Donna Cameron Catalog

	Fiction Non-Fiction Poetry Film Art MEB Authors Events Distribution Booksense Contacts<>	Donna Cameron ISBN 978-1-933132-58-7 $19.95 US \| $23.95 CAN Find the book on Amazon> Currently available only from the publisher, click here to send an email Donna, here, has invented her own film stock. This is the kind of thing that needs to be appreciated for what it is. When you can’t afford Kodak’s inflated prices, what could be more obnoxious than coming up with your own film stock? We should all come up with our own film stock and show Kodak a competitive market soon. George Kuchar, Film maker For the past (30) years Cameron has been working in paper emulsion...The result is a series of vibrant sensual films reprocessing such familiar imagery as the Brooklyn Bridge or paper money... Kevin Thomas, Los Angeles Times Not having the resources to make films didn’t stop Donna Cameron—she just invented a new way of doing them. Tony Lucia, Reading Eagle Donna Cameron is one of the most significant new presences in non-narrative cinema, in cameraless cinema, in New York Independent cinema, in American avante-garde cinema, and in poetic meditative cinema. We are mightily enthusiastic about the extraordinary work of Donna Cameron, filmmaker. Larry Kardish, Curator and Director of Exhibitions, Dept. of Film & Media, MoMA Donna Cameron, inspired by the early avant-garde animation films of Len Lye, Oskar Fischinger and Norman McLaren, has renewed and revitalized the technique of cameraless animation. She has brilliantly developed an utterly original way of making films through a technique she has pioneered, “cinematic paper emulsion.” Using this technique she has made among others Fauve, Autumn Leaves, The Clown providing a heady and thrilling viewing experience. She also makes moving and unconventional documentaries such as Shirley Clarke in Our Time, on the filmmaker Shirley Clarke, and Confidential, Do Not Duplicate on the tragic death of her sister. Donna Cameron is indeed a major figure in American avant-garde film. William Sloan, Department of Film, The Museum of Modern Art, New York

Donna, here, has invented her own film stock. This is the kind of thing that needs to
be appreciated for what it is. When you can’t afford Kodak’s inflated prices, what
could be more obnoxious than coming up with your own film stock? We should all
come up with our own film stock and show Kodak a competitive market soon.
George Kuchar, Film maker

For the past (30) years Cameron has been working in paper emulsion...The result
is a series of vibrant sensual films reprocessing such familiar imagery as the Brooklyn
Bridge or paper money... Kevin Thomas, Los Angeles Times

Not having the resources to make films didn’t stop Donna Cameron—she just invented
a new way of doing them.    Tony Lucia, Reading Eagle

Donna Cameron is one of the most significant new presences in non-narrative cinema,
in cameraless cinema, in New York Independent cinema, in American avante-garde
cinema, and in poetic meditative cinema. We are mightily enthusiastic about the
extraordinary work of Donna Cameron, filmmaker.
Larry Kardish, Curator and Director of Exhibitions, Dept. of Film & Media, MoMA

Donna Cameron, inspired by the early avant-garde animation films of Len Lye, Oskar Fischinger
and Norman McLaren, has renewed and revitalized the technique of cameraless animation.
She has brilliantly developed an utterly original way of making films through a technique she
has pioneered, “cinematic paper emulsion.” Using this technique she has made among others
Fauve, Autumn Leaves, The Clown providing a heady and thrilling viewing experience. She also
makes moving and unconventional documentaries such as Shirley Clarke in Our Time, on the
filmmaker Shirley Clarke, and Confidential, Do Not Duplicate on the tragic death of her sister.
Donna Cameron is indeed a major figure in American avant-garde film.
William Sloan, Department of Film, The Museum of Modern Art, New York