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• 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

  The emotional toll Love Me Like There’s No Tomorrow had taken on Ryan was easy to observe. After the record player’s needle finished tracing its way across the...

• 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...

• Stalking Our Doppelgängers: An Interview with Filmmaker Isaac Ezban

  George Melnyk interviews Ezban about Parallel (2018) and how working in Western Canada has impacted his career and his vision as a filmmaker. *GEORGE MELNYK: This is your first English-language film made...

• Stalking Our Doppelgängers: An Interview with Filmmaker Isaac Ezban

  I would say 23 days in Vancouver is equal to 40 days in Mexico. In Mexico, things move slower. For example, you might start shooting two hours after...

• How Real Do You Want Me To Be?: Kate Craig’s DELICATE ISSUE

  The soundtrack contains heavy breathing accompanied by the sound of a heartbeat. At times the heartbeat and breathing become slightly muffled by the microphone. In the initial shots of...

• Time Record: A Memoir of Teenage Cinephilia by VCR

  I first saw The Mephisto Waltz not on a commercial VHS tape, either rented or purchased, but as one taped off of broadcast television. I last saw it...

• A Lineage of Self: Vivek Shraya’s TRISHA

  In the third diptych in the series, Shraya’s mother is draped in a pink robe, her arms wrapped around a stuffed animal. Shraya’s recreation alters slightly, and therefore personalizes,...

• A Lineage of Self: Vivek Shraya’s TRISHA

  Trisha is an interesting space in this regard, given that Shraya enacts and cultivates subjectivity in complex ways. There are two immediate and visible subjects of Trisha: Shraya’s mother...

• A Lineage of Self: Vivek Shraya’s TRISHA

  Shraya discusses how the photos she is recreating are mediated: “I suspect that many of the vintage photos of my mom are the ones that my dad took,”...