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Projecting Questions?
With the proliferation of digital projection, the presentation of moving images in art galleries has exploded exponentially. In the process, the relationship of experimental film to the gallery circuit has shifted dramatically. This volume, coming out of Mike Hoolboom's 2004 exhibition at the Art Gallery of York University, is a series of essays and conversations between artists, curators, and programmers that delineate the complicated path from the white cube to the black box. Mike Hoolboom has been called the finest fringe filmmaker of his generation. He has authored two books, Plague Years (1998), an anthology of his writings, and The Steve Machine (2008), a novel, and edited two books on fringe film practices, Inside the Pleasure Dome: Fringe Film in Canada (2000), and Practical Dreamers (2008). He has won over thirty international prizes and two lifetime achievement awards. He has also been the subject of nine retrospectives internationally. The Invisible Man was his first public gallery solo exhibition.
Practical Dreamers
The streets are full of admirable craftsmen, but so few practical dreamers.' - Man Ray Welcome to the world of fringe movies. Here, artists have been busy putting queer shoulders to the wheels, or bending light to talk about First Nations rights (and making it funny, to boot), or demonstrating how a personality can be taken apart and put back together, all during a ten-minute movie which might take years to make. In Practical Dreamers , twenty-seven artists dish about how they get it done and why it matters. The conversations are personal, up close and jargon free, smart without smarting. Mike Hoolboom talks footage recycling with Alessa Cohene ( Supposed To ) and Jubal Brown ( Life Is Pornography ); investigates the documentaries of Donigan Cumming ( My Dinner With Weegee ); looks at the Middle East with Jayce Salloum ( This Is Not Beirut ); discusses identity with queer Asian avatars Richard Fung ( Dirty Laundry ), Midi Onodera ( The Displaced View ) and Ho Tam ( The Yellow Pages ), and First Nations vets Kent Monkman ( Blood River ) and Shelley Niro ( Honey Moccasin ); and addresses the visions of Peter Mettler ( Gambling, Gods and LSD ).
The Steve Machine
Auden flees the small town of Capreol for Toronto, bewildered, HIV positive, and in search of an entirely new personality. He falls in love with orgy maestro Wrik, mainly because the old Auden would never even have talked to him. And through Wrik, he meets Steve Reinke, his new best friend. Steve – and here’s where it gets confusing – is, in real life as well as in The Steve Machine, a renowned video artist, someone who makes television for one person at a time, small-screen excursions designed to cure arthritis or night blindness. Despite being a virtuoso with video, however, Steve is not so good with love. He falls for a football star, and, with his medium-is-the-message videotapes, ...
Making It Like a Man
Making It Like a Man: Canadian Masculinities in Practice is a collection of essays on the practice of masculinities in Canadian arts and cultures, where to “make it like a man” is to participate in the cultural, sociological, and historical fluidity of ways of being a man in Canada, from the country’s origins in nineteenth-century Victorian values to its immersion in the contemporary post-modern landscape. The book focuses on the ways Canadian masculinities have been performed and represented through five broad themes: colonialism, nationalism, and transnationalism; emotion and affect; ethnic and minority identities; capitalist and domestic politics; and the question of men’s relatio...
Plague Years
Part autobiography and part exploration of the human body, Plague Years combines Hoolboom's musings on life with textual and visual excerpts from his film, video and performances to create an emotionally-charged dialogue between life and work in the shadow of AIDS.
North of Everything
This is the first book to comprehensively examine the development of English-Canadian cinema since 1980; previous books in English have dealt either with specific films or filmmakers, with policy, or with specific genres (avant-garde film, documentary, films by women, etc.). It deals with regional and institutional questions, with the new authors that are defining contemporary cinema in English Canada, with avant-garde work and work by Aboriginal people. Bringing together a wide variety of contributors, the book deals with an enormous amount of cinema that has helped transform North American culture of the last two decades.
Canadian Film and Video
This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original pub...
A Critical Cinema 5
A Critical Cinema 5 is the fifth volume in Scott MacDonald's Critical Cinema series, the most extensive, in-depth exploration of independent cinema available in English.
International Postmodernism
Containing more than fifty essays by major literary scholars, International Postmodernism divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world. Three important aspects add to the special character of International Postmodernism: The consistent distinction between postmodern...
