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  • Maltese Cross Movement, The

    “The film reflects Dewdney’s conviction that the projector, not the camera, is the filmmaker’s true medium. The form and content of the film are shown to derive directly from the mechanical operation of the projector – specifically the maltese cross movement’s animation of the disk and the cross illustrates graphically (pun intended) the projector’s essential parts and movements. It also alludes to a dialectic of continuous-discontinuous movements that pervades the apparatus, from its central mechanical operation to the spectator’s perception of the film’s images… (His) soundtrack demonstrates that what we hear is also built out of continuous-discontinuous ‘sub-sets.’ The film is organized around the principle that it can only complete itself when enough separate and discontinuous sounds have been stored up to provide the male voice on the soundtrack with the sounds needed to repeat a little girl’s poem: The cross revolves at sunset The moon returns at dawn If you die tonight, Tomorrow you are gone.” – William Wees, “The Apparatus and the Avant Garde,” Cinema Canada

    Maltese Cross Movement, The

  • Making a Scene

    Offers passersby the opportunity to don a mask and become either an elephant or a mosquito. A look at people’s inhibitions.

    Making a Scene

  • Make Some Noise

    “Make Some Noise” is an hour -long documentary that examines the underground rap music scene in Toronto. It focuses on the rappers, disc jockeys, managers, producers, radio annoucers, and personalities who are creating a Canadian hip hop culture.

    Make Some Noise

  • Magic Man

    A ritualistic mood piece with colour-rich images. With Robert Cowan, Mike Kuchar, Donna Kerness, Mr. E and others.

    Magic Man

  • Maestro: King of the Cowboy Artists

    What happens when a dedicated husband and father quits his job, adopts the persona of a Western-Movie Singing Cowboy, takes on the entire art establishment (including Christo and Andy Warhol), and refuses to accept money for his art ? Meet Gerry Gaxiola, AKA The Maestro, an ex-wage slave who gave up everything to make art for art’s sake. The Maestro’s story could inspire a whole new generation of Van Goghs. With: The Maestro Rides Again! (30 min. 2005)

    Maestro: King of the Cowboy Artists

  • Archaeology of Memory (silent)

    Beginning in scratches of light, this film evolves through colour, rhythm and multiple images tracing a history of cinema from mythical beginnings to the thread of personal memory, peering into the everyday pathology of family, sex and death. “A kind of double history that intertwines autobiography with the development of cinema, it’s a stunning, enormously seductive array of images …” – Cameron Bailey, NOW Magazine

    Archaeology of Memory (silent)

  • Made Manifest

    “Every man’s work shall be made manifest, for the day shall declare it, because it shall be revealed by fire and the fire shall try every man’s work of what sort it is.” -1 Corinthians 111-13

    Made Manifest

  • Machine of Eden, The

    The three films [The Weir-Falcon Saga, The Machine of Eden and The Animals of Eden and After ] “go” very directly together, in the (above) order of their making: yet each seems to be a clear film in itself… The Machine (of Eden) operates via “spots” – from sun’s disks (of the camera lens) thru emulsion grains (within which, each, a universe might be found) and snow’s flakes (echoing technical aberrations on film’s surface) blots (upon the lens itself) and the circles of sun and moon, etcetera; these “mis-takes” give birth of “shape” (which, in this work, is “matter” subject and otherwise) amidst a weave of thought: (I add these technicalities, here, to help viewers defeat the habits of classical symbolism so that this work may be immediately seen, in its own light): the “dream” of Eden will speak for itself. (SB)

    Machine of Eden, The

  • Machine in the Garden

    Shot in Hi8 video using a high-speed shutter and a spinning turret camera mount, “Machine in the Garden” is inspired by, and an homage to, apparatus-oriented work such as D. Vertov’s “Man With a Movie Camera” and Michael Snow’s “La Region Centrale.”

    Machine in the Garden

  • Mabou Fights Back

    When it came time to announce the closing of the Mabou post office in Cape Breton Island in Eastern Canada back in March of 1991, it was viewed as a “natural opportunity” by Canada Post. Here was a rural community servicing 1,000 residents whose post master had retired a few years ealier and had never been replaced. It was merely a matter of giving notice and assuming that a local store would be willing to take up the slack. It turned out that Mabou was not a typical rural community. There is a strong sense of heritage there, including the preservation Scottish music of Gaelic culture. Many households are self-employed in farming, fishing, business, tourism and the arts. The lost of the post office would be devastating to the local economy. What was to be done? Rallies were held, petitions signed, letters send and people organized. There was a town meeting where Canada Post brought in their public relations people to try and pacify the community. They were clearly not prepared for the response from the people of Mabou who believed that their postal service was there to serve them, not just to make the maximum profit. Despite the fact that the community was supposedly powerless, they did manage to work out a compromise. Their post office building would not be sold. Instead they would be allowed to run it themselves with a community owned, operated and financed corporation. Though there was a victory of sorts, “Mabou Fights Back” raises many questions. Is profitability a greater priority than national unity? What about the economic needs of Canada Post versus those of the rural communities it is supposed to serve? What real options do people have in making themselves heard? How does the system really work, and for whom?

    Mabou Fights Back