From: Andy Ditzler (email suppressed)
Date: Tue Apr 03 2007 - 08:25:55 PDT
I'd like to second this recommendation of Anne Robertson (she's often
known as Anne Charlotte Robertson). Last October I showed Emily Died, a
reel of the Five Year Diary, as part of a night of diary films. It is a
powerful work, and many in the audience were strongly affected by it.
Some were put off by the sheer intensity of the film, but most of those
I talked to were very moved. I can also recommend Melon Patches, which
is not part of the diary series but has similar concerns, though is
markedly more light-hearted. (And as I remember it, Melon Patches has a
different feel in the sense that there is little narration.)
I spoke with Anne briefly about her filmmaking. She films in super-8
using a single-system sound camera, meaning that the camera records both
the sound and image (as opposed to recording the sound separately on
audio tape and syncing the sound and image later). In Emily Died, many
if not all of the edits are in-camera, so you can hear the camera's
microphone coming back on when she turns the camera on.
There is a lengthy interview with Anne in volume two of Scott
MacDonald's "A Critical Cinema."
----- Original Message -----
From: "William Storz" <email suppressed>
To: <email suppressed>
Sent: Tuesday, April 03, 2007 9:03 AM
Subject: Super 8 Diary
>I see that Anne Robertson is on your list. I want to
> emphasize her importance in this genre. Anne has kept
> an ongoing Super 8 Diary since the early 1980s. A show
> of her "Fieve Year Diary", in 1986 I believe it was,
> consisted of three or four straight evenings of shows.
> Anne typically was present with her films and would
> speak and otherwise perform with them. Anne's work is
> some of the most brutally honest and vital work in any
> medium, and is the most direclty diaristic film work I
> have ever seen.
> Bill Storz
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