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• Navigating History, Memory, and Mythology: The Challenges of Depicting the 1919 Winnipeg General Strike

  The inclusion of Emma’s character represents a trend in films about the Winnipeg General Strike towards representing marginalized communities who weren’t part of the original strike narrative. “Absences in...

• Navigating History, Memory, and Mythology: The Challenges of Depicting the 1919 Winnipeg General Strike

  1919 was the first film made by Gonick, who says he’s always had an interest in the strike, in part because his father was the prominent labour historian,...

• Navigating History, Memory, and Mythology: The Challenges of Depicting the 1919 Winnipeg General Strike

  The idea of creating a film about the strike as seen through the windows of a steam bath came to Gonick after seeing an exhibit for its 75th...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  The term Anthropocene was popularized in the early twenty first century by Dutch chemist Paul J. Crutzen, who proposed a new demarcation of geological time characterized by a variety...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  Native Elegance of the Soul, or Like, Whatever is framed as a walk through the Appalachian landscape. However, through rapid edits, such as, cutting out every second step...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  Sandy McLennan’s The Last Skate (2018) is a nearly opposite film, but one which is no less radical. McLennan abstracts the horizontal landscapes of a frozen Canadian lake, destabilizing...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  For years, Ryan and I had been on the peripheral of one another’s social and professional lives (we both attended the Alberta College of Art and Design and...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Two months later Ryan’s Nike-checked sneakers squeaked on Calgary’s Theatre Junction GRAND’s black-painted floor as they slid, twirled, and shimmied within a round pool of rosy spotlight in their...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Ryan performed Love Me Like There’s No Tomorrow for the M:ST (Mountain Standard Time) Performative Art Festival, a biennial event that coordinates collaborations between numerous art and performance organizations...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Los-Angeles based artist and film director William E. Jones used this 1962 Mansfield footage for his video works Mansfield (2006) and Tearoom (2007). Jones created Mansfield after finding a...