By Scott MacDonald
It really is broadly understood that writing can talk about writing, yet we hardly ever ponder that movie can be utilized as a method of examining conventions of the economic movie undefined, or of theorizing approximately cinema quite often. over the last few a long time, in spite of the fact that, autonomous cinema has produced a physique of attention-grabbing motion pictures that supply extensive evaluations of approximately each component to the cinematic equipment. The event of those movies concurrently is determined by and redefines our courting to the flicks. serious Cinema presents a suite of in-depth interviews with one of the most complete "critical" filmmakers. those interviews display the sophistication in their wondering movie (and quite a lot of different issues) and function an obtainable advent to this significant sector of self sustaining cinema. every one interview is preceded by means of a basic advent to the filmmaker's paintings; specific filmographies and bibliographies are incorporated. serious Cinema should be a priceless source for all these fascinated about the formal learn of movie, and may be crucial analyzing for movie fanatics attracted to retaining 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 info for A Critical Cinema: Interviews with Independent Filmmakers
I’m sure I had an American accent, but I knew my basic grammar, and I could speak French and I certainly could hear it. At the time, we had a theater here in LA, called the Esquire, which specialized in foreign ﬁlms with subtitles. There was always an audience for European ﬁlm in Hollywood, especially French ﬁlms. I would go to these French ﬁlms, which included Cocteau—as I remember, they had Blood of a Poet  and ﬁlms made in France during the occupation and afterward, like The Eternal Return [1943, directed by Jean Delannoy] and Un Carnet de bal , a beautiful ﬁlm by Julien Duvuvier, which was very popular.
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. At that time Jean-Jacques was the publisher of a rather notorious novel, Histoire d’O, by Pauline Reage. It was an erotic novel; I guess you could call it a sadomasochistic fairytale because it’s absolutely a fantasy, nothing that could actually happen in real life. I met the author, whose real name is Dominique Aury, and she gave me permission to ﬁlm the book, and I began work on a black-and-white, silent ﬁlm.
Fortunately, I was oªered a job by Henri Langlois, the head of the Cinémathèque Française. MacDonald: How did the job come about? Anger: Henri had a reception for me in Paris and showed Fireworks. He had invited Jean Genet and Cocteau. And he decided to hire me to be his assistant at the Cinémathèque Française. “Hire me” should be in quotes, because I wasn’t paid but was housed and fed (of course, Langlois loved eating in the best restaurants, so I ate very well—the beginning of a lifetime of aªection for French cuisine).
A Critical Cinema: Interviews with Independent Filmmakers by Scott MacDonald