By Scott MacDonald
A severe Cinema five is the 5th quantity in Scott MacDonald's severe Cinema sequence, the main large, in-depth exploration of self sufficient cinema on hand in English. during this new set of interviews, MacDonald engages filmmakers in targeted 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 precise the awesome variety of contemporary self reliant cinema and the interactive group of filmmakers that has devoted itself to generating varieties of cinema that critique traditional media.
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Additional info for A Critical Cinema 5: Interviews with Independent Filmmakers (No. 5)
He said yes. So I went ahead and used his music with my imagery—but his piece was ﬁve minutes too long for the picture. I saw a little section that I thought could be trimmed out of the music, so that it would ﬁt exactly with my imagery, and I went ahead and trimmed that section. When I showed the test print to Harry, he was furious. He said, “You can’t cut my music! ” And he asked me to destroy the print, which I did. Looking at that version of my imagery with Partch’s music made for a very diªerent experience.
MacDonald: What do you remember about the LA independent ﬁlm scene in the forties, and how did you get involved? Anger: I got involved after I had made some ﬁlms that I wanted to show in public. I think the ﬁrst ﬁlm I showed publicly was Escape Episode in 1946, the year before I made Fireworks, and then I showed Fireworks at the Coronet Film Society at the Coronet Theater—it was a new theater at the time— on La Cienega here in LA. Later I took Escape Episode to San Francisco, where there was already a small group of ﬁlmmakers—Frank Stauªacher, James Broughton, Jordan Belson—beginning to show independent work at the Art in Cinema Film Society at the San Francisco Museum of Art.
Many diªerent cultures have had ritual sacriﬁces, but I was thinking speciﬁcally of Aztec rituals. The ﬁlm involved Lacy climbing to the top of a mountain and sacriﬁcing himself to the sun. During the ﬁlm he was nude. He had a beautiful body, and I was just using him as a nude ﬁgure, which has a long tradition in art, and has nothing to do with pornography. I ﬁlmed The Love That Whirls on Kodachrome, and at that time, to get 16mm Kodachrome developed, you had to send it to Rochester, New York. When I sent the ﬁlm to Kodak, they conﬁscated it because of the nudity, and I never got it back.