Moments of Perception: Random Canadian Moments
Curator Jim Shedden In Person
This program is presented in celebration of Moments of Perception: Experimental Film in Canada (2021), Barbara Sternberg and Jim Shedden, eds. with essays by Michael Zryd and Stephen Broomer, published by Goose Lane Editions.
In Moments of Perception, we note the fluidity of the term "experimental," the concept of "Canada" and the notion of nation in general. "Film" and "video" have proven to be fluid terms as well, as digital has rendered analog forms of cinema almost obsolete. And yet we decided to subtitle our book Experimental Film in Canada, a shorthand for a cinema that is more poetic than narrative, aesthetically challenging, frequently difficult and concerned with the medium, even as that has more to do with files than films these days. And "Canada?" As a nation, we are many things, a work-in-progress with shifting boundaries and an evolving understanding of our history, geography and politics. The land we occupy is Indigenous and most of us are settlers. Much of our land is unceded. This is only becoming accepted as we speak.
The filmmakers in our book can be defined as Canadian, broadly speaking. The films we discuss were not always made in Canada. For this program, I have deliberately chosen work that was not only made in Canada, but represents different places in Canada, sometimes personal and sometimes grander. What becomes apparent is how vast and variable the country is, how sparsely populated it is, and how difficult it is to get anything like a coherent sense of the country and the people who live there. These films, then, are little stabs at Canada. (Jim Shedden)
SCREENING: Terminal City (1982) by Chris Gallagher; 16mm, color, sound, 10 minutes, print from the Canadian Filmmakers Distribution Centre; 16mm Postcard (2005) by Amanda Dawn Christie; b&w, sound, 3 minutes, print from the Canadian Filmmakers Distribution Centre; Cattle Call (2008) by Mike Maryniuk & Matthew Rankin; digital video, color, sound, 4 minutes, exhibition film from Mike Maryniuk; Sight (2018) by TJ Cuthand; digital video; color, sound, 4 minutes, exhibition file from Vtape; Spanky to the Pier and Back (2008) by Guy Maddin; digital video, b&w, sound, 4 minutes, exhibition files from the Winnipeg Film Group; Low Tide (2019) by Eva Kolcze; digital video, color, sound, 4 minutes, exhibition file from the maker; Conservatory (2013) by Stephen Broomer; 16mm color, sound, 4 minutes, print from Canyon Cinema; Taylor Creek (2017) by Dan Browne; 16mm, color, silent, 4 minutes, print from the Canadian Filmmakers Distribution Centre; My Pandemonia (2020) by Peter Lynch; digital video, color, sound, 10 minutes, print from the maker; action: study (1987) by Richard Kerr; 16mm screened as digital video, color, sound, 5 minutes, print from the Canadian Filmmakers Distribution Centre; Light Study (2013) by Josephine Massarella; digital video, color, sound, 13 minutes, exhibition file from Canyon Cinema; Landfall (1983) by Rick Hancox; 16mm, color sound, 11 minutes, print from Canyon Cinema. TRT: 73 minutes
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Curator Jim Shedden In Person
This program is presented in celebration of Moments of Perception: Experimental Film in Canada (2021), Barbara Sternberg and Jim Shedden, eds. with essays by Michael Zryd and Stephen Broomer, published by Goose Lane Editions.
In Moments of Perception, we note the fluidity of the term "experimental," the concept of "Canada" and the notion of nation in general. "Film" and "video" have proven to be fluid terms as well, as digital has rendered analog forms of cinema almost obsolete. And yet we decided to subtitle our book Experimental Film in Canada, a shorthand for a cinema that is more poetic than narrative, aesthetically challenging, frequently difficult and concerned with the medium, even as that has more to do with files than films these days. And "Canada?" As a nation, we are many things, a work-in-progress with shifting boundaries and an evolving understanding of our history, geography and politics. The land we occupy is Indigenous and most of us are settlers. Much of our land is unceded. This is only becoming accepted as we speak.
The filmmakers in our book can be defined as Canadian, broadly speaking. The films we discuss were not always made in Canada. For this program, I have deliberately chosen work that was not only made in Canada, but represents different places in Canada, sometimes personal and sometimes grander. What becomes apparent is how vast and variable the country is, how sparsely populated it is, and how difficult it is to get anything like a coherent sense of the country and the people who live there. These films, then, are little stabs at Canada. (Jim Shedden)
SCREENING: Terminal City (1982) by Chris Gallagher; 16mm, color, sound, 10 minutes, print from the Canadian Filmmakers Distribution Centre; 16mm Postcard (2005) by Amanda Dawn Christie; b&w, sound, 3 minutes, print from the Canadian Filmmakers Distribution Centre; Cattle Call (2008) by Mike Maryniuk & Matthew Rankin; digital video, color, sound, 4 minutes, exhibition film from Mike Maryniuk; Sight (2018) by TJ Cuthand; digital video; color, sound, 4 minutes, exhibition file from Vtape; Spanky to the Pier and Back (2008) by Guy Maddin; digital video, b&w, sound, 4 minutes, exhibition files from the Winnipeg Film Group; Low Tide (2019) by Eva Kolcze; digital video, color, sound, 4 minutes, exhibition file from the maker; Conservatory (2013) by Stephen Broomer; 16mm color, sound, 4 minutes, print from Canyon Cinema; Taylor Creek (2017) by Dan Browne; 16mm, color, silent, 4 minutes, print from the Canadian Filmmakers Distribution Centre; My Pandemonia (2020) by Peter Lynch; digital video, color, sound, 10 minutes, print from the maker; action: study (1987) by Richard Kerr; 16mm screened as digital video, color, sound, 5 minutes, print from the Canadian Filmmakers Distribution Centre; Light Study (2013) by Josephine Massarella; digital video, color, sound, 13 minutes, exhibition file from Canyon Cinema; Landfall (1983) by Rick Hancox; 16mm, color sound, 11 minutes, print from Canyon Cinema. TRT: 73 minutes
Moments of Perception: Random Canadian Moments
Curator Jim Shedden In Person
This program is presented in celebration of Moments of Perception: Experimental Film in Canada (2021), Barbara Sternberg and Jim Shedden, eds. with essays by Michael Zryd and Stephen Broomer, published by Goose Lane Editions.
In Moments of Perception, we note the fluidity of the term "experimental," the concept of "Canada" and the notion of nation in general. "Film" and "video" have proven to be fluid terms as well, as digital has rendered analog forms of cinema almost obsolete. And yet we decided to subtitle our book Experimental Film in Canada, a shorthand for a cinema that is more poetic than narrative, aesthetically challenging, frequently difficult and concerned with the medium, even as that has more to do with files than films these days. And "Canada?" As a nation, we are many things, a work-in-progress with shifting boundaries and an evolving understanding of our history, geography and politics. The land we occupy is Indigenous and most of us are settlers. Much of our land is unceded. This is only becoming accepted as we speak.
The filmmakers in our book can be defined as Canadian, broadly speaking. The films we discuss were not always made in Canada. For this program, I have deliberately chosen work that was not only made in Canada, but represents different places in Canada, sometimes personal and sometimes grander. What becomes apparent is how vast and variable the country is, how sparsely populated it is, and how difficult it is to get anything like a coherent sense of the country and the people who live there. These films, then, are little stabs at Canada. (Jim Shedden)
SCREENING: Terminal City (1982) by Chris Gallagher; 16mm, color, sound, 10 minutes, print from the Canadian Filmmakers Distribution Centre; 16mm Postcard (2005) by Amanda Dawn Christie; b&w, sound, 3 minutes, print from the Canadian Filmmakers Distribution Centre; Cattle Call (2008) by Mike Maryniuk & Matthew Rankin; digital video, color, sound, 4 minutes, exhibition film from Mike Maryniuk; Sight (2018) by TJ Cuthand; digital video; color, sound, 4 minutes, exhibition file from Vtape; Spanky to the Pier and Back (2008) by Guy Maddin; digital video, b&w, sound, 4 minutes, exhibition files from the Winnipeg Film Group; Low Tide (2019) by Eva Kolcze; digital video, color, sound, 4 minutes, exhibition file from the maker; Conservatory (2013) by Stephen Broomer; 16mm color, sound, 4 minutes, print from Canyon Cinema; Taylor Creek (2017) by Dan Browne; 16mm, color, silent, 4 minutes, print from the Canadian Filmmakers Distribution Centre; My Pandemonia (2020) by Peter Lynch; digital video, color, sound, 10 minutes, print from the maker; action: study (1987) by Richard Kerr; 16mm screened as digital video, color, sound, 5 minutes, print from the Canadian Filmmakers Distribution Centre; Light Study (2013) by Josephine Massarella; digital video, color, sound, 13 minutes, exhibition file from Canyon Cinema; Landfall (1983) by Rick Hancox; 16mm, color sound, 11 minutes, print from Canyon Cinema. TRT: 73 minutes
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Curator Jim Shedden In Person
This program is presented in celebration of Moments of Perception: Experimental Film in Canada (2021), Barbara Sternberg and Jim Shedden, eds. with essays by Michael Zryd and Stephen Broomer, published by Goose Lane Editions.
In Moments of Perception, we note the fluidity of the term "experimental," the concept of "Canada" and the notion of nation in general. "Film" and "video" have proven to be fluid terms as well, as digital has rendered analog forms of cinema almost obsolete. And yet we decided to subtitle our book Experimental Film in Canada, a shorthand for a cinema that is more poetic than narrative, aesthetically challenging, frequently difficult and concerned with the medium, even as that has more to do with files than films these days. And "Canada?" As a nation, we are many things, a work-in-progress with shifting boundaries and an evolving understanding of our history, geography and politics. The land we occupy is Indigenous and most of us are settlers. Much of our land is unceded. This is only becoming accepted as we speak.
The filmmakers in our book can be defined as Canadian, broadly speaking. The films we discuss were not always made in Canada. For this program, I have deliberately chosen work that was not only made in Canada, but represents different places in Canada, sometimes personal and sometimes grander. What becomes apparent is how vast and variable the country is, how sparsely populated it is, and how difficult it is to get anything like a coherent sense of the country and the people who live there. These films, then, are little stabs at Canada. (Jim Shedden)
SCREENING: Terminal City (1982) by Chris Gallagher; 16mm, color, sound, 10 minutes, print from the Canadian Filmmakers Distribution Centre; 16mm Postcard (2005) by Amanda Dawn Christie; b&w, sound, 3 minutes, print from the Canadian Filmmakers Distribution Centre; Cattle Call (2008) by Mike Maryniuk & Matthew Rankin; digital video, color, sound, 4 minutes, exhibition film from Mike Maryniuk; Sight (2018) by TJ Cuthand; digital video; color, sound, 4 minutes, exhibition file from Vtape; Spanky to the Pier and Back (2008) by Guy Maddin; digital video, b&w, sound, 4 minutes, exhibition files from the Winnipeg Film Group; Low Tide (2019) by Eva Kolcze; digital video, color, sound, 4 minutes, exhibition file from the maker; Conservatory (2013) by Stephen Broomer; 16mm color, sound, 4 minutes, print from Canyon Cinema; Taylor Creek (2017) by Dan Browne; 16mm, color, silent, 4 minutes, print from the Canadian Filmmakers Distribution Centre; My Pandemonia (2020) by Peter Lynch; digital video, color, sound, 10 minutes, print from the maker; action: study (1987) by Richard Kerr; 16mm screened as digital video, color, sound, 5 minutes, print from the Canadian Filmmakers Distribution Centre; Light Study (2013) by Josephine Massarella; digital video, color, sound, 13 minutes, exhibition file from Canyon Cinema; Landfall (1983) by Rick Hancox; 16mm, color sound, 11 minutes, print from Canyon Cinema. TRT: 73 minutes
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