A split-screen of a white wedding and the Superbowl exhibits gender stereotypes in popular culture.
Filter Films
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Carol Emshwiller seen amongst twigs, leaves, and branches. A film composition consisting of images of a woman, the woods, and sounds of a thumb piano.
Carol
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A hand-made film that explores a 21st-century ritual celebration – Toronto’s Gay Pride Parade (2000). The contrast between the images’ archival quality with the 90’s dance music makes us wonder whether we are watching an event of some forgotten culture, or something urban and modern.
Parade
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Marilyn Monroe, roboticized by copy-protection, is captured and trapped forever by the media and the medium of celluloid.
Marilyn and Media
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Animated to the rhythms of Eric Satie’s Gnossienne V. The moon and moonlight are the guiding lights of this visual interpretation, and I have kept the backgrounds in soft greens and blues. Only the cosmic tumbler, whose enigma is emphasized by his red colour, breaks this pattern. Satie’s music simplified and refined the imagery, made it the celestial circus I have always dreamed of. “Moonlight Sonata” begins a new phase in my animation. I am finally getting in touch with the real poetry possible here. All works of art seem to come ready-made with their own sets of rules. And in this film only very simple movements were permitted. (LJ)
Moonlight Sonata
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A handmade, minute-made motion picture essay on colour harmonics, visual overtones, and the rhythms of an abstract encounter.
Minuet
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The gaze – taken into the hands of four women who craft, document and participate in a ritual dread locks removal. This super-low-budget film subtly subverts the hegemonic forms of production by optically printing miniDV, 16mm and Super 8 to hand-processed 16mm.
Locks Part Two: Dread Execution!
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The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them. A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation.
Gymnopedies
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We don’t talk much about patriotism here. I’m always torn between supporting idealist notions of a world nation, or non-nation, without borders and the more traditional approach that borders are necessary to protect our property and identity from “outsiders.” Without our national border, the Americans might overwhelm our culture and I would probably not be making this film. Without our provincial borders, nothing would differentiate us from Ontario and we would be overwhelmed by the east. Again, it is unlikely that I would be making this film. Borders protect the weak from the strong, the small from the large, the individual from the crowd. I celebrate my ability to make this film by making this film. I celebrate my individuality by standing in a crowd, without being counted. (Gerald Saul) Dance, 1995, Colour The rhythm of the past persists in a garden of dreams. The Untutored I, 1996, Colour A study of a farm, a rain shower and the colour green. Afterwards We Had Cocoa, 1997, Colour A study of the beauty of snow. Globe Theatre, 1997, Colour The perception of Saskatchewan as an unchanging land of perpetual winter is challenged through these erratic images of summer through the viewpoint of a snow globe winter. My Train Film, 1997, Black & White A study of the rhythms of the train. Train Leaving Station, 1997, Colour A study of the rhythms of the train. Brown Christmas with Colour, 1997, Colour Without Snow, we lit up the season like never before. Waskimo, 1998, Colour and Black & White Snow, play and the warmth of winter. Another Film about Snow in Regina, 1998, Colour Amidst the melting ice, Michael speaks in Regina. Erections, 1998, Colour and Black & White That which rises, also must fall. A study of architecture. Bovine Bondage and Degradation, 1996, Colour. A study of a rodeo in Moose Jaw. Price Includes Packaging, 1998, Colour The deconstruction of a cow. I Saw Red on Canada Day, 1998, Colour A study of red on July 1, 1998. God Daughter, 1998, Colour Featuring my angel of a goddaughter, Nicole Saul. Land of Living Skies, 1998, Colour That which makes us small, keeps us strong. Bread for Dependants, 1998, Colour. The feeding the geese that cannot live without us. Re-construction, 1998, Black & White Putting the pieced of the Centre of the Arts back together…again. Obscured, 1998, Black & White What we see as we cross if we don’t need to get to the other side. Bridge, 1998, Black & White What we see as we cross if we don’t need to get to the other side. Banding Together, 1998, Colour Why are those things there anyway? Tree bands, a close up and personal look. Boo 1 & 2, 1998, Colour and Black & White Two looks at Halloween. 84 Words, 1998, Colour Self-evident film. Fred Says He’ll Make a Farmer of Me Yet, 1998, Colour Shot while helping with the harvest or red spring wheat. Heavy Machinery Has Right of Way, 1998, Colour Bison find a home at Ipsco.
Twenty Five Short Films in and about Saskatchewan
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“Evans and Fodor use toned and manipulated film stock and disjunctive visual narrative to powerfully convey the sense of movement, urgency and exhilaration in this story of service-men going AWOL.” – Antimatter Festival
without leave
