Search Results

You searched for "how+do+i+use+normal+lighting+in+escape"

• 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...

• 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...

• 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...

• Machine Language Protocol: Jeremy Shaw’s QUANTIFICATION TRILOGY

  The “interviews” and the rest of Quickeners, has been reworked from real-world documentary footage about a snake-handling Evangelical Christian sect from Appalachia in mid-century America. The black and white...

• Machine Language Protocol: Jeremy Shaw’s QUANTIFICATION TRILOGY

  I Can See Forever, the final film in the trilogy, shifts its filmic style into a kind of mid-nineties documentary interview show in the style of Discovery Channel programming....

• Creation, Loss, and Rediscovery: On Sandi Tan’s SHIRKERS

  As the documentary unfolds, duplicity and doubling emerge: duplicity enacted by Cardona and doubling by Tan. When the film canisters finally do appear decades after their loss, Tan is...

• Femme, Fierce, & f-stops: Women Working in Photography

  *CYG: People often glamorize working as a freelancer: you get to pick your own hours, work from home, be your own boss, etc. I know that isn’t always...

• Editor's Note

  When I was a kid I absolutely adored the Wonder Woman TV series. To me, she was an aspirational, kick ass, female warrior. She made me believe that...

• Such partnerships, too: Eveline Kolijn’s THE OCEAN INSIDE

  Much has been written and discussed about the gaze of the camera: it’s patriarchal, steely glare simultaneously fetishizing and sterilizing its subjects into submission. From the lens of a...

• Matthew Rankin Asks “Who Owns The Twentieth Century”?

  *GC: There’s something so Canadian about that.* MR: Yes! We’re living in this very binary era and the elastic is really stretching to the snapping-point. So the centre is...