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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...
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Materiality, Interaction, and the Other: Colton Hash & Freya Olafson
Hash’s Acoustic Turbulence (2019) also mixes the physical and digital by using the Unity WebGL platform to allow viewers to interact with hydrophone data from Ocean Networks Canada.1Although the interactions are less complex...
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Ektoplasm-o-vision! with Guy Maddin
Over the last five years, Maddin has obsessed over remaking lost and unrealized films from cinema’s early decades, a period from which only a small fraction of films...
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Ektoplasm-o-vision! with Guy Maddin
ML: Do you imagine “ectoplasmovision” as one long word, or with hyphens? GM: I sort of deleted it from my memory after attempting to coin the term. It seems...
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A Revolution (Briefly) Embodied
For many in the Canadian South, there is Atanarjuat and then there is everything that came before: a pliable history whose key players are Robert Flaherty, the National Film Board and local broadcasting societies....
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Jason Edward Lewis: The Indigenous Future Imaginary
LUMA: What programs or mandates would you like to see in place in order to support visibility of this kind of work going into the future? ...
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Handmade Portraits
This is Lindsay McIntyre’s response to the “death” of the medium in the digital age. Hailing from Edmonton, McIntyre has been selected as the Visiting Artist for the 24th...
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Women Extracting Ghosts: Mining Place and Time in Nicole Kelly Westman’s ROSE, DEAR
The following day, we drive and walk the valleys of Wayne, Nicole collecting and adhering pieces of the past with the present on Super 8 film, way-finding through...
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Editor's Note
My family rented Spy Game (2001) from Blockbuster and took it back to our shitty townhouse at 5636 Pensacola Crescent, Calgary. I watched the whole film while smelling a...