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• 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

  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...

• 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...

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

  Ryan performed Love Me Like There’s No Tomorrow for the M:ST (Mountain Standard Time) Performative Art Festival, a biennial event that coordinates collaborations between numerous art and performance organizations...

• 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...

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

  Los-Angeles based artist and film director William E. Jones used this 1962 Mansfield footage for his video works Mansfield (2006) and Tearoom (2007). Jones created Mansfield after finding a...

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

  Jones has exhibited the unedited, soundless footage at numerous exhibitions across the world, including the 2008 Whitney Biennial. Rather than editing the footage, the impact of Jones’s showing the...

• Stalking Our Doppelgängers: An Interview with Filmmaker Isaac Ezban

  I would say 23 days in Vancouver is equal to 40 days in Mexico. In Mexico, things move slower. For example, you might start shooting two hours after...

• How Real Do You Want Me To Be?: Kate Craig’s DELICATE ISSUE

  The soundtrack contains heavy breathing accompanied by the sound of a heartbeat. At times the heartbeat and breathing become slightly muffled by the microphone. In the initial shots of...

• Fostering Women and Filmmaking: 30 Years of Herland

  Herland is an organization that seeks to bring films by and about women to a larger audience. Originally a festival, Herland is now focused on advancing women's careers...