Serena Gundy Park, in Toronto, so named for the late wife of Toronto businessman James Henry Gundy, who influenced the financial character of early twentieth-century Canada. Gundy had owned the parkland as a family estate, and upon his death in 1951, donated the land to the city in memory of his wife. In early spring, the trees remain bare from winter, on cusp of renewal. The film takes her name for its homophonic relation to the nursery rhyme Solomon Grundy (born on a Monday, christened on Tuesday, married on Wednesday…), which cycles through the days of the week that chart Grundy’s life from birth to death, inevitably repeating, birth and death enclosed in a loop.
Filter Films
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Synopsis Why can’t I hear the sound of sewing machines anymore? A meeting with my family and the history of all their sewing machines. German: Warum hören wir den Klang von Nähmaschinen nicht mehr? In dem Film 13 Related Sewing Machines stiften wir Bekanntschaft mit einer Familie, in der die Nähmaschine immer zugegen war. Der Film ist dritter Teil eines fortwährenden Projekts über unsichtbare Frauenarbeit. I can´t hear the sound of your sewing machine anymore ist eine Hommage an meine Mutter und meine Großmutter und an alle die Frauen, die ständig ein schlechtes Gewissen haben, nicht auszureichen.
13 Related Sewing Machines
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Sister Drag is a part of an ongoing work about the invisible labour of women; “I can’t hear the sound of your sewing machine anymore” is a tribute to my mother, grandmother and to all the women who suffer from a constant bad conscience for not being good enough.
Sister Drag
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“In ‘Fashion’ the form-fitting, black-and-white striped dress, shot originally in video and re-filmed off the screen, doubly references popular culture, the sixties of the dress style, and its reinstitution in eighties’ Black Label ads. “The fashion of the title is not only that of clothing, surface, but the stuff of which we are fashioned, our formative contexts, submerged, internalized mindsets. Belying the flat surface are layers. Text voices one layer of desire, ‘I want to make myself a victim, to be passive,’ as image resists it. She lies on her back, fists clenched. We don’t always want what we desire. Kika’s acting out of this position on the screen makes the viewer face a conflicting, yes/no place.” – Barbara Sternberg
Fashion
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Between 1877 and 1885, an English photographer, Eadweard Muybridge, conducted detailed experiments analyzing human and animal motion using rapid photography. In 1968, John Straiton took the published works of Muybridge and created from them a fascinating and hilarious film. A tribute to the serious maker of the first nudie before the invention of movies.
Animals in Motion
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“Setting West” was made using original printing materials from the late 19th and early 20th centuries, such as wood type, borders and stereotypes of “Cowboys and Indians”, trains and bison. These words and images were printed directly onto 35mm clear film stock at eminent letterpress studios in North America: the Hamilton Wood Type & Printing Museum in Two Rivers, the Center for Book and Paper Arts in Chicago, the Hatch Show Print in Nashville and the Musée de l’imprimerie du Québec & Lovell Litho in Montréal. Judith Poirier printed 1643 feet of film to produce her abstract western and her technique of printing onto celluloid creates a unique texture on screen, as well as generating an original optical sound track. “Setting West” reinterprets a classic cinematic genre while exploring a formative period in the history of typography and printing. This project was made possible through the grant Programme d’aide financière à la recherche et à la création (PAFARC) de l’Université du Québec à Montréal. Thank’s to Christian Thomas (studio Octoma) for the sound mix.
Setting West
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A meditation on (im)mortality, mediated by a lifetime’s compendium of images, memento mori is a layered time-lapse exploration of the total photographs captured over the course of the filmmaker’s life – over 120,000 in total. This all-seeing archive is blended into permutations and combinations of subjects, objects, percepts, dreams, and experiences, to form an encyclopedic index of the possibilities of sight. “A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patent labyrinth of lines traces the lineaments of his own face.” – Jorge Luis Borges
memento mori
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Numbers was created during a trip to Manhattan, where I caught my self-reflection in a glass door that read ‘41’ after having photographed the number 42 earlier the same day, and subsequently continued hunting until I found everything else between 1 and 100. Dedicated to Hollis Frampton. – D.B.
Numbers
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A short visual study of repeating layers; dissolving forms reemerge and return. Composed of thousands of animated still images, Recomposition is an early experiment in polyphonic image processing techniques developed by Browne over the course of a decade. Images of the urban landscape and its technological interventions on space merge with decaying natural forms and the tactility of human flesh, suggesting an erotic sensuality lurking beneath the surfaces of the material world.
Recomposition
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Every day, people are being replaced by machines. The adhan is a 1,400 year-old oral tradition in the process of unprecedented change in Cairo. After 60 generations, thousands of individual muezzins are being replaced by a single voice broadcast from a radio station as part of a plan of the Mubarak regime. As the Adhan Unification Project takes hold, Egypt undergoes Revolution and regime change. The film follows muezzins from when they heard rumors of the AUP through its implementation, which since 2010 has displaced thousands.
Cairo In One Breath
