Category: MacroCinema

OtherZine 29!

I have a new piece published in the online journal “OtherZine” which is connected to the Other Cinema in San Francisco. It’s called “Beyond MacroCinema” and it’s related to what I’ve been writing about here for the last year or so, but it’s nice to put those ideas into an outside forum, without the benefit of context, to see if…

“Cinema with a Capital C”

“You are not a filmmaker,” she said, “You can be a filmmaker, of course, but you cannot continue to singularly define yourself as such.” Dotson went on to claim that reverence for movie culture was one of the problems with the young content-makers. “We’re all trying to find a way to embrace the ambiguity of this new era we live…

The Empathy Engine

A friend of mine, who works primarily in theatre, recently derisively described his experience as a movie audience member as “watching people have feelings.” He was speaking from a certain frustration and incomprehension. Theatre actors DO things. Film actors just FEEL things. This idea has stuck with me. Is it true? And if so, why? This also gets at the overarching…

Compare and Contrast

MacroCinema is hierarchical, product-oriented, and an attempt to make the world conform to a directorial / studio / corporate vision. MicroCinema is relational, process oriented, and an attempt to make something that reflects and responds to the world as it is at this moment – objectively or subjectively speaking. MacroCinema attempts to rigidly conform to a schedule and a budget – it…

The Ideology of MacroCinema

To say that the relationship between narrative and reality always involves violence is not to say that narrative is wrong. It is more accurate to say that narrative is never neutral – it never “just is” – in a closed system, there is no creation without destruction, no translation without interpretation, one cannot act in the world without leaving a…

Approaching MicroCinema

I remember reading about the film “Castaway” at some point during college or shortly afterwards. Robert Zemeckis had decided that in order to give the film its own unique look and style, that the entire island sequence (probably 2/3 of the film) would be shot without any lights. And, later in the same article, I read that they had brought a…