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• Editor's Note

  The second video art installation that has been replaying in my mind like a loop in a black box gallery is Steve McQueen’s Deadpan from 1997. McQueen recreates...

• The Instability of Place: Kevin Lee Burton, Paul Wong & Amanda Strong on grunt gallery’s Urban Screen

  As Steryerl explains, “Senses and things, abstraction and excitement, speculation and power, desire, and matter actually converge within images.”⁶ Burton’s work breaks down the binary between subject and object. He opens...

• The Instability of Place: Kevin Lee Burton, Paul Wong & Amanda Strong on grunt gallery’s Urban Screen

  In Amanda Strong’s work the idea of place is explored through a six-minute, stop-motion animation titled Ghosts. It’s a story about the plight of the wolf and the caribou that...

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

  In Flawed (2010), Andrea Dorfman takes on the issue of body image. She draws and paints in real time as she tells a series of stories from her...

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

  When I show this film in my Feminism & Popular Culture classes, my students often comment upon how unusual it is to see older and unidealized naked bodies...

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

  Sam Decoste’s Mary & Myself from 2013 follows two Chinese Canadian women as they rehearse for a production of Eve Ensler’s The Vagina Monologues¹³ where they are going to play...

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

  The animation uses first person narration to tell not only the story of the performance but also to call attention to the history of “comfort women”. More historical information...

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

  Albertine Zullo and David Toutevoix’s The Cannonball Woman (2017) is about Madeline, a woman who loves to fly through the air after being shot out of a cannon....

• A Formalism of Feeling: Queer Temporalities and Memory in PORTRAIT OF A LADY ON FIRE

  The temporal structure takes us from the film’s present to the past of memory, or what theorist Gilles Deleuze calls “a sheet of the past.”¹ The opening credits are...

• A Formalism of Feeling: Queer Temporalities and Memory in PORTRAIT OF A LADY ON FIRE

  The film’s slowness is essential to its nuanced development of desire over time, but the queer optics of this timeliness are challenged by Rosalind Galt and Karl Schoonover’s arguments around the queer potentials...