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• 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...

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

  As the dynamics between the women transform from an aching desire to becoming passionate lovers, the function of the film’s slow tempo and careful gaze begin to change....

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

  It is noteworthy that during Marianne’s final days, she is haunted by prophetic, images of Héloïse in her wedding dress. Occurring right before having sex with Héloïse for the first time, and...

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

  With these instances, Sciamma flirts with the coincidences present in heterosynchronic texts. What are the chances that Héloïse would still own the book so many years later, that the painter would...