Tim Burton is likely one of the nice modern day visionaries of cinema, a director who has fabricated his personal deliciously nightmarish universe in videos as impressive as Beetlejuice, Edward Scissorhands, Mars assaults! and The Nightmare sooner than Christmas - let alone his twisted takes at the stories of Batman, Sleepy hole and Planet of the Apes. Following the discharge of his re-imagining of Roald Dahl's Charlie and the Chocolate manufacturing facility with long-time comrade Johnny Depp (who additionally presents a brand new foreword here), this up-to-date and completely illustrated new version of the definitive Burton interview e-book casts gentle on Burton's Burbank youth, his early paintings at Disney, the recurrent issues and gorgeous designs of his video clips, and the artistic obsessions that gas them.
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Several essays by Vogel are included in Cinema 16: Documents. In some instances during the years that Cinema 16 was operating, Vogel took the opportunity to explain the workings of the film society, the thinking behind it, and—in the case of “The Angry Young Filmmakers”—international research he had pursued as Cinema 16’s director. I have included a sampling of such essays. But even after Cinema 16 was no longer presenting programs, Vogel continued to draw conclusions on the basis of his Cinema 16 experiences and to deploy these conclusions in the ongoing discourse about cinema in general and about avant-garde film in particular.
Christopher Bishop, “The Museum of Modern Art Film Library,” in Starr, 59–61. 15. , Art in Cinema (New York: Arno, 1968). This volume is a reprint of the catalogue assembled by the San Francisco Museum of Art for the Art in Cinema programs. Belson’s comments are from an unpublished interview with the author, conducted July 22, 2000. 16. See VèVè A. Clark, Millicent Hodson, and Catrina Neiman, The Legend of Maya Deren, vol. 1, pt. 2, “Chambers” (New York: Anthology Film Archives, 1988), 328–29. 17.
50. Anger received 50 percent of the total rentals. S. Naval Hospital, Colonial Williamsburg, the Dupont Institute, Stock Shots to Order in New York (1957)— used Anger’s remarkably candid film. When Cinema 16 ceased distributing films in 1963, Vogel made an arrangement with Barney Rosset at Grove Press. In keeping with Vogel’s previous contractual arrangements, filmmakers were offered exclusive contracts with Grove; if they wanted to distribute their work cooperatively, they would be on their own.