On the contrary, the practical limitations have long gone hand in hand with unlimited ingenuity, humour, attention to detail, and both technical and aesthetic mastery.
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The second edition of Inside the Pleasure Dome sheds new brilliance on that contradiction. Chris Gallagher, David Rimmer and John Kneller all describe their techniques in such concrete detail that the reader has a sense of being led, frame by frame, through a privileged and uniquely layered screening. Is this book a set of personal portraits? The interviews are jagged, like sketches of people in action, with none of the false stasis of portraiture.
Although at times quite cinematic, the interviews also speak with a personal, experimental art of their own that can only enrich the films and that amorphous, brilliant, seething mass we call experimental cinema. Fringe Film in Canada , is a record of unique living moments. Books and films are so different, yet here in this book, this diary of living moments, we are allowed insight into the very personal nature of filmmaking. The artists collected in this treasury are unique, yet united by the desire to push, to create shifts in perception.
They use the medium as a personal tool, to go beyond telling universal stories, to explore the boundaries between the individual, the medium and the audience. Like the films behind the book, the interviews gathered here push beyond the celluloid surface of facts, scripts, stocks, tools, weaving language and personal vision into an inspiring form.
Perhaps the greatest thing about this book is that it provides keys to the mysterious and difficult questions artists are facing today. In the face of cutbacks and financial struggles and a general denial of the connection between art and life, we need places to go when we forget why. We need places where dialogue occurs, where questions are asked, answers sought without expectation of finding them, but there is no giving up.
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For me, this book has a home beside my diaries. It is a record written in that mysterious yet accessible language of life, providing evidence of those moments when shifts occur. These moments are the history, the life-blood of experimental film, and there they are, dotted like landmarks over the page, for all to experience in their own personal way.
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As a writer and polemicist as well as a filmmaker, Hoolboom has been part of—indeed, has helped shape—that discourse for many years. Someone should have interviewed him for this volume, but at least his questions and occasional comments convey some of his thoughts on the subject of Canadian fringe film. Hoolboom knows the work of each filmmaker well, which not only indicates respect for their accomplishments, but enables him to use his own analysis and interpretation as a way of prompting filmmakers to discuss their films in greater detail.
All the filmmakers talk about when and how they got into filmmaking nearly all of them studied film, to a greater or lesser degree, in college or university—five went to Sheridan College and Hoolboom leads them through a discussion of their films in chronological order.
Inside The Pleasure Dome: Fringe Film in Canada () | Mike Hoolboom
Consequently, the interviews yield a great deal of useful information about the films and their makers. The result is both an introduction to, and a source for research on, the filmmakers Hoolboom includes in his book. More than half the filmmakers live in Toronto as does Hoolboom and he includes no representatives of fringe film from the Maritimes.
Nevertheless, there is considerable variety among the filmmakers interviewed. This mix of older, better-known and younger, less well-known film artists implicitly affirms a continuity and renewal within the perpetually endangered species of Canadian experimental film. One thread running through the interviews is the notion that experimental film is, indeed, endangered, and that the film medium itself is on the verge of extinction.
And if not, so what? You try to kill us but we keep coming back. A related thread is summarized by Snow: Avant-garde film is like a pariah, like having leprosy. What if no one comes? Welcome to the unusual and beautiful universe of fringe cinema. Twenty-three interviews with Canada's most interesting underdogs. Okay so this is often an scan. Took this instantly from my iPad subscription, got rid of the advertisements, and it took perpetually.
Your loose time is priceless — we ensure you utilize it by way of being: Download PDF by V. There are few studies extra very important within the schooling of a newcomer to movement pic tures than the invention of V.
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Pudovkins movie strategy and movie performing. This selection of approximately letters supplies us the lifetime of Elia Kazan unfiltered, with the entire ardour, energy, and uncooked honesty that made him such a big and bold level director A Streetcar Named hope, loss of life of a Salesman , movie director On the Waterfront, East of Eden , novelist, and memoirist.
Kazan directed almost back-to-back the best American dramas of the era—by Arthur Miller and Tennessee Williams—and contributed to shaping their destiny productions. This introduction to the rich and often bizarre history of Canadian avant-garde film includes interviews with key figures like Michael Snow as well as fascinating relative upstarts such as John Kneller. Fringe Film in Canada Coach House Books by Mike Hoolboom, recently expanded and re-issued is another largely interview-based oral history of a very specific genre.
Though organization here is by artist, the effect is similar. Culture is imbued with history, but not at the expense of its present-day possibilities. I stop to read about how Maritime filmmaker Barbara Sternberg came to make her first film. In one brief section, we get a vision of life in Sackville, New Brunswick in the late s, a sense of an industrial age already drawing to a close, and insight into the mind of a budding filmmaker who would go on to quietly make ten short experimental films over the next twenty years.
Since these texts consist largely of interviews with those who were—and remain—on hand, a living, breathing culture id depicted with all its warts, glories and on-going challenges.
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They speak of other eras-even idealize them—but in a way that both recognizes the primacy of our current struggles. They are the antithesis of nostalgia, which slaps a beige coating of caricature and conformity over a cultural event—whether the moment ends in a splash of blood or a happily-ever-after-rainbow. Located somewhere between cold hard facts and the soft focus, perpetually re-released hard sell, we find a valid nostalgia that acknowledges the messiness of lived experience without devaluing the lessons—and legends—we might find if we look to the past.
Because, as Atom Egoyan puts it in his foreword to this important book: As a filmmaker and a writer on film, Hoolboom is well acquainted with the problems associated with this project. The book begins with Michael Snow—who else? As with other entries in the book, it takes the form of a short introduction, followed by a probing and expansive interview conducted by the author… Perhaps the last interview in the book, Watching Death at Work with Mike Cartmell, goes furthest in mapping out the problems and future of avant-garde film practice.
And there are garages in which the lights are burning all night. I loved not knowing what it the film could possibly have meant. Experimental filmmakers seem to throw all caution to the wind. They are able to retain a child-like curiosity about objects, events and processes, which allows them to investigate these without the usual conventions of film construction. They are working without a narrative net. They perceive as legitimate in cinema the kind of exploration many people mistakenly abandon at the end of formal schooling.
Mike Hoolboom has included these two exceptional filmmakers in this collection of wonderful interviews. Both Philip Hoffman and Patricia Gruben have rendered their exquisite work more meaningful and relevant by constantly engaging in non-obscurantist dialogue about it. Hoffman is a kind of experimental film proselytizer; he seeks out audiences and addresses them in accessible language.
Hoolboom has taken his cue from Hoffman, and enriched the potential for understanding this medium—in particular the work of these artists—by engaging in conversations with them that sound as if they were lifted out of the notebook of a wise psychoanalyst. There may be more experimental filmmakers in Canada than there are people who have ever deliberately seen an experimental film.
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Most people think that experimental film is Norman MacLaren, and vice-versa. Without quite saying so, it appears that Hoolboom understands this very well. Of experimental filmmakers he says: Hoolboom has been part of this avant-garde world for nearly 20 years, as a practitioner and as a kind of dramaturge at the Canadian Filmmakers Distribution Centre, and then as the force behind the now defunct magazine, the Independent Eye.
The first interview is with Michael Snow, probably the person most mentioned by other experimental filmmakers. But Snow is not interested in merely leaving behind a dance card full of names, he has used experimental film to explore or elaborate upon his painting and sculpture. In so many of these interviews there is a stream-of-consciousness quality, much like that in certain experimental films.