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• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The telephone—a device that reinforces the theme of seeing/not-seeing—is the focus of some of the most terrifying scenes in Black Christmas, turning the killer into a bodiless, transcendent voice,...

• Slay, Okay

  It is with the much-discussed visual album’s disorienting ambition to simultaneously “challenge the ongoing present day devaluation and dehumanization of the black female body” and “to seduce, celebrate, and...

• An object is a slow event.

  Based now in Mexico City after having spent the last several years studying at Edinburgh College of Art and at CalArts in Los Angeles, De Laborde’s practice has evolved...

• Every Movie is a Ghost Story: an interview with Gemma Files

  Murray Leeder: Experimental Film joins Walker Percy’s The Movie-goer, Theodore Roszak’s Flicker, Steve Erickson’s Zeroville and others in the peculiar category of literary fiction about cinema, and even invokes a kind of “cinematic” quality in its section headings. How...

• Black box, white cube, and something in the middle

  Meet in the Middle uses the central theme of trauma as it relates to migration and memory reflected through film, art and the work located at their intersections. Twinning Saskatchewan...

• Jasmin Risk

  *Jasmin Risk* is an interdisciplinary artist whose videos, installations, and artist’s books use textiles as support and material. Risk’s work has been exhibited extensively in New York City, including...

• Jesse Cumming

  *Jesse Cumming* is a researcher, writer, and arts administrator based in Toronto. He is currently completing his M.A. in York University and Ryerson University’s joint Communication and Culture program,...

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• In Betweens

  “Unite Alberta.” In the wake of happenings south of the border, Jason Kenney, leading candidate for the Progressive Conservative Party of Alberta, has been inspired. Branding himself with the Alberta...