Film Format: Super 8

  • Green

    “My first foray into collage animation uses low-fi techniques, such as a photocopier, to illustrate a story in limerick form. The limericks tell of a place where creativity is suppressed and all acts of resistance are covered over with white paint. It also illustrates a character who displays an open sexuality, both queer and polyamorous. The DIY aesthetic calls up notions of subversion of the dominant culture through its ues of low-tech and hand-made traces.” – Juliana Saragosa Selected screenings: Splice This! Super 8 Film Festival, Toronto, 2004

  • Amoré

    Regular 8 film goes through a camera once, then gets flipped and run through again. When processed, the film is split down the middle and spliced end-to-end. I performed (unrehearsed) for a regular 8 camera as a boy as the film ran through the first time, exposing the right side of the film. Then I flipped the reel around AND flipped the camera around as I performed as a girl (in reverse) on the left side. I processed the film by hand and did not split it, so that the performances happen side-by-side. There is no editing in this film…

  • Film Scroll

    “This Super 8 film was first presented as part of a ritual performance where I am naked and pull a white piece of fabric out of myyoni, pin it up and project the film onto it from reverse, while speaking the words on the film. The performance was part of a collective recreation of Carolee Schneeman’s ‘Interior Scroll.’ Each of us did a personal variation based on her 1975 performance. Schneeman’s piece included a letter to a filmmaker who criticized her work. My ‘letter’ is to an ex-partner who criticized me and my work, leaving me with feelings of inadequacy…

  • Freeshow Seymour Compilation

    Freeshow Seymour is the collaborative effort of Allyson Mitchell and Christina Zeidler, who came together to explore their mutual crush on film-craft. Individually, they have been making work since 1994. In 2003 they both attended the Big Rock Candy Mountain residency at The Banff Centre, where they joined forces to highlight the work they are doing on candy and consumption and to explore their love of film. The basis of Freeshow Seymour is process. The two artists meet and see what evolves out of being together – whether it is films, music, crafts, performance or just thrift-store shopping. Their artworks…

  • Walnut Grove, mon amour

    After the death of his mentally ill father, artist RM Vaughan attempts to come to terms with the event by reconstructing his father’s emotional responses to the maudlin 70’s television program “Little House on the Prairie.” A blackly humourous meditation on death and grief, punctuated by crying scenes from the famously teary, famously cheesy television classic.

  • Hate

    Using his own lumpy body as a template, artist RM Vaughan explores differing reactions by various audiences to the blunt reality of having a non-commodifiable body in the age of supermodels. Alternately scathing and self-deprecating, “Hate” dishes out (and takes) some unhappy truths about “beauty” and art.

  • you wash my skin with sunshine

    With few childhood memories of her mother’s affection, Mullen mines old home movies for evidence. When she doesn’t find exactly what she’s looking for, she sets out to create a new family movie of her own, starring her surprisingly willing mother. A reflection on memory, loss, reconciliation and love.

  • Venice for Homosexuals

    A voyeuristic Venetian promotional film for the traveling male homosexual. Shots of hotties spied along Venice’s famed canals are accompanied by a piece of vintage Venetian opera.

  • Canadian Landscape

    A tongue-in-cheek meditation on the Canadian iconographic obsession with landscape. A (literally) washed-up drag queen on the shores of Newfoundland finds herself trapped in a vicious circle.

  • Hollywood Forever

    Using the Hollywood Forever cemetary as a backdrop (the cemetary that figures prominently in Kenneth Anger’s “Hollywood Babylon”), the filmmaker recounts his visit to Outfest, LA’s big queer film fest. Pigeons sit on grandiose monuments, flying down to snack, as Hollings talks about the perks of visiting an LA film festival as an experimental filmmaker – especially the free drinks and all-you-can-eat buffets.