By Scott MacDonald
"Ask viewers to chop the a part of the picture at the monitor that they do not like. provide scissors."--Yoko Ono, Tokyo, June 1964A mind-blowing diversity of unconventional movie scripts and texts, many released for the 1st time, make up Scott MacDonald's most recent assortment. Illustrated with approximately a hundred movie stills, this interesting e-book is without delay a reference paintings of movie historical past and an extraordinary sampling of experimental "language art." It contributes to the very dissipation of barriers among cinematic, literary, and inventive expression thematized within the movies themselves. every one textual content and script is brought and contextualized via MacDonald; a filmography and a bibliography around out the volume.This is a readable--often rather funny--literature that investigates modifications among seeing and studying. Represented are avant-garde classics reminiscent of Hollis Frampton's Poetic Justice and Zorns Lemma and Morgan Fisher's commonplace Gauge, and William Greaves's lately rediscovered Symbiopsychotaxiplasm: Take One. Michael Snow turns movie unfastened on language in So is that this; Peter Rose turns language unfastened on idea in Pressures of the Text.Some of the main influential feminist filmscripts of modern decades--Laura Mulvey and Peter Wollen's Riddles of the Sphinx, Su Friedrich's lightly Down the move, Trinh T. Minh-ha's Reassemblage, Yvonne Rainer's Privilege--confirm this book's significance for readers in gender and cultural experiences in addition to for filmmakers and admirers of experimental writing, self sustaining cinema, and the visible arts normally.
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Extra resources for Screen Writings: Texts and Scripts from Independent Films
Example text
The official, legalized license to kill Jews-men, women, young, and old-right in public, with no need to hesitate or to seek any legal, moral, or other justification, at any time and place, for any excuse or for no excuse at all, was an integral part of the process of the Holocaust and its essence. The elimination of a Jew, officially branded as nonhuman, was a nonevent, especially in the concentration camps, where the Nazis had no need, as they sometimes had in other circumstances and places, to hide their actions in order to deceive popular opinion.
For why exactly does the father have to protect his son by making up that complicated story about the game and gaiiiing points to win a tank if there’s no need to, since the child is not actually in mortal danger at all? " Another objection of the same kind I've come across in the film's defense was that the camp is not located in Poland, where mass extermination did take place, but in Italy, where prisoners were treated much more humanely. S o , once again, assuming this was the case, in such a humane camp the film's plot would lose its logic and its psychological justification, since Guido, the father, would have no reason to make u p the tank game.
Let’s suppose, for the sake of the argument, that there indeed existed and still exist, in other times and places, camps just like those in which the Germans gathered Jews and Gypsies from all over ELIrope to exterminate them. If so, these camps, too, would have mass extermination going on in them, so Benigni should have somehow shown that fact in his ”representative” concentration camp. But if those other concentration camps he talks about are not exactly like the German camps where industrialized massacre took place, then they may very well be ”prison camps,” ”reeducation camps,” or Soviet-style ”gulags,” but not German concentration or extermination camps.