Film Format: 16mm

  • I …

    “Whilst part of what we perceive comes through our senses from the object before us, another part (and it may be the larger part) always comes out of our own mind.” – William James, The Principles of Psychology This is a hand-painted double-step-printed film (i.e. each frame repeated once) which begins with some ephemeral forms and pale tones reminiscent of the “blues” of frothing ocean breakers, the dun “yellows” of the beach, and a complexity of fleeting inter-mixed various other colors and lines suggestive of a variety of vegetable and animal life such as might appear within a sea scape.…

  • I … Dreaming

    Music by Joel Haertling and Stephen Foster. This is a setting-to-film of a “collage” of Stephen Foster phrases by composer Joel Haertling. The recurring musical themes and melancholia of Foster refer to “loss of love” in the popular “torch song” mode; but the film envisions a re-awakening of such senses-of-love as children know, and posits (along a line of words scratched over picture) the whole psychology of waiting. (SB)

  • I Am the Camera Dying

    A gender-warped tale of Marvette (played by Tracy Wright), a recently deceased heroin addict, who returns to this world as a gorgeous gay sailor who just wants to cruise the boys. A who’s who of local luminaries lend a hand in this funky, funny, experimental ode to mixing it up and making it work, no matter what the circumstances.

  • I Need a Man Like You

    “I Need a Man like You” is funny as it is provocative, and delivers a colourful and zany venue of Toronto’s finest Queen Street performers. Comedian Sheila Gostick is brilliant in her political satire and wildly hilarious as the dancing goddess. Performance artists the Clichettes bring a new awareness to rock culture through their original and unforgettable choreography to some of the great hits of the sixties. Helen Porter, as the killer Dyke in leather, shares a vision of the erotic that is tender, warm, and funny. The film is a timely and playful lampooning of some of the most…

  • I Object

    “I Object” is a film which explores images of women. It focuses on two women students who are confronted with the contradictions of their dual role as model and photographer. The film raises questions about the motivations for nude modelling, how women become objects, and how women deal with sexual stereotypes in educational institutions.

  • I Smiled Too

    Inspired by natural rhythms and daily thoughts. A playful poetic gesture of images and audio.

  • I Take These Truths

    This film is entirely hand-painted and is composed of such an evolution of variably coloured shapes that their inter-action with each other should constitute a purely visual “self evident” (as prompted by the title): everything beyond the title is as far removed from language as I could possibly make it: and thus it is, to me, practically impossible to describe. Each frame is printed twice, so that its effective speed (24 fps) is 12 frames per second. A variety of organic and crystalline painted shapes (painted on clear leader, thus as if brilliantly back-lit in a blazing space of light)…

  • I Will Not Think about Death Anymore

    “I Will Not Think about Death Anymore” is a dramatic film about a Jewish lesbian who is obsessed with worries about dying following the death of a friend to AIDS. The fears triggered by this event bring on anxiety attacks common to women at the beginning of a healing process from sexual abuse. The story revolves around an internal adventure and fantasy, where Death becomes a butch dyke in the supermarket. The themes of healing, sexual abuse, dying, and panic attacks intertwine with Jewish identity, and the reclaiming of Jewish ritual for gay and lesbian audiences.

  • I’m Happy, You’re Happy, We’re All Happy, Happy, Happy, Happy

    Velcrow Ripper defines his film, which took four years to make, as “an exploration of a fool’s subjective vision as it becomes warped by society, a gradual transition from dream to nightmare… a cardboard parody, blatantly staged and simplistic.”

  • Arabic Numeral Series – Arabic 13

    This series of films, each extraordinarily unique from every other (except “0 + 10” going together) is inspired and governed by strata of the mind’s moving-visual-thinking different from that of the “Roman Numeral Series” or perhaps one should say that the Arabic Numerals come to fruition thru some tree-of nerves separate from that which gave birth to the Romans (as it is physiologically deceptive to think of thought as existing in “layers”). The Arabics range in length from approximately 5 min. to 32 min. and may be projected at 24 fps as well as 18, tho’ the latter speed seems…