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• 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,...

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

  The idea of creating a film about the strike as seen through the windows of a steam bath came to Gonick after seeing an exhibit for its 75th...

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

  The term Anthropocene was popularized in the early twenty first century by Dutch chemist Paul J. Crutzen, who proposed a new demarcation of geological time characterized by a variety...

• 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

  Native Elegance of the Soul, or Like, Whatever is framed as a walk through the Appalachian landscape. However, through rapid edits, such as, cutting out every second step...

• 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...

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

  Sandy McLennan’s The Last Skate (2018) is a nearly opposite film, but one which is no less radical. McLennan abstracts the horizontal landscapes of a frozen Canadian lake, destabilizing...

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

  For years, Ryan and I had been on the peripheral of one another’s social and professional lives (we both attended the Alberta College of Art and Design and...