Film Format: Digital File

  • Politics of Perception, The

    Selected for the 11th Paris Biennale of Modern Art and included in the collection of numerous museums and universities, “The Politics of Perception” is a film essay concerned with the language of the film medium. At its point of departure, it is a meditation on the images, sounds, rhythm and sub-text of the “entertainment” film. A Hollywood discourse is stripped of its fleshly covering to reveal the mechanics of its manipulations, at the same time liberating the kinematic and photochemical energies “trapped” in its representational content/form. At its apogee it is an invocation of the forms and textures of film…

  • Reading Between the Lines

    Reading the replies to a personal ad she has placed, a woman imagines herself in relationships with three different men. The film uses both layering and fragmentation to weave a web of associations and create a dynamic and fast-moving flow of images and events. Quick flashbacks, like momentary thoughts, accumulate. The reading voice is the constant, a soft steady interior voice around which the images dance and leap. The most dramatic moments of a given scenario are played out in a realistic fashion, and some scenarios, differently imagined, are repeated with each of the men: the restaurant, the dance, the…

  • Reason Over Passion

    “Joyce Wieland’s films are among the most endearing I have ever seen, making her point and sealing the issue in a womanly way without any concern for ragged edges. ‘La Raison Avant la Passion’ is a whirlwind view of Canada with an anti-dialectical premise.” – Douglas Pringle, ArtsCanada “REASON OVER PASSION… is Joyce Wieland’s major film so far. With its many eccentricities, it is a glyph of her artistic personality; a lyric vision tempered by an aggressive form and a visionary patriotism mixed with ironic self parody. It is a film to be seen many times.” – P. Adams Sitney,…

  • Snow Search

    “Snow Search” finds four performers searching for each other, each carrying one quarter of a photographic portrait of Michael Snow. A lyrical exploration through the city and an homage to Michael Snow.

  • Square Inch Field

    “‘Square Inch Field’ surveys the micro-macro universe as contained in the mind of man. In that square inch field between the eyes… Rimmer projects a vision of the great mandala of humanity’s all-time experience in space/time… powerful aesthetic integrity.” – Gene Youngblood

  • Toile, La / Shade

    “‘Shade’ is a near exhaustion of the possibilities between camera (aperture, focus) and nature (sun, wind). It is a beautiful study-poem on the undying presence that renders the world perceptually. In this minimal area, the variations are pursued with quiet doggedness, each frame revealing the secret of the next.” – Mike Reynolds, Berkeley Barb

  • Trapline

    “Trapline” represents a new way of considering film as a vehicle of projected movement… The film is composed entirely of static camera shots. “Ellie Epp’s ‘Trapline’ (1976) maps another way out of structural film toward a cinema of delicate implication.” – Bart Testa, Canadian Encyclopedia “Several filmmakers continue to explore space and landscape on film…. Ellie Epp’s ‘Trapline’ (1976) is the most cooly beautiful of all: filmed in the Silchester Road Public Baths, London, it sets a sequence of geometrically organized shots, outwardly but gently alive with light changes, ripples and reflections, within the continuous, distantly reverberant sound space of…

  • UR Lucky

    I placed a medallion on the sidewalk and filmed whoever happened along to pick it up. The film is about not being able to have control over the event, and the acceptance of this fact. This is the first film in my Performance Trilogy, a series of films which also include “Snow Search” and “Making a Scene.” (MD)

  • VARIATIONS ON A CELLOPHANE WRAPPER

    “The basic image is a female factory worker unrolling a large sheet of cellophane… The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction.” – Kristine Nordstrom, The Village Voice

  • Winter Last July

    A personal ‘travelogue’ of Australia frames images of palm trees, ferries, flags and dark corners of light and shadow drawing a solitary exploration. “A flag waving gracefully in a series of dissolves and double exposures underlines the poetic reality evoked in Winter Last July, reinforced by the filmmaker’s own haunting piano soundtrack” (Ann Arbor Film Festival 1984)