MacDonald's compilation of personal interviews and public discussions with major contributors to independent filmmaking and film awareness. An informative exchange with Amos Vogel, whose Cinema 16 Society drew American filmgoers into a broader sense of film history, is followed by interviews reflecting a wide range of approaches to filmmaking. Sally Potter discusses her popular feature, Orlando, in relation to the experimental work that preceded it, and Canadian independent John Porter argues compellingly for small-gauge, Super-8mm filmmaking. Ken Jacobs discusses the "Nervous System" apparatus with which he transforms old film footage into new forms of motion picture art; Jordan Belson describes his Vortex Concerts, ancestors of modern laser light shows; and Elias Merhige talks about going beneath the "rational structure of meaning" in Begotten. A Critical Cinema 3 presents independent cinema as an international and multiethnic phenomenon. MacDonald interviews filmmakers from Sweden, France, Italy, Austria, Armenia, India, the Philippines, and Japan and examines the work of African Americans, European Americans, Asian Americans, and Hispanics. He provides an introductory overview of each interviewee, as well as detailed film/videographies and selected bibliographies. With its predecessors, A Critical Cinema (California, 1988) and A Critical Cinema 2 (California, 1992), this is the most extensive, in-depth exploration of independent cinema available in English.
See all Editorial Reviews
With its antecedents, A Critical Cinema (Univ. of California, 1988) and A Critical Cinema 2 (Univ. of California, 1992), this book gives a detailed look at independent filmmaking. The filmmakers in these volumes strive to create new kinds of imagery, narratives, and audiences that challenge Hollywood norms. Here, MacDonald (film studies and American literature, Utica Coll.) expands the geopolitical range of the previous volumes, treating independent filmmaking as an international and multiethnic undertaking. Interviews with filmmakers from such countries as Armenia (Arthur Peleshian), Austria (Valie Export, Martin Arnold), India (Mani Kaul), and the Philippines (Nick Deocampo) are supplemented by a concise, informative overview of each filmmaker, together with film/videographies and selected bibliographies. British filmmaker Sally Potter (Orlando) is singled out for extensive attention. As with its predecessors, this volume belongs in all undergraduate and research libraries that support film studies.?Neal Baker, Ball State Univ. Lib., Muncie, Ind.
Copyright 1998 Reed Business Information, Inc.
Product Description
A Critical Cinema 3 continues Scott MacDonald's compilation of personal interviews and public discussions with major contributors to independent filmmaking and film awareness. An informative exchange with Amos Vogel, whose Cinema 16 Society drew American filmgoers into a broader sense of film history, is followed by interviews reflecting a wide range of approaches to filmmaking. Sally Potter discusses her popular feature, Orlando, in relation to the experimental work that preceded it, and Canadian independent John Porter argues compellingly for small-gauge, Super-8mm filmmaking. Ken Jacobs discusses the "Nervous System" apparatus with which he transforms old film footage into new forms of motion picture art; Jordan Belson describes his Vortex Concerts, ancestors of modern laser light shows; and Elias Merhige talks about going beneath the "rational structure of meaning" in Begotten. A Critical Cinema 3 presents independent cinema as an international and multiethnic phenomenon. MacDonald interviews filmmakers from Sweden, France, Italy, Austria, Armenia, India, the Philippines, and Japan and examines the work of African Americans, European Americans, Asian Americans, and Hispanics. He provides an introductory overview of each interviewee, as well as detailed film/videographies and selected bibliographies. With its predecessors, A Critical Cinema (California, 1988) and A Critical Cinema 2 (California, 1992), this is the most extensive, in-depth exploration of independent cinema available in English.
See all Editorial Reviews
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First Sentence:
Amos Vogel is the only non-filmmaker I have included in the Critical Cinema project. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
recycled cinema, distance montage, condensed rituals, critical cinema, expanded cinema, video synthesizer, avantgarde film, star projector, conventional cinema, optical printer, film workshop, film imagery, subversive art, alternative cinema, culture jamming, footage film, underground film, personal film, experimental film, filmmaking career Key Phrases - Capitalized Phrases (CAPs): (learn more)
Ken Jacobs, New York, Flo Jacobs, San Francisco, The Gold Diggers, United States, Take One, Invisible Adversaries, Killer of Sheep, Ricci Lucchi, Mississippi Triangle, Miyuki Takeda, Vincent Chin, Extreme Private Eros, Star Spangled, The Angel, Jack Smith, Third World, Piper's Son, Flaherty Seminar, Sonic Outlaws, Day's Bread, Jonas Mekas, Los Angeles, Rue des Teinturiers New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Amos Vogel is the only non-filmmaker I have included in the Critical Cinema project. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
recycled cinema, distance montage, condensed rituals, critical cinema, expanded cinema, video synthesizer, avantgarde film, star projector, conventional cinema, optical printer, film workshop, film imagery, subversive art, alternative cinema, culture jamming, footage film, underground film, personal film, experimental film, filmmaking career Key Phrases - Capitalized Phrases (CAPs): (learn more)
Ken Jacobs, New York, Flo Jacobs, San Francisco, The Gold Diggers, United States, Take One, Invisible Adversaries, Killer of Sheep, Ricci Lucchi, Mississippi Triangle, Miyuki Takeda, Vincent Chin, Extreme Private Eros, Star Spangled, The Angel, Jack Smith, Third World, Piper's Son, Flaherty Seminar, Sonic Outlaws, Day's Bread, Jonas Mekas, Los Angeles, Rue des Teinturiers New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 41
books:
See all 41 books this book cites
6
books
cite this book:
See all 6 books citing this book
- Art in Cinema: A Symposium of Avant-Garde Film by Frank Stauffacher on 4 pages
- Redefining Black Film by Mark A. Reid in Back Matter (1), Back Matter (2), and Back Matter (3)
- Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film by William C. Wees on page 66, Back Matter (1), and Back Matter (2)
- Avant-Garde Film: Motion Studies (Cambridge Film Classics) by Scott MacDonald in Back Matter (1), Back Matter (2), and Back Matter (3)
- Daughters of the Dust: A Novel by Julie Dash on page 123, page 300, and Index
See all 41 books this book cites
- The Garden in the Machine: A Field Guide to Independent Films about Place by Scott MacDonald on 7 pages
- Visionary Film: The American Avant-Garde, 1943-2000 by P. Adams Sitney in Back Matter
- Visionary Film: The American Avant-Garde, 1943-2000 by P. Adams Sitney in Back Matter
- Film: An Introduction (2nd Edition) by William H. Phillips on page 352
- An Accented Cinema : Exilic and Diasporic Filmmaking by Hamid Naficy in Back Matter
See all 6 books citing this book
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