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Su Friedrich (b. 1954) has been described as an autobiographical filmmaker, an experimental filmmaker, a documentary filmmaker, an independent filmmaker, a feminist filmmaker, and a lesbian filmmaker—labels that she sprucely dodges, insisting time and again she is, quite simply, a filmmaker. Nevertheless, the influences of the experimental film culture and of the feminist and lesbian political ethos out of which she emerged resonate across her films to the present day. Su Friedrich: Interviews is the first volume dedicated exclusively to Friedrich and her work. The interviews collected here highlight the historical, theoretical, political, and economic dimensions through which Friedrich’s films gain their unique and defiantly ambiguous identity. The collection seeks to give a comprehensive view of Friedrich’s diverse body of work, the conditions in which her films were made, and how they have circulated and become understood within different contexts. The volume contains fifteen interviews—two previously unpublished—along with three autobiographical writings by Friedrich. Included are canonical early interviews, but a special focus is given to interviews that address her less-studied film production in the twenty-first century. Echoing across these various pieces is Friedrich’s charmingly sardonic and defiant personality, familiar from her films. Her occasional resistance to an interviewer’s line of questioning opens up other, unexpected lines of inquiry as it also provides insight into her distinct philosophy. The volume closes with a new interview conducted by the editors, which illuminates areas that remain latent or underdiscussed in other interviews, including Friedrich’s work as a film professor and projects that supplement Friedrich’s filmmaking, such as Edited By, an online historical resource dedicated to collecting information about and honoring the contributions of women film editors.
Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.
With a common focus on the decisions made by filmmakers, the essays in this collection explore different aspects of the relationship between textual detail and broader conceptual frameworks. These texts reflect not only those areas of film history which have traditionally been explored through mise-en-scène criticism, but also areas such as the avant-garde and television drama which have not tended to receive such detailed investigation. In these ways, the book conducts a series of dialogues with issues in film study which are specifically provoked by close analysis.
Comprehending Cinema is a collection of in-depth interviews and panoramic essays that model a generalist approach to modern audiovisual media, prioritizing remarkable cinematic accomplishments that can get lost within our overwhelming modern mediascape. It offers a reading adventure dedicated to opening the door to exciting new kinds of film experience.
This sequel to A Critical Cinema offers a new collection of interviews with independent filmmakers that is a feast for film fans and film historians. Scott MacDonald reveals the sophisticated thinking of these artists regarding film, politics, and contemporary gender issues. The interviews explore the careers of Robert Breer, Trinh T. Minh-ha, James Benning, Su Friedrich, and Godfrey Reggio. Yoko Ono discusses her cinematic collaboration with John Lennon, Michael Snow talks about his music and films, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie recall the New York and California avant-garde film culture. The selection has a particularly strong group of women filmmakers, including Yvonne Rainer, Laura Mulvey, and Lizzie Borden. Other notable artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994. This sequel to A Critical Cinema offers a new collection of interviews with independent filmmakers that is a feast for film fans and film historians. Scott MacDonald reveals the sophisticated thinking of these artists regarding film, politics, and
Independent Female Filmmakers collects original and previously published essays, interviews, and manifestos from some of the most defining and groundbreaking independent female filmmakers of the last 40 years. Featuring material from the seminal magazine The Independent Film and Video Monthly—a leading publication for independent filmmakers for several decades—as well as new interviews conducted with the filmmakers, this book, edited by Michele Meek, presents a unique perspective into the ethnically and culturally diverse voices of women filmmakers whose films span narrative, documentary, and experimental genres and whose work remains integral to independent film history from the 1970s to the present. Independent Female Filmmakers also includes a biographical profile of each filmmaker, as well as an online resource with links to additonal interviews and a sample course syllabus. The filmmakers in this book include: • Lisa Cholodenko (High Art, The Kids Are All Right) • Martha Coolidge (Valley Girl, Real Genius, Introducing Dorothy Dandridge) • Cheryl Dunye (The Watermelon Woman, Stranger Inside) • Miranda July (The Future, Me And You And Everyone We Know) • Barbara Kopple (Harlan County USA, Wild Man Blues) • Maria Maggenti (The Incredibly True Adventures of Two Girls in Love) • Deepa Mehta (Fire, Earth, Water) • Trinh T. Minh-ha (Surname Viet, Given Name Nam, Night Passage) . . . and more!
Women’s Experimental Cinema provides lively introductions to the work of fifteen avant-garde women filmmakers, some of whom worked as early as the 1950s and many of whom are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the terrain of film history, particularly the history of the American avant-garde. The contributors examine the work of Marie Menken, Joyce Wieland, Gunvor Nelson, Yvonne Rainer, Carolee Schneemann, Barbara Rubin, Amy Greenfield, Barbara Hammer, Chick Strand, Marjorie Keller, Leslie Thornton, Abigail Child, Peggy Ahwesh, Su Friedrich, and Cheryl Dunye. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Menken used film as a way to rethink the transition from abstract expressionism to Pop Art in the 1950s and 1960s, how Rubin both objectified the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, including a tendency toward documentary rather than fiction and a commitment to nonhierarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by suggesting alternative films for classroom use. Contributors. Paul Arthur, Robin Blaetz, Noël Carroll, Janet Cutler, Mary Ann Doane, Robert A. Haller, Chris Holmlund, Chuck Kleinhans, Scott MacDonald, Kathleen McHugh, Ara Osterweil, Maria Pramaggiore, Melissa Ragona, Kathryn Ramey, M. M. Serra, Maureen Turim, William C. Wees
Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age. Glyn Davis, Kay Dickinson, Lisa Patti and Amy Villarejo’s approach encourages readers to think about film holistically by looking beyond the textual analysis of key films. In contrast, it engages with other vital areas, such as financing, labour, marketing, distribution, exhibition, preservation, and politics, reflecting contemporary aspects of cinema production and consumption worldwide. Key features of the book include: clear definitions of the key terms at the foundation of film studies coverage of the work of key thinkers, explained in their social and historical context a broad range of relevant case studies that reflect the book’s approach to global cinema, from Italian "white telephone" films to Mexican wrestling films innovative and flexible exercises to help readers enhance their understanding of the histories, theories, and examples introduced in each chapter an extensive Interlude introducing readers to formal analysis through the careful explication and application of key terms a detailed discussion of strategies for writing about cinema Films Studies: A Global Introduction will appeal to students studying film today and aspiring to work in the industry, as well as those eager to understand the world of images and screens in which we all live.
Facing an economic crisis in the 1980s, Hollywood moved to control the markets of videotape, pay-cable and pay-per-view. This volume examines the transformation that took the industry from the production of theatrical film to media software.
The past thirty years have seen the proliferation of forms of independent cinema that challenge the conventions of mass-market commercial movies from within the movie theatre. Avant-Garde Film examines fifteen of the most suggestive and useful films from this film tradition. The films discussed include No. 4 (Bottoms) by Yoko Ono, Wavelength by Michael Snow, Serene Velocity by Ernie Gehr, Print Generation by J. J. Murphy, Standard Gauge by Morgan Fisher, Zorns Lemma by Hollis Frampton, The Ties that Bind by Su Friedrich, From the Pole to the Equator by Yervant Gianikian and The Carriage Trade by Warren Sonbert. Through in-depth readings of these works, Scott MacDonald takes viewers on a critical circumnavigation of the conventions of movie going as seen by filmmakers who have rebelled against the conventions. MacDonald's discussions do not merely analyse the films; they provide a useful, accessible, jargon-free critical apparatus for viewing avant-garde film and communicate the author's pleasure in exploring 'impenetrable' works.