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• Reclaiming the North

  Gould’s interview subjects are, like himself, southerners who have, for some reason or another, temporarily journeyed to the North. The thread of thought that unifies these characters is a...

• The Art Experience vs The Art Object: Performing Arts in the Digital Realm

  The performing arts are live. Dance-on-film has a rich history and animated objects are as often spotted on the screen (stop-motion, muppets, etc.) as on the stage, but...

• First Nations Involvement in Alberta’s Film Industry

  Laughter permeated sections of the screening, where a deep and profound sadness soaked into others. At one point in Little Big Man, General Custard and his army slaughter...

• Re-presentations, Adaptations, and VARIATIONS

   Canadian artist Michael Snow once described his own experiments with moving images as an attempt “to make a definitive statement of pure Film space and time, a balancing of...

• Inside “Western” Filmmaking: An interview with Katie Wackett of CSIF

  *KA:  Could you speak to some of the biggest challenges facing “Western” filmmakers overall?* KW: One of the main things that arises is being able to get outside of...

• Queers and Our Counterparts

  AF: Mm. NK: —Films, you know, can occupy those spaces as well, but also have their own life via, you know, social media, and the internet, and also— AF: Yeah, they go into...

• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The killer is in the house.  It's a classic trope that's been around since baby sitters started babysitting, since the earliest days of horror films. The underrated classic, Black...

• Double Visions: Stephen Broomer & Kyle Whitehead in Dialogue

  SB: Your description makes me think of the notion of spooky action: action at a distance, the notion in physics that—if I may abuse it and bend it...

• PRAYER FOR A LOST MITTEN: An Interview with Jean-Francois Lesage

  *GC: I think too, the choice of ending the film with collective hope rather than individual hope, can help. Especially because individual hope can be lonely, or even delusional....

• Black box, white cube, and something in the middle

  The jewel of the film series was Sergei Parajanov’s resplendent The Color of Pomegranates (1969), selected and introduced by Atom Egoyan. Through a sequence of episodic tableaux, Parajanov composes...