ISSN 1717-9559
Keyword Category : Non-Fiction Cinema
Annabel Chong Avant Garde Bill Morrison Brothers Quay Canadian Cinema Cuban Cinema Denys Arcand Documentary Donigan Cumming Experimental Feminism Festival New Media Found Footage Cinema Francois Miron Guido Hendericks Jonas Mekas Kenneth Anger Kurt Kren Mara Mattuschka Maya Deren Michael Moore Michael Snow Mockumentary Music Mutek Nelson Henricks NFB Okuzaki Kenzo Peter Jackson Peter Kubelka Peter Mettler Peter Tscherkassky Phil Hoffman Region Centrale Robert Frank Stan Brakhage Su Friedrich Valerie Export Wavelength
1.
Author Robert Robertson's sixth Offscreen essay on the audiovisual aspects of Sergei Eisenstein.
2.
Steffen Hantke reviews a book on David Cronenberg by Mark Browning which attempts to read Cronenberg through a literary rather than cinematic landscape.
3.
An interview with Doug Harris, writer/director of the Canadian film Remembering Mel.
4.
An brief look back at the capital cost allowance period in Canadian cinema, which acts as an introduction to the interview with Doug Harris.
5.
An interview with Philippe Spurrell, director of the Canadian supernatural mystery, The Descendant (2007).
6.
Coverage of the 8th installment of the Calgary International Film Festival.
8.
An earnest, DIY account of a sighted creature in the New Orleans, Louisiana area.
9.
An interview with the indie masters of camp aesthetics and underground trash (in the best term), the Kuchar bros.
10.
All too often film criticism takes itself too seriously. What if film criticism tried to be as entertaining as its product? Offscreen introduces 'Bran Stakhage's' new concept in film criticism: 'post-it' styled criticism which you could print out and stick on your kitchen fridge.
11.
In the first essay of this issue to eschew considerations specific to audiovisual relationships, Jonathan Sterne nevertheless continues with the more general theme of blurred boundaries by considering the hybridization of media technologies and musical instruments that we have become so used to in today’s world of basement recording studios and stadium DJ concerts.
12.
This essay serves as the point of transition between the two general sections of this edition of Offscreen: Sound in the Cinema and Beyond.
13.
In this essay, Brett Kashmere examines Ryan Tebo’s recent documentary Whoever Fights Monsters, a film which examines the nature of improvisational jazz through a unique approach to the filmmaking process itself.
14.
This piece centers upon a discussion with Hildegard Westerkamp about the use of her soundscape compositions in the films of Gus Van Sant.
17.
In this survey some of Offscreen's regular contributors speak their mind on cinema of the last ten years. Offscreen would like to thank the valuable contribution of its many writers. To note the obvious, Offscreen would not be where it is today if not for them.
18.
Author Krystle Doromal compares the on/off-screen personas of two Asian American actresses from different eras, Ann May Wong and Lucy Lui. Doromal argues that, while being typecast, these two actresses have also challenged the sterotypical images of Asian Americans in their own different ways.
19.
A review of the NFB's much anticipated DVD box set of Pierre Perrault's seminal Île-aux-Coudres trilogy.
20.
In-depth review of the Fantasia International Film Festival's first DVD release, a compilation of outstanding shorts shown at the festival over the past several years.
21.
In-depth review of the three short film DVDs from Cinema 16, with volumes dedicated to British, American and European cinema. Includes early short films by Ridley Scott, Asif Kapadia, Lynne Ramsey, Christopher Nolan, DA Pennebaker, Tim Burton, Todd Solondz, Jean-Luc Godard, Tom Tykwer, and Lars von Trier.
22.
An historical contextualisation of Santiago Álvarez' bold political/experimental short films.
23.
An overview of Richard Kerr's multimedia installation, Industrie/Industry.
24.
The recent video work series of four 50-minute filmic essays by Québécois giant Jean Pierre Lefebvre is analyzed for its cultural and aesthetic depth.
25.
An introspective analysis of what happens when aesthetization meets the politically volatile subject of global capitalism.
26.
An interview with young filmmaker Julia Loktev on her controversial film about a female suicide bomber, Day Night Day Night.
27.
A report on the 2006 edition of the Festival of New Cinema in Montreal, with a preamble on the etiquette of big theatre experience in the era of the multiplex experience.
28.
An essay on Hakan Sahin's first two features, Mirror and Snow, studies on the psychological effects of living in geographical isolation.
29.
A look at how two recent documentaries on the slasher/stalker film signals a paradigm shift in the horror genre.
30.
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.
31.
A philosophical analysis of Catherine Breillat's controversial Anatomy of Hell.
32.
An in-depth analysis of the representation of women in contemporary Iranian cinema.
33.
A somewhat irreverent, insightful analysis of two recent female-centered Iranian documentaries, The Ladies Room and Iranian Journey.
34.
An analysis of two recent documentaries exposing the social injustices of archaic law and custom in Israel and Central India: Sentenced to Marriage and Highway Courtesans.
35.
A tribute to the great Italian actresses Alida Valli, who passed away April 22, 2006.
36.
An analysis of how Jane Campion negotiates the conventions of the sex-noir thriller with more auteurist designs exploring female sexual desire and 'art film' aesthetics.
37.
An idiosyncratic look at contemporary thought filtered through popular art, literature, film, and philosophy.
38.
Part 2 of Peter Rist's look at classic Cuban cinema. A formal and cultural analysis of the short and medium length films of Cuban director Humberto Solas.
39.
An idiosyncratic look at contemporary thought filtered through popular art, literature, film, and philosophy.
40.
Review essay of Guy Maddin's The Saddest Music in the World which concentrates on issues of National and cultural identity.
41.
A review essay of Maddin's most recent docu-short on Roberto Rossellini.
43.
A cultural analysis of the Canadian comic phenomena of the Trailer Park Boys.
44.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
45.
An review essay of the compilation DVD from Index, Sonic Fiction: Synaesthetic Videos from Austria.
46.
An interview with the seminal figure in structural cinema, Peter Kubelka.
47.
An analysis of the recent Index DVD compilation of Austrian experimental director Peter Tscherkassky.
48.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
49.
An in-depth interview with co-writer and co-director of the Canadian noirish horror film Eternal.
50.
An inside look at one of the more intriguing film festivals in North America, the Telluride Film Festival.
51.
An analysis of Werner Herzog's mockumentary Incident at Loch Ness
54.
An in-depth essay on the 10th anniversary of Robert Lepage's impressive debut feature Le Confessional
55.
Revisiting a classic of Quebec cinema, La Petite Aurore, L’enfant Martyre.
56.
On the occasion of the launch of the NFB's DVD box set L’oeuvre documentaire intégrale de Denys Arcand 1962-1981, Isabelle Morissette meets with Denys Arcand on the subject of On est au coton and the influence that the documentary has had on his creative process.
57.
Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).
58.
The evolution of Québécois popular hero IXE-13 from serial novel to film.
59.
Mondo film, ethnographic film, Mondo Cane, Russ Meyers
60.
An analysis of two classic Cuban shorts, one pre (??El Megano??) and one post-Revolution (??La primena oaroa al machete??).
63.
These three documentaries, which adopt a “biographical” approach with their singular characters, present images of people who are at once ordinary and extraordinary, who through their tenacity and resilience are elevated to the status of myth.
64.
“Twist” makes an interesting companion piece to another recent Canadian film by director Tim Southam, “The Bay of Love and Sorrow” (2002). Unlike Tierney, for whom “Twist” represents his first feature film, Southam comes to “The Bay” with a more varied and experienced background.
65.
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.
66.
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.
67.
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.
68.
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.
69.
Fortunately in Aotearoa, we have the New Zealand International Film Festival not only to break up the slate of gray scheduled every year from June through August, but also to give us some food for thought about what kind of future we’re setting ourselves up for in the next few hundred years.
70.
Masterclass! short film workshops with UK writer/director/actor/educator Simon van der Borgh and US short film guru Kim Adelman.
71.
A Bleak Heroism of Images: “Woman, Thou Art Loosed” by Michael Schultz and “Moolaade” by Ousmane Sembene.
72.
Review of Maddin's latest film within the broader context of recent Canadian cinema and its reception in the United States.
73.
Along with Totaro's essay, this forms an in-depth introduction to the films of Guy Maddin.
74.
An analytical peek into the twisted world of Guy Maddin.
75.
Michael Vesia's report on the debut of Montreal's Italian Film Festival.
77.
An in-depth analysis of the representation of men and race across several varied recent films.
78.
I was fortunate to catch this low budget chiller at a late night screening at Montreal’s Cinema du Parc theatre on April 23, 2004. It had been a long time since I had seen this film, but for reasons soon apparent, it has remained finely etched in my memory.
79.
This interview, following the recent completion of his first film, will give us an insider view into the American independent cinema and a chance to better grasp the concept of ‘indie’ cinema.
80.
An impromptu three-way discussion on one of the most talked about documentary films ever.
81.
A Mäori proverb says you spend your life walking backwards because you can see the past but not the future—that’s why we trip.
82.
Hundreds of directors, producers, distributors, commissioners and others from all corners of the documentary industry from all corners of the world descended on Fremantle Western Australia for this year’s Australian International Documentary Conference (26-28 February). Sándor Lau dives into the belly of the beast in search of its soul.
83.
Analysis of Canadian filmmaker Phil Hoffman's poetic treatment of autobiography and aesthetics in Passing Through/Torn Formations.
86.
In this essay Garrett asks of himself: “What is a minor work of art, and what a major one? How do the perceptions about the social value of characters in film translate into one’s estimation of a film’s importance?” These are questions that occur when Garrett views two films focusing on Native Americans, Randy Redroad’s Haircuts Hurt and Norma Bailey’s Cowboys and Indians: The J.J. Harper Story, and then sees Denys Arcand’s The Barbarian Invasions.
87.
A report on the 4th Calgary International Film Festival.
89.
Garrett paints a loving portrait of Diana Ross as an American artist who has been both essential and inspirational for the better part of five decades.
90.
Part two of Hendriks' close textual analysis of Friedrich's personal odyssey.
91.
Part one of Hendriks' close textual analysis of Friedrich's personal odyssey.
92.
Political analysis of Alfonso Arau's Like Water for Chocolate.
93.
By Brett Kashmere and Astria Suparak following the Stan Brakhage Benefit Concert featuring Sonic Youth, Anthology Film Archives, NYC April 12, 2003.
95.
Stemming from his ongoing graduate work, first-time Offscreen writer Brett Kashmere delves headlong into the fascinating intersection of Brakhage and the cultural expression of the Post-World War II American avant-garde.
96.
Anyone who has heard Stan Brakhage lecture will probably be familiar with his now famous artistic credo, his “400 year plan”. Offscreen editor Donato Totaro provides a brief glimpse into the mountain of a man that was Stan Brakhage.
97.
Drawing on the wide-ranging theories of Michel Chion (Audio-Vision: Sound on Screen), William C. Wees (Light Moving in Time), Sergei Eisenstein (Nonindifferent Nature), Peter Kivy (Music Alone: Philosophical Reflections on the Purely Musical Experience), and Tom Gunning, Jordan explores how Brakhage's films and theory ask us to 're-learn' the fundamental principles of how we interect with the world around us.
98.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
99.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
100.
The notion of documentary truth might be best understood as that truth which is found in the way that we mentally organize our perceptions. Increasingly the theoretical understanding of documentary film is moving away from the notion of an inherent reality found within a film text and more towards an understanding of how texts are read.
101.
While lamenting the FCMM's decision to eliminate live performances (at least for this year), Randolph Jordan points to the short film as the one area where the FCMM continues its cutting edge, innovative programming.
102.
In a perfect world Peter Mettler would be a household name. Unfortunately it isn't. Stefik takes you on a journey with one of Canada's lesser known gems, filmmaker Peter Mettler
103.
Stefik tries to define the particular and unique qualities that make up the Peter Mettler film experience. Although largely a review of Mettler's latest films, “Gambling, Gods and LSD”, Stefik also touches on some of Mettler's earlier works.
104.
A recurring element that struck me during the 2002 Festival International Nouveau Cinéma Nouveaux Medias’ and which I have decided to use as my anchor for this report, is the fragmented narrative, and/or the anthology or omnibus format. Many films at the FCMM were structured using this time honored tradition. Films covered in this report include 11’09’’01, Ten, Gambling, Gods and LSD, Dolls, and Elsewhere.
105.
The top of Michael Snow’s curriculum vitae reads, born: Toronto, Ontario, 10 December, 1929. Occupation: filmmaker, musician, visual artist, composer, writer, sculptor. As Canada’s best-known living artist, Snow is also one of the world’s two most highly acclaimed experimental filmmakers (the other being Stan Brakhage, US).
106.
La Région Centrale (Quebec, 1971, 180 min., 16mm, color) is arguably the most spectacular experimental film made anywhere in the world, and for John W. Locke, writing in Artforum in 1973, it was “as fine and important a film as I have ever seen.” If ever the term “metaphor on vision” needed to be applied to a film it should be to this one. Following Wavelength, Michael Snow continued to explore ...
107.
Thirty-five years after its inception, Wavelength (Ontario, 1967, 45 min.) remains one of the most vital and (still) groundbreaking films in the history of experimental cinema. It is, quite simply, the “Citizen Kane” of experimental cinema. Screenings of Wavelength in and out of academic situations have probably generated more mixed emotions-frustration, boredom, exhilaration and awe (sometimes in the same spectator)- than any other film.
108.
If ever the term “Renaissance Man” applied, it would be to Michael Snow. Most artists would be pleased to have made inroads into one art, but Snow is a strange beast, extending his creative talons into music, painting, sculpting, photography, and film (are you dizzy yet?). So as ecstatic as we were to have one hour with Snow out of his extremely busy schedule, we realized given his prodigious achievements....
109.
The films of Michael Snow require a certain intellectual disposition. To be fully understood and appreciated they should be placed within the context of art history, and more specifically modernism, where each medium’s intrinsic value is maintained. But aren’t such pretensions to a medium’s purity merely utopian, or in the least fragmentary or incomplet
110.
Michel Chion’s Audio-Vision: Sound on Screen presents some compelling strategies for approaching and interpreting the use of sound in film, and provides many avenues for using sound as a way of understanding cinema from a more transcendental frame of mind. What Chion discovers through his process of coming to terms, so to speak, with his expanded vocabulary for sound analysis is that much of the deeper experience we get from cinema is a direct result of the transcendence....
111.
Offscreen welcomes Vancouver correspondent Tim Newman as it extends geographically to the Western coast. As a first-time coverage for Offscreen, Newman's descriptive prose captures the all-important ambience of one of Canada's premiere Film Festivals.
112.
Iran has Samira Makhmalbaf and a famous father named Mohsen. Italy has Asia Argento and a famous father named Dario. The parallels pretty much stop there.
114.
In the first of a two-part analysis, Leah Hendriks explores the fascinating interconnections that exist above and below the surfaces between maverick director Stanley Kubrick and the experimental film works of Maya Deren, Jordan Belson, Stan Brakhage, and Kenneth Anger. Hendriks concentrates mainly on 2001: A Space Odyssey (in part one) and Eyes Wide Shut (in part two).
115.
Perhaps still an appendice to the mega-Just For Laughs Comedy Festival, the new programming crew are out to make a mark.
116.
A focus on the documentaries and shorts, with a special attention given to How's Your News?
117.
Can cinema reproduce the full sensorial spectrum, and if so, what would this cinema look like?
118.
Randolph uses Clive Barker's The Forbidden to explore how the Faustian myth of immortality persists in contemporary attempts at reproduction and regeneration through the intersections of art and science, art and nature, and music and film.
120.
A long overdue look at Zulueta's lost cult classic, Arrebato.
121.
Firstrun Features does an admirable job with the DVD transfer of Dariush Mehrjui's excellent Leila.
122.
The first of an extensive, three part report on the music and sound festival Mutek.
124.
A review which tries to capture the unique experience which is Béla Tarr’s Sátántangó.
125.
An interview with Montreal-based filmmaker Roshell Bissett on her first feature, the horror film Winter Lily.
126.
An in-depth analysis of an overlooked silent film classic by Russian emigré Dimitri Kirsanov.
127.
An overview report on New Zealand's International Short film festival.
129.
Should feminist scholarship be looking beyond American horror for a more varied representation of female desire and sexuality?
130.
Good things do come in small packages, with this subtle and delicate low budget digi-film that dignifies 24 hours in the life of two flawed, yet endearing losers, lovers Alex and J.D.
131.
A roundtable discussion with filmmakers Robin Schlaht, Roy Cross, Michael Crochetière, and film critic/writer/teacher Johanne Larue.
132.
Randolph Jordan relies equally on his 'eyes' and 'ears' as he concentrates on the often overlooked juxtaposition of sound and image, a dialectic that is becoming an increasingly important part of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
133.
Part two of Randolph Jordan's coverage of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
134.
A review of Robin Schlaht's recent Canadian feature Solitude.
135.
The subject of Cane Toads is so bizarre, and the reaction of the people interviewed so emotionally polarized, that it feels like a mockumentary. On the broad scope of things, Cane Toads tells the cautionary tale of what can happen when nature is tampered with.
136.
A relatively new breed of film comedy hybrid has emerged in the past 20 or so years, the 'mockumentary.'
137.
Offscreen presents this probing interview with the Brothers Quay, conducted in Trieste, Italy.
138.
Early in 2001 Hors Champ presented a 4-day event featuring a selected program of vintage works by one of America's leading visual artists, experimental filmmaker Stan Brakhage. Nicolas Renaud recounts what was for many an extremely moving 4-day aesthetic experience.
139.
Fantasia, in its 6th year, continues to grow and mature as an important and eclectic film festival.
140.
Offscreen presents for the first time in its orginal English language, this revised version of an essay that appeared in a French translation in Séquence magazine in 1995. Read on to see how Peter Jackson revolutionized horror (or comedy?) with his startling early feature films.
141.
Offscreen welcomes Randolph Jordan with his first of a two-part festival report on Fantasia 2001.
142.
The definitive interview on one of Montreal's most notorious independent feature films, Subconscious Cruelty. Enough said.
143.
An in-depth festival report on the fifth installment of the Fantasia Film Festival (2000).
144.
Part two of Peter Rist's critical assessment of Iranian films that played at the most recent of the major Montreal film festivals.
145.
A look at Atom Egoyan's Family Viewing as both a springboard and touchstone for an inquiry into the nature of time and how shifting perceptions and attitudes toward it have effected society and the individual.
146.
One of the most influential and important horror magazines, Fangoria horror magazine, selects Spanish director Nacho Cerda as one of the 13 rising Horror stars to keep on eye on.
147.
The Montreal-based Tana discusses these films and his experiences as an Italian-Canadian filmmaker.
148.
Another edition of the FCMM has come and gone, and I can not remember an edition which featured as many programmers and organizers brimming with perennial smiles.
149.
The Emperor's Naked Army Marches On is an impassioned cinema verite-styled account of the one-man wrecking crew/dissident Okuzaki Kenzo, an ex-Private of the 36th Engineering Corps who fought in the West Pacific during World War 2. Read review of recent book on the film.
151.
Will Buster Keaton ever date? Unlikely, as this recent retrospective demonstrates.
152.
The Award winning Canadian experimental narrative film Subterranean Passage is a meticulously layered visual puzzle that slowly unravels through a series of echoing motifs on the wonder and resiliency of childhood imagination.
153.
Text of the lecture given by Donigan Cumming as part of a series of video screenings in France, October 25th to November 2nd 1999.
154.
Canadian director Atom Egoyan discusses his existential serial killer film Felicia's Journey.
155.
Genghis Blues touches the very core of the human soul -as great music does- and demonstrates with poetic simplicity how music can be the great cultural leveler. How else can you explain the immediate, symbiotic link that is established between a burly, blind, near-forgotten San Franciscan bluesman and the people of a remote Central Asian nation, Tuva?
156.
The 28th International Festival of New Cinema and New Media set the marker posts on the route to the future. This one festival comprises two very separate events that –for the moment– have little to do with each other.
157.
The continual blur of Montreal Film festivals does not allow the seasoned filmgoer much chance to breathe, let alone contemplate each individual festival within the city’s cinematic global whole.
158.
Leslie Nielsen was in Montreal this past summer shooting the (Canadian-German co-production) film, 2001: A Space Travesty, which he not only stars in but also co-wrote with Joseph Bitonti, Francesco Lucente, and Olimpia Lucente, and served as executive producer. The following interview took place during a set visit on August 25th, 1999.
159.
During the 1999 Fantasia Film Festival Montrealers were “graced” with the presence of Grace Quek (alias Annabel Chong), in town promoting a documentary about her life entitled SEX: The Annabel Chong Story, directed by Canadian filmmaker Gough Lewis.
160.
Sopyanje is a stirring Korean style road movie that weaves emotive Korean folk music (Pansori) and pastoral landscapes with a powerful plea for Korean identity.
161.
In its 27th version, the International Festival of New Films / New Media in Montreal took a leap forward by returning to its roots. In shifting focus from the carnival-like elements that have predominated since the festival's move to a summer venue and back to the programming, the festival again filled its important niche on the Montreal festival landscape.
162.
As part of his method he becomes one of the combatants or performers, knowing that each scene will present a different battle. If each new video is born from this type of process then Cumming is not only the field commander but a soldier as well.
163.
Lech Majewski, writer/director of The Roes' Room, calls his film an “autobiographical film opera”. A writer and director of opera as well as of film, Majewski composed the music and libretto that provide the text of the film.
164.
The latest incarnation of the Festival of New Cinema and New Media (FCMM) runs from October 15 to 25 and seems to be another attempt at redefining itself.
165.
In “Asian potpourri”, the adventurous reader will find a series of loosely connected reviews of films from Iran (from this past year's Festival of International Cinema and New Media) and Central Asia.
166.
A Gun for Jennifer is a ballsy, energetic feminist revisionist take on the traditionally male revenge action film. After a successful festival run, it has seen comparisons to such female revenge films as Ms. 45 and Thelma and Louise, though...
167.
Both the Canadian Kissed and Spanish Aftermath deal with the taboo subject of necrophilia. However, the respective filmmakers Lynne Stopkewich and Nacho Cerdà are as far apart in approach as there native countries are geographically.
170.
Linoleum floors, toy horses, souvenirs, ash trays, slippers, sagging skin, shriveled hands, truth and dare; CUT THE PARROT is a tragic comedy with an artist and caste of marginal performers whose guttural monologues take on the characteristics of
171.
SHANGHAEID TEXT is an interesting experimental short that blends original footage with a variety of found footage (Soviet and Hollywood films, soft porn, riot footage).
172.
The sciences do not try to explain, they hardly even try to interpret, they mainly make models.
173.
In a John Ford film, death is inevitably followed by birth in order to propel the reaffirming, regenerating life-cycle; likewise, the same week that saw the death of two cinema icons, Jimmy Stewart and Robert Mitchum, sees the flagship issue of Offscreen.
174.
After ten plus days of hectic film/video and moving image viewing, the FCMM is over, leaving a year void to be filled in by other film festivals. The point, however, is that none of the other festivals are going to be anything like this one.
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