Film Format: 16mm

  • Oops!

    “Oops!” is about the waste product of our impressive creations; what goes around comes around. “Oops!” uses drawn animation (markers, watercolours, pastels, inks), painting on glass, photocopy montage, cut-out animation, claymation, and pixillation.

  • Ophelia and The Cat Lady

    Two films on one reel. With Liz Reiner (OPHELIA) and Carla Liss (THE CAT LADY). On one level the films are portraits; on another level the first is inspired by reading about the painting of John Millais’ “Ophelia,” and “The Cat Lady” is an homage to the horror films of the filmmaker’s childhood movie going.

  • Optic Nerve

    Of this film Hammer says, “It is about the fragility of both film and life as the sterility of a nursing home is memorized with veils and faded patterns of the past by the filmmaker imagining what her grandmother is seeing.” The film won first prize in several film festivals, was chosen for the 1987 Whitney Museum of Art Biennial and was premiered at the London International Gay and Lesbian Film Festival in 1988.

  • Opus 1 No 1

    This film, in Sonata form, traces the development and final performance of a Beethoven chamber piece by a trio of very gifted young musicians.

  • Opus 2

    “Opus 2” is an intimate and exciting film portrait of three very gifted young musicians – violinist Barry Shiffman, 15, pianist Yuval Fichman, 17, and cellist Wendy Morton, 18 – who form a chamber music trio under the guidance of noted teacher and music coach, Mildred Kenton. The film is a sequel to “Opus 1 No 1” and follows the three musicians on a rigourous journey through the prestigious Canadian Music Competitions, as they progress from the regional preliminaries to the gruelling national finals. Along the way, the film explores their very specialized world, offering insights into its many pressures,…

  • Autumnal

    This is a film composed of two elements: (1) simple hand-painted frames and brief strips of hand-painting, and (2) strips of blank colours, which appear as overall hues or colour tones filtering light itself rather than any pictured scenes. These two elements are interposed in editing so as to suggest the seasonal changes of tree-leaf (from greens to golds, reds and browns) and the sky (from varieties of warm-to-cold blues).

  • Opus 40

    “Opus 40” is about repetition: repetition in working and living, repetition through multiplicity and series, repetition to form pattern and rhythm, repetition in order and in revealing. “Opus 40” was filmed in the Enterprise Foundry, Sackville, New Brunswick, and has excerpts from Gertrude Stein’s writings.

  • Orientation Express, The

    By animating three decades of LIFE Magazine, “The Orientation Express” humorously guides us through the sexism of North American media. Hosts such as The Quaker Oats Man, Colonel Sanders, and The Kool Aid Jug explore “the feminine mystique.” This film highlights how attitudes towards women have changed and works to eliminate stereotypes which still persist today. “A technically polished animated film…devoted to an amusingly didactic re-expose of the horrors of sexual stereotyping, circa 1950.” – The Globe and Mail

  • Our Lady of the Sphere

    The mystical Lady with the orbital head moves through the carnival of life in a Surreal Adventure. A classic. Show it to anyone who likes movies. “A beauty … a genuinely mystical excercise.” – Howard Thompson, N.Y. Times “‘Our Lady of the Sphere’ – perhaps Jordan’s most exquisitely perfect creation – is a color collage of roccoco imagery juxtaposed with symbols of the space age. The images metamorphose, transmute, interpenetrate and otherwise change with the fluid effervescence of bubbles rising out of water, punctuated by sudden flashes of light, alarm buzzers and abrupt visual surprises. It is a mystical, jewel-like…

  • Our Trip

    “Feminist filmmaker and performance artist Barbara Hammer has celebrated her recent trip to Peru with her friend Corky Wick through a diaristic animation of photographs they took during their travels. Landscapes and portraits are given growing patterns of framing and texture with magic markers and tempera paint, expressing the richly evocative folk art of the Incan people they saw as we hear their native music resonate on the soundtrack.” – Anthony Reveaux