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Keyword : Experimental


An interview with writer/director of the experimental narrative short film The Edifice.


An overview of the short film programs at the Festival Nouveau Cinéma 2009.


An interview with Michael Snow while visiting Concordia University.


A 10th Anniversary look back to the summer of 1997.


An historical contextualisation of Santiago Álvarez' bold political/experimental short films.


An overview of Richard Kerr's multimedia installation, Industrie/Industry.


A review of François Miron's revisionist, Sapphic film noir, which imagines a world where women act like Humphrey Bogart and men are nervous, jittery and timid.


A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.


An review essay of the compilation DVD from Index, Sonic Fiction: Synaesthetic Videos from Austria.


An interview with the seminal figure in structural cinema, Peter Kubelka.


An analysis of the recent Index DVD compilation of Austrian experimental director Peter Tscherkassky.


A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.


Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).


This essay is a response to having seen a two programme retrospective of Bill Morrison’s work on April 28 and April 29, 2004 at La Cinémathèque Québécoise.


Recent films of New York filmmaker Bill Morrison have been concerned with the particular struggle between film and its material medium. There is a conflict between the image and matter which ruins the narrative of the original, twisted by the gnawing power of time, but which at the same time produces a paradoxical tale of ruins, born out of this double resistance of the filmic image and its material.


It is during the retrospective of his work that was held in Montreal, on April 28-29 2004, at the Cinémathèque québécoise, that New York filmmaker Bill Morrison gave us this long interview, in which he discusses his background, his career, and certain essential features of his artistic and intellectual process, dwelling on issues concerning new technologies, the memory of the film material and the historicity of the filmic medium.


The fact that Decasia (USA, Bill Morrison, 2002) has had many screenings at an equal amount of very diverse feature and documentary film festivals is testament to its slippery nature.


Review of Maddin's latest film within the broader context of recent Canadian cinema and its reception in the United States.


Along with Totaro's essay, this forms an in-depth introduction to the films of Guy Maddin.

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