Genres: experimental

  • Triumph of the Willie

    Three city sketches: The mindless, Triumph of the Willie, they come from outer space. With my video camera I traveled inside the Greater Toronto Area and documented the ugliness and insanity I saw. Live footage combined with animation to give a sense of this horror.

  • Ithaca

    Someone returns, supposedly: but who? A hero? A lover? A father? Some adventurer, or just an errant soul? A mere nobody? A plotter? A thief? And returns to what? What can this “Ithaca” be, if indeed it can be something more than mere nostalgia, the wounds of returning? A piece about loss, and finding, and founding. Setting keel to breakers, forth on the winedark sea. In the sinking whalebrow. (MC)

  • All Form, No Substance

    A witty exploration of the mid-1980’s trend of excessive film techniques that seem to add very little substance to a film.

  • Burial Path

    The film begins with the image of a dead bird. The mind moves to forget, as well as to remember: this film, in the tradition of THOT-FAL’N, graphs the process of forgetfulness against all oddities of remembered bird-shape. The film might best be seen along with “Sirius Remembered” and “The Dead,” as the third part of a trilogy.

  • Centre

    A series of narrative events, stories if you like, but so clustered visually as to have a centre, so to speak, slightly off centre.

  • Clancy

    This is a portrait of the man I choose to call “the greatest I’ve known”: Clancy, whom the fates surnamed Sheehy, personifies for me that which is simply human beyond condition and all conditioning.

  • Creation

    “… almost like the Earth itself – the green ice-covered rocks, the slicing feeling, the compressive feeling of the glaciers. The whole time I was watching I kept thinking that you were a master of the North, the arctic landscape – the dark red flowers in the dusky light, the deep blue light, the tall trees with the running mists, and Jane looking… the ice, the water, the moss, the golden light. A visual symphony…” – Hollis Melton

  • Eyes

    After wishing for years to be given the opportunity of filming some of the more “mystical” occupations of our Times – some of the more obscure Public Figures which the average imagination turns into “bogeyman” … viz: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970 – this opportunity due largely to the efforts of a Pittsburgh newspaper photographer, Mike Chikaris – who was sympathetic to my film show at the Carnegie Institute and responded to my wish as stated on…

  • Dominion

    The “Dynamo theories” of Henry Adams portrayed in first person/sexual vision: an American businessman as lord of all he surveys.

  • Canada Mini-Notes

    An episode, complete in itself, excerpted from “Gravity is Not Sad, But Glad,” this film consists of a series of flipbooks. The contents of the flipbooks offer comments on aspects of history, culture and the nature of seeing.