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Which clippings match 'Independent Film' keyword pg.1 of 2
13 JUNE 2015

Corman's World: Exploits of a Hollywood Rebel (2011)

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2011 • Alex Stapleton • Allan Arkush • Anders Bramsen • b-moviebad taste • Bjarni Gautur • Bob Burns • Brett Ratner • Bruce Dern • Catherine Hardwicke • Clint Howard • Cormans World (2011) • Darren Lynn Bousman • David Carradine • David Crosby • Dick Miller • documentary • Eli Roth • Eric Balfour • exploitation films • Frances Doel • Francis Ford Coppola • Gale Hurd • Gary Tunnicliffe • Gene Corman • George Hickenlooper • Gregory Locklear • grindhouse • horror film genre • independent film • independent film producer • influential producer • Irvin Kershner • Izabela Frank • Jack NicholsonJames CameronJames Wan • Jeff Frey • Jim Wynorski • Joe Dante • John Sayles • Jonathan Demme • Jonathan Haze • Julie Corman • Kevin O Neill • life and career • Lloyd Kaufman • low-budget film • Marky Ramone • Martin Scorsese • Mary Woronov • Mickey Barold • Monte Hellman • Nancy Sinatra • Oliver Hecks • Pam Grier • Patrick Simpson • Paul Anderson • Paul Bartel • Penelope Spheeris • Peter Bogdanovich • Peter Fonda • Philip Owens • Polly Platt • Quentin TarantinoRichard Matheson • Robert De Niro • Roger Corman • Ron Howard • Sally Kirkland • sensationalismsexploitation • Stone Douglass • teensploitation • Timur Bekmambetov • Tom Sherak • Traci Lords • untasteful • Victor Livingston • William Shatner • writer-director-producer • young talent

CONTRIBUTOR

Simon Perkins
18 DECEMBER 2012

Eraserhead Stories: David Lynch on the Making of His Famously Nightmarish First Film

"Not only does the documentary Eraserhead Stories offer as much information as you'll find anywhere on the making of David Lynch's first feature film, it has a few Lynchian qualities of its own. For almost an hour and a half, David Lynch sits down behind a microphone and reminisces about the six years his ragtag team spent putting the movie together. But he does it in black–and–white, in front of a curtain, smoking, like something out of an early–1950s television broadcast. The ambient dull roar of an ill wind appears, intermittently and inexplicably, on the soundtrack. Photographs flash by, supporting some of Lynch's inspiring, arduous, and bizarre recollections. Many of his stories deal with the nuts and bolts of bringing one's financially impoverished but creatively overflowing early movies into reality."

(Colin Marshall, 17 December 2012, Open Culture)

David Lynch (2001). "Eraserhead Stories".

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2001American cinemaAmerican independent cinemaart and design practitionersauteurblack and whiteblack humour • Charlotte Stewart • cult classic • cult filmDavid LynchdocumentaryEraserhead (1977) • Eraserhead Stories • famous peoplefilmfilm directorfilmmakergrotesqueindependent cinemaindependent filmindie cinemainfluentialinfluential creatorsinfluential director • interviews with famous people • Jack Nance • landmark film • Laurel Near • low budgetlow-budget filmmaking ofmovienightmarevisual spectacle

CONTRIBUTOR

Simon Perkins
11 OCTOBER 2012

American Independent Cinema: Spike, Mike, Slackers, and Dykes

"John Pierson is one of the unsung heroes of the independent–film explosion of the last decade. Just ask him. A New York–based producer's rep, he was among the first to discover and help finance the debuts of such filmmakers as Spike Lee, Michael Moore, Richard Linklater, Rose Troche, and Kevin Smith. Pierson recounts these discoveries and describes the booming independent–film scene from the inside in his memoir Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of American Independent Cinema, a book as personal and idiosyncratic as some of the films he has nurtured."

(Gary Susman, 1995, Phoenix Media/Communication Group)

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1990sAmerican independent cinemacult filmdyke • film finance • film producerfilmmakerfilmmakersfilms • Gary Susman • idiosyncraticindependent cinemaindependent film • independent-film • independent-film scene • indie cinemaindie media • John Pierson • Kevin Smith (filmmaker) • low budgetlow-budgetlow-budget filmMichael MooreNew Yorknurturingotherness • Richard Linklater • Rose Troche • slacker • Spike Lee • subcultureunderground cinema • unsung hero

CONTRIBUTOR

Simon Perkins
12 AUGUST 2012

Rob Nilsson: indie filmmaker and small format video feature pioneer

"Rob Nilsson pioneered small analog and digital formats and created a low–budget cinematic style called direct action. He established the Tenderloin Action Group (now called the Tenderloin yGroup) in 1990, a drama workshop for homeless people, inner–city San Francisco residents and professional actors. He was the first video maker to blow up small–format video to 35 mm film for international theatrical distribution. His work has screened at festivals in the United States and abroad, including Mill Valley, Toronto, Santa Barbara, San Francisco and Locarno. Nilsson's work has been honored with numerous awards, including the Camera d'Or at Cannes and the Grand Jury Prize at the Sundance Film Festival (he was the first American Director to win both)."

(Media Arts Fellow)

Fig.1 scene from Rob Nilsson (1987). "Heat and Sunlight", Betacam SP to 35mm film transfer.

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198535mmAmerican directoranalogueanalogue and digital formatsavailable lightBetacam SPblack and white • blow up small-format video • Chikara Motomura • cinema of the street • cinematic style • citizen cinema (ethos) • convergence • direct action (ethos) • Dogme 95film actingfilmmakerfly-on-the-wallindependent cinemaindependent filmindie cinemainfluential directorlow budgetlow lightlow-budgetlow-budget film • Media Arts Fellow • Michael Edo Keane • new technical possibilitiesrealism • Rob Nilsson • San Francisco • Signal 7 (film) • small format video feature • tape to film transfer • Tenderloin Action Group • Tenderloin yGroup • underground cinema • video to film transfer • videomaker

CONTRIBUTOR

Simon Perkins
01 NOVEMBER 2008

Mothlight: Brakhage's celluloid flypaper

"Mothlight visualises a 'day in the life' of an insect from birth to death; however, it summons some of the more positive associations of lepidoptera, such as creativity and the soul (1). You could say Brakhage puts the 'anima' back into animation, reanimating the dead, painstakingly affixing the remains of dead insects, leaves and the like onto the film strip, and feeding it through the projector back to life. Of course, the principle of film projection is the illusion of life through light, with the audience gathering to watch like moths attracted to a lamp: the beauty of Mothlight is the way Brakhage evokes the moth not through cartoon mimicry, but by the fragile sensation of its movement, batting against the screen, hurtling in descent. The effect is exhilarating and terrifying.

Brakhage might be accused of playing God (or Dr Frankenstein), and it is no coincidence that Mothlight was assembled during the long production of his creationist epic Dog Star Man (1961–4). ... Its making is also a dismantling – imagine celluloid flypaper – and its examination of life's remains looks forward to The Act of Seeing with One's Own Eyes (1971). Mothlight acknowledges the limitations of the screen, the way film traps subject matter in a box, suffocating the life out of it."
(Darragh O'Donoghue)

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1963animationavant-garde cinemaavant-garde film makercameraless film • celluloid flypaper • cinemaexperimental filmfilm • film strip • Frankensteinindependent filminsectlightmaterial practicematerialist cinemamaterialitymoth • Mothlight • non-narrativeStan Brakhage

CONTRIBUTOR

Simon Perkins
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