The project FILMar is carried out by Cinemateca Portuguesa – Museu do Cinema, with the support of the Financial Mechanism EEA Grants 2020-2024. Doclisboa and the FILMar project partner in a programme around those representations, thinking about the necessary programming and framing ways to insert those films into contemporary rhetoric. Its cinematic representation is one of the most complex readings of a moving images history, where what stays off screen often reveals what one sought to impose, state or expose, which was plenty. The visit ends with a lunch at ANIM.ĭeparture from Culturgest at 10am and arrival at the same location at 3pm.ĭuring Estado Novo, the sea had a major role in the making of an idea of colonial empire. Together with researcher Maria do Carmo Piçarra, we shall also dwell on issues concerning their study and use for artistic, research and programme purposes. The visit includes the screening of a few examples of political, industrial and tourist propaganda produced during Estado Novo, opening a discussion on preservation and access to the archive of colonial images, in which the sea has a relevant presence. Nebulae guests will tour the heart of this operation, unveiling the processes through which one retrieves the memory and history of Portuguese cinema, in which the sea is a regular presence since 1896. He is the co-editor of Damp: Contemporary Vancouver Media Art (Anvil Press, 2008).At the National Archive of Moving Images (ANIM) one finds the FILMar lab responsible for the digitisation of sea-related films deposited at Cinemateca-which is also a film museum-and in its custody. His live media works are presented at festivals and underground screening spaces throughout Europe and North America. He was the founder and curator of The Edison Electric Gallery of Moving Images, The Blinding Light!! Cinema, and The Vancouver Underground Film Festival. Internet Service Terms Apple Music & Privacy Cookie Warning Support. He’s won over 30 international prizes, two lifetime achievement awards, and has enjoyed nine international retrospectives of his work.Īlex Mackenzie (Interview) is a Vancouver media artist working with light projection and expanded cinema. He’s a founding member of the Pleasure Dome screening collective (Toronto), and has worked as the artistic director of the Images Festival (Toronto) and the experimental film co-ordinator at Canadian Filmmakers Distribution Centre (Toronto). He’s the author of three books: Plague Years (1998), Fringe Film in Canada (2000), and Practical Dreamers (2008). Mike Hoolboom (Essay) is a Canadian film/video artist. The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction. The most exciting non-narrative film I’ve ever seen … images become polarized into grainy outlines, like drawings in white or colored chalk which gradually disintegrate and disappear. I’ve never seen anything like it … the ultimate metaphysical movie. Surfacing on the Thames is a brilliant film which, in its way, belongs in the same class as Snow’s Wavelength. Like that other Economics major turned self-taught filmmaker, Guy Maddin, Rimmer is a seminal Canadian filmmaker and a must-study for any student of Canadian cinema. Working with film as a canvas, Rimmer’s works are technical experimentations incorporating found footage, optical and contact printing and hybrid film and video forms. Before there was even the awareness of a filmmaking culture in Canada, one “more concerned with dramatics,” Rimmer was breaking the rules as they were being made. Each layer contains an intensity map that defines the additive values. And there are no two better filmmakers to take us on this journey of coming to understand Rimmer and his practice than Mike Hoolboom and Alex MacKenzie. We describe a system for representing moving images with sets of overlapping layers. Both offer a unique insight into the art practice of one of the most influential Canadian filmmakers of the 20th century.įor David Rimmer, film is a way of seeing, a way of experiencing life. Mike Hoolboom’s essay tantalizes us with a romantic myth that contextualizes David, while Alex MacKenzie’s interview lets the artist speak for himself. There is no better way to start off Pacific Cinémathèque’s Monograph Series, celebrating West Coast filmmakers, than with the work of David Rimmer. Monograph Number One focuses, fittingly, on David Rimmer, one of Canada’s foremost experimental filmmakers. The Pacific Cinémathèque Monograph Series was initiated to explore the spectrum of contributions and innovations of Western Canadian filmmakers, videomakers, and fringe media artists.
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