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• Editor's Note

  Lozano-Hemmer comments on art during the pandemic: With the continued devastation of COVID-19, experts have predicted that Museums will take years to recover, that crowded shows will be a...

• 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,...

• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  Currently, as we live through a pandemic with government mandated self-isolation, we are facing increasingly online and networked existences. So many interactions and behaviours that consisted of physical humyn...

• Human Rights and Film at 150

  *AC: The CMHR is located in Winnipeg and as a national museum celebrates stories from across Canada and around the globe. How have you enabled people to engage...

• Telling Women’s Stories: A Spotlight on NFB Animation

  She takes up a job as a bearded lady in a sideshow but eventually comes back to her partner. It would seem that she misses flying through the...

• Movement as Activism

  Ties made through social media however—groups on Facebook, Twitter hashtags, Instagram private messages—are low-risk, with a low level of accountability. While they succeed in exposing a User to new...

• Editor's Note

  For me gallery going is one of the safer public activities to pursue these days: an almost silent, distanced, and individualistic time to commune with the artworks on display. A...

• 1700 films, 1000 people, and 150 clubs: a not-so-Amateur Movie Database

  AMDB’s research team also works with librarians, data specialists, and archivists to continuously enhance records in addition to expaning the database. Records are enhanced by adding archival film holdings...

• Editor's Note

  Media art and film creators are particularly fortunate given their creations can often be made available to the online masses either for free or behind a paywall. Still...

• THE QUEEN OF MY DREAMS: An Interview with Fawzia Mirza

  *KH:* It must have been hard to transform those images in Pakistan into the 1960s.  *FW:* Pakistan does not look the same. Karachi does not look the same. There’s just so many...