Film Format: 16mm

  • Standing Apart

    For over seventy-five years, the Venice Biennale has been regarded as the most important international art exhibition. Countries all over the world send their best artists to the Biennale in the hope that they will receive international acclaim and recognition. In 1971, the two artists chosen to represent Canada were Gershon Iskowitz, a painter, and Walter Redinger, a sculptor. This is a lyrical and philosophical film showing their response to the aging city of Venice and to having their works exhibited at the Biennale.

  • Standing on Fishes

    Love, life, and loss ….

  • Star Garden

    The “STAR,” as it is singular, is the sun; and it is metaphored, at the beginning of this film, by the projector anyone uses to show it forth. Then the imaginary sun begins its course throughout whatever darkened room this film is seen within. At “high noon” (of the narrative) it can be imagined as if in back of the screen. Then it can be seen to shift its thought-light gradually back thru aftertones and imaginings of the “stars” of the film until it achieves a one-to-one relationship with moon again. This “sun” of the mind’s eye of every viewer…

  • Starcycle

    A playful, improvisational line animation, “Starcycle” follows the birth, death, and rebirth of a star which can transform itself into everything from a television set to fireworks. The soundtrack, composed of children’s reactions to the visuals, creates a participatory atmosphere for the audience.

  • Steam Ballet

    Those sensual machines, steam tractors, reveal a remarkable ability to perform to music.

  • Stellar

    This is a hand-painted film which has been photographically step-printed to achieve various effects of brief fades and fluidity-of-motion, and makes partial use of painted frames in repetition (for “close-up” of textures). The tone of the film is primarily dark blue, and the paint is composed (and rephotographed microscopically) to suggest galactic forms in a space of stars.

  • still life #1: cherries

    A meditation piece. Close-up of cherries being pitted. Action seen again. Itself seen. “… (this film) utilizes the static camera, but the effect of the exact and consecutive repetitions of the same gesture – a cherry being pitted by a knife-wielding hand – proves here to be an astonishing performance and not just the constrained repeating of the same act.” – Michel Larouche, Parachute #28, 1982

  • Still Point

    “‘Still Point’ serves as Barbara Hammer’s definitive reassessment of 70’s cultural feminism. She literally places side-by-side the romantic image of her companion walking and stretching under the sun in a landscape and the gritty realism of a methodical garbage picker on the street of New York city, pushing a shopping cart and moving on to the next waste container. Our world view must encompass both realities, the film indicates. Privilege can’t obscure vision.” – Chick Kleinhans, The Film/Video Showcase Presents the Films of Barbara Hammer

  • Stop Darlington

    Through the use of found footage of a TV image, the practical and moral imperatives of the title are momentarily suspended in a problematic of representation. In affirming the density of the material objecthood at the basis of its “message,” the film foregrounds the question: “What are some of the difficulties encountered in the appropriation of media – particularly those of the mainstream – by and for the pedagogical interest of the Left?”

  • Stories from the Land of Cain

    “Stories from the Land of Cain” is a film about Canada in a time of flux. It chronicles a journey from Batoche, Saskatchewan where the Metis under Louis Riel lost their struggle for independence, to the Plains of Abraham at Quebec where the course was set for the country that would become Canada. The journey breaks off in polyphonic reveries on home, landscapes, and stories from the road; casting back in history, moving forward through the landscape, drifting off in memory. A film about trying to hold a country together with stories.