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

  While Foote’s photos have stood the test of time, films shot during the strike have largely been relegated to obscurity, and many of them have been lost forever. According...

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

  The years between the Mansfield footage being taken, Mercury’s career and death, and Ryan’s M:ST performance can serve as a timeline for the different ways that queer people have...

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

  It’s a surprisingly slippery story for such an important moment in Canada’s labour history, but that hasn’t prevented filmmakers from taking a stab at telling the strike story over...

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

  Newspapers from across Canada and the United States descended on the prairie city to cover the strike, but according to media historian Michael Dupuis, many of them failed to...

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

  For Schur, Sokolowski’s story illustrates the connections between the experiences of immigrant workers living in Western Canada just after World War I, and the growing nativist sentiment around the...

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

  Beyond the change in its name, the movie version will also have some significant changes in plot and characters. Schur says the film’s director Robert Adetuyi convinced him...

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

  Nisha Platzer and Malin Schmid’s Seed (2018) is an example of hand processing used in this way. The rough, mottled, hand-processed textures complement the close-up images of plants, water,...

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

  In Michael Lyons’ Porto Landscape (2018), a “city symphony” film set in Porto, Portugal, various temporal devices are used to complementary effects. Lyons plays with mixing different “speeds” of...

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

  Exemplifying a different approach to time, most of Kathleen Rugh’s Winter’s First Moons (2018) utilizes double and triple exposure to playfully combine footage of the moon in a free-flowing...

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

  In contrast, Mechanomorphic Nostalgia stimulates violent sensory overload by projecting two reels of film simultaneously. This splits the viewer’s attention, forcing the viewer not only to consider the entire...