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

By Scott MacDonald

A serious Cinema five is the 5th quantity in Scott MacDonald's severe Cinema sequence, the main large, in-depth exploration of autonomous cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in precise discussions in their motion pictures and of the non-public stories and political and theoretical currents that experience formed their paintings. The interviews are prepared to specific the awesome range of recent self sustaining cinema and the interactive neighborhood of filmmakers that has devoted itself to generating sorts of cinema that critique traditional media.

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Some of them actually rode in the race; the others just went up there to hang out. I rode on the back of one of the riders’ bikes with my camera. During the race, there was that accident; one of the bikes flipped over and crashed right in front of my camera. I incorporated that, as the final image. But it’s not Scorpio. The man you see in the flashing red light—Jim Powers—was a biker who was killed later, but not in front of my camera, though that is the implication I’m making. As a hobby, motorcycle racing is quite dangerous, and I think that’s the appeal: the bikers all think they’re immortal.

MacDonald: It has a great sense of humor, a whistling-in-the-dark kind of humor, which still works wonderfully. Anger: Yes. Thank you. If you don’t catch the humor of the film, you really miss the point. MacDonald: A general question: You’re regularly cited, along with Jack Smith and Jean Genet, as one of the fathers of what’s now called Queer Cinema. I wonder how you feel about being thought of that way. Anger: I consider myself an individual artist, and I don’t like being put in a cubbyhole. There’s nothing I’ve ever hidden; I’ve always been very upfront about myself.

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.

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