Below: ARTISTS L-W,
THE FUNNEL: FILM AND RELATED WORK
Robin Lee began making films at an early age and with his friend, Mark Sobel, produced a number of award-winning short films while in high school. He studied film at Queen's University in Kingston, graduating in 1979. After returning to Toronto, Lee became a member of The Funnel and began to produce films again. A number of experimental works have dealt with the visual effects and structuring systems of film. One of his more recent films, Travel Song, explores an area of wide interest among filmmakers: the emotional involvement of an audience with narrative. The formal properties of the film medium continue to be of interest to Lee; now he has extended this structural exploration into the domain of narrative.
AN UNRIGOROUS TREATISE ON BLUE
ALCHEMY #1 (1981, Colour, Sound, Super 8, 10 minutes)
SONG (1981, Colour, Silent, Super 8, 10 minutes)
TRAVEL SONG (1982, B&W, Sound, 16mm, 28 minutes)
Keith Lock began making films while still in his teens. Several early works were produced in collaboration with James Anderson, including Arnold and Work Bike and Eat, companion pieces that deal with short time periods in the life of a young man named Arnold.
Lock's work continues to portray events, characters and places. Works from the mid to late 70s like Everything Everywhere Again Alive and Going document real situations from the filmmaker's life, yet through unorthodox or experimental structure reveal the mood or character of the thing represented. More recently Lock has employed traditional narrative format in the film Highway with a view to concentrating on the content rather than the form of the film.
Regardless of the extent to which his films conform to narrative conventions, they retain a consistent regard for the integrity of their subjects.
Lock holds a degree in Film from York University. He has worked in collaboration with other artists including Peter Dudar and Lily Eng of Missing Associates, and Michael Snow. Recently he worked as camera operator on Snow's film Presents.
EVERYTHING, EVERYWHERE, AGAIN, ALIVE
Keith Lock has also produced other films, in collaboration with James Anderson. These are listed under James Anderson and Keith Lock.
Rose Lowder lives and works in Paris France. She began filmmaking in 1973 and since that time her films have been shown and acclaimed internationally for their poetic beauty and structural clarity; she is priased by the feminist community as an innovator in the search for a uniquely feminine filmmaking. Rose Lowder shuns dominant narrative structure in favour of almost musical variations of light and colour, camera movement and focal point. She has written on her own work and produced graphic scores which illustrate the metric/temporal structure of her films. She has also been involved in programming and organizational work in relation to avant-garde film in France.
"By the time I first began to work with film in 1978, independent cinema had developed considerably, many issues had been debated, whole histories of films were already more or less stored in museums after having transited through parallel screening venues and art galleries. ... I decided to return to a more primitive, pre-1900 level of enquiry in re-examining the paradox and ambiguity of filmed visual images in relation to perception, this latter a variable system, the functioning of which is itself subject to variation, in reality and existence. . . In my own work, the methods of proceeding in each film evolved from observations obtained in a series of related studies; manner in which certain features can be integrated and related to each other, possibilities of inserting the actual filming into the filmed situation upon which the film is based, investigation into the varying activity of visual-thought processes." R. L.
CHAMP PROVENCAL (1979, Colour, Silent, 16mm, 9
Toby MacLennan is known primarily as a performance artist and writer. She studied at the University of Michigan, Wayne State University, Michigan, and at the School of the Art Institute of Chicago. She is presently a member of the Fine Arts Faculty at York University. In Toronto, MacLennan's best known works are Singing the Stars, a piece performed at a number of planetariums and at P. S. 1 in New York, and The Absence of a Hole, a film/sculpture/installation that has been exhibited in A Space Gallery's "Apartment" series, the Centre for Inter-American Relations in New York and at Optica Gallery in Montreal. Singing the Stars is also the title of MacLennan's book recently published by Coach House Press in Toronto.
Sheila McIntyre has written: "To say that Toby MacLennan's work integrates striking verbal and visual metaphor to reveal the relationship between subject and object does not capture its distinctive quality. Admittedly these revealed relationships often turn ordinary perceptions on their heads and instill a sense of wonder that revitalizes the world around us - a world of spoon and cups no less than the landscape of night and ocean waves." And Samuel Delaney has said of her art: "In MacLennan the coherence - the repetition - of objects and images urges us to recall Freud's passing dictur, `Repetition is desire'. And as it follows itself into new time, to new landscapes, through new concepts, desire in MacLennan's work creates its clean scaffolding for an elegant, lyric and intensely pleasurable exploration of the transcendant world and of whatever in the world - beauty, meaning - exceeds the common functions, objects, and images from which her work is garnered."
THE ABSENCE OF A HOLE (1981, B&W, 16mm, 23
The Absence of a Hole was originally created as part of an installation. There are two rooms. The first room is painted white, and in it is the image of a man walking across the floor to sit in a chair. He appears on life-size photo cutouts that are attached to the wall. Within his silhouette are images of the furniture and windows that he passes as he walks through the room. A small light is focussed on each photograph. The floor is completely covered in sand. The second room is also white with a sand-covered floor. It contains only two chairs made of sand and a large, five-foot spoon which sits on the floor in front of the back wall. This wall functions as a screen upon which the film is projected, filling the entire surface. The images of people and objects appear to be life-sized inhabitants of the space.
SPECIAL INSTRUCTIONS: The film is available separately or as part of an installation through special arrangements with the artist.
Paul McGowan claims, "I am a person who works with his hands; most often my right hand. I see with my left eye. I listen with my left ear. These sinister and intuitive perceptions guide my analytical hands." McGowan's films are both straightforward and personal. The subject is usually family or friends. Without attempting to analyze or control the events documented, they reveal various levels on which events may be understood.
McGowan graduated from Sheridan College in the Toronto area in 1978. He has been an active member of the Funnel for several years and is currently building an animation stand for the organization. While occasionally employed as a film editor or animator he continues to produce his personal work and is planning a series of short films based on unconscious symbolism, after C. G. Jung.
FARMSKIPOME (1975, Colour, Silent, Super 8, 2
1/2 minutes, B & W)
EGGYOKE (1977, Colour, Sound, 16mm, 4 1/2 minutes)
LOOSE ENDS (1977, B&W, Sound, 16mm, 12 1/2
STEVE AND BOB (1980, Colour, Sound, 16mm, 7 minutes)
NASHVILLE CATS (1977-81, Colour, Sound, Super
8, 26 minutes)
WHY DO YOU WANT TO BE ALIVE? (1982, Colour, Sound,
Super 8, 30 minutes)
Ross McLaren initiated a series of screenings of avant-garde film at Toronto's Centre for Experimental Art and Communication in late 1976. By September 1977 he had consolidated this film programme under the name of The Funnel, as the organization's first Director and Programmer. This beginning was also a completion, because for several years he had attempted to establish institutions specifically for the promotion of avant-garde film - first a Super 8 distribution centre, then the Toronto Super 8 Festival. McLaren began making films and organizing experimental film activity while still a student at the Ontario College of Art. His early films enjoyed immediate success, winning several awards at film festivals.
Ross McLaren's films fall roughly into three areas of concern. One direction is typified by Weather Building and his segment of Launch Five. These are characterized by a dark ground (shot at night) from which emerge the images and form of the work. They are constructed intuitively and demand an intuitive reading by others. The second group includes 9X12 and January 17, 1979, and show a concern for the nature of the film. material, typical of "structural" or conceptual films. Finally Crash 'n' Burn, Summer Camp and Sex Without Glasses share a. fascination with human performance before a camera.
As well as his own filmmaking and his contribution to the community through organizational work, Ross McLaren has also given great assistance to Toronto-made experimental film through his filmmaking workshops at The Funnel, his work as instructor at the Ontario College of Art, and his aid to many artists in the production of work.
Part two repeats the "script" of the first half of the film - using a video playback of part one in the "role" of the Weather Building. There is no window in this second room, and these variations, together with the repetition, simultaneously explicate and complicate the spatial assumptions established earlier.
I.E. (1976, Colour, Silent, 16mm, 14 minutes,
CRASH 'N' BURN (1977, B&W, Sound, 16mm, 27
minutes, 45 seconds)
SUMMER CAMP (1978, B&W, Sound, 16mm, 60 minutes)
SNORKEL (1976-1979, Colour, Sound, 16mm, 10 minutes)
JANUARY 17, 1979 (1979, Colour, Sound, 16mm, 4
minutes, 40 seconds)
9X12 (1982, B&W, Silent, 16mm, 1 minute, 30
SEX WITHOUT GLASSES (1983, Colour, Sound, 16mm,
12 minutes, 30 seconds)
Michaelle McLean was born in Toronto and studied at the Ontario College of Art; her work includes filmmaking, sculpture and graphic arts. She has been a member of The Funnel since 1978 and since 1980 has been employed by The Funnel. During 1981-1982 Michaelle assisted with the initiation of the Funnel Film Collection. To promote the Collection, and more generally the audience for experimental film in Canada, Michaelle took on an ambitious education and outreach project, informing the artist-operated centres across the country about experimental film, and laying the groundwork for a Canada Council program to fund experimental film screenings across the country. This catalogue is an extension of the project Michaelle McLean began. Along with her work as a filmmaker and Director/Programmer at The Funnel, she has served on the management committee of the Association of National Non-Profit Artist's Centres.
In both her filmmaking and graphic arts, Michaelle McLean applies geometric structures to organize intimate, transitory information. She has written that it was her "interest in sequence" which led her to filmmaking. Her editing of delicate footage according to geometric principles does not lead to mechanizing or rigid effects. Rather, the structure of geometry provides a quiet clarity and integrity of form in which the special capacity of film to address the nature of time and temporality is shown. Recent works develop these principles with narrative implications.
MORNING BED-X (1979, Colour, Silent, Super 8,
UNTITLED () (1980, Colour, Silent, Super 8,
20:20 (1980, Colour, Silent, Super 8, 20 seconds)
STILL LIFE (1981, Colour, Silent, Super 8, 3 minutes)
A hand-held stationary shot of a bread and fruit arrangement sitting on a bleached wood table straddling a path through long grass. Shot on a windy day - the frame moves, the grass moves, the light moves, the film moves: a moving picture. M. M.
UNTITLED (/\) (1983, Colour, Sound, Super
8, 11 minutes)
SPECIAL INSTRUCTIONS: Please note that there is sound only at the very end of the film. After the lower right side of the pink triangle is seen the image goes black - then start sound.
UNTITLED (1983, B&W, Sound, 16mm, 5 minutes)
The text suggests that the 'truth' in the story of the images that follow will be found in a similarly paradoxical reading. The three images - a male's hands which repeatedly draw the ace of spades; a faceless female figure who turns again and again to confront the camera; and a male head posing and re-posing in 'mug-shot' positions - are seen in black and white negative, and accompanied by a repetitive, percussive sound track which culminates in a high-pitched ringing tone. M M.
"The Ambrose Bierce story at the head might be a clue or merely a sleight of hand to land the viewer, at the film's end, where Bierce's characters are at the film's start." Peter Chapman (1983)
Born in the United States, Meigs became a landed immigrant of Canada in 1981. She graduated from programmes in both art and philosophy. She has studied the philosophy of Metacritique, and the philosophical discourse on social alienation in the face of technocracy informs her work. Meigs' primary medium is drawing - usually these drawings are produced in series which become part of installation works which include Super 8 film, audio tapes and/or theatrical props. The artist's own writing - recorded or displayed as titles, circular or caption - is often part of her work.
To quote Corinne Mandel "The world according to Meigs is a realism, expressive and charged with emotion... The angst, intensity and evocativeness of such work strikes the viewer immediately and holds him long after he has left the gallery... Purgatorio: a Drinking Bout is not only about but is the product of the cultural climate of the Western hemisphere. It is a gesamtkunstwerk, a combination of such diverse arts as painting, music, video and stage design by which Meigs disseminates her social commentary."
Sandra Meigs requests that she be present at the screen, ings which are indicated. Through slides and discussion, she will put the films in context by describing the original installations that the films were part of.
A DENSE FOG (1977, B&W, Silent, Super 8, 15
SPECIAL INSTRUCTIONS: Available for rental only with the artist's accompaniment.
THE PALE OMNIPRESENT PERSISTANCE
SPECIAL INSTRUCTIONS: Soundtrack is on audio casette. Available for rental with artist accompaniment only.
THE MAELSTROM (1980, Colour, Sound, Super 8, 20
SPECIAL INSTRUCTIONS: Available for rental only with the artist's accompaniment.
PURGATORIO, A DRINKING BOUT (1981, Colour, Sound,
16mm, 11 minutes)
APHASIA: CAUGHT IN THE ACT (1981, Colour, Sound,
Super 8, 4 minutes)
Michael Merrill is known primarily as a painter and has exhibited at galleries in Toronto for a number of years. His painting is personal and representational in style and is strongly based in drawing, with line and outline of paramount importance.
Merrill, who was born and educated in Montreal has extended his love of drawing to cartoons on several occasions, and has produced a comic book, entitled `Cows Crossing, Men Working', in conjunction with Stephen Ellis. He is also presently curating an exhibition of cartoons by artists to be held at Grunwald Gallery in Toronto.
While filmmaking remains a secondary activity in Merrills' range of artistic endeavours, it is one in which, nonetheless, he brings his outrageous sense of humour into full play.
UNTAMED HOOVES (1974, B&W, Sound, 16mm, 2
Through 1971, Peter Dudar's emphasis in his work on conceptual and process elements led him from painting to the construction of three dimensional works—installations whose apparently simple materials and forms (one, 40-foot-long, 4" X 4" cedar beam, one 20-foot beam jammed between two walls) were transformed by time, gravity, or the perception of the viewer. Lily Eng, trained in modern dance and ballet in the early sixties, became dissatisfied with company situations which limited her creative freedom. "Contemporary art was introduced to contemporary dance with the partnership of Peter Dudar and Lily Eng in 1972 (as Missing Associates)."
Missing Associates' work through the mid-seventies included mainly multi-media performance works combining Eng's exploration of body movement as an instrument of communication, confrontation and social reference, with Dudar's examination of the "relationship of movement to recording media, and the quasi musical composition of multi-media pieces." Through the mid to late seventies, Missing Associates' confrontation with the commodity set-up of dance became more openly political/ideological. To quote Philip Monk, "For Lily Eng, this coming to speech, in the sense of introducing politics into dance but also literally through voice, took effect within dance; for Peter Dudar it took the form of a movement toward film and performance."
D. P. (1982, 16mm, Colour, Sound, 17 minutes)
"DP is about displaced persons. The film interprets state terror through the children of its survivors.
The subject's consciousness is not the only site of ideological constraint. In the film DP ... this registration is enunciated through a voice: a narrative of constricted movement, of surveillance and subsistence, of occupation, of forced labour and escape in the Ukraine and Germany during World War II ... the history of these displacements are spoken under the Left and Right slogans of the inter-titles: 'Imperialism', 'Nationalism', 'Practise', ... When asked 'how did you feel when you knew that Germany had lost the war?', the narrator replies on titles 'Whoever wins, you lose' ... periodically the film is broken by the insistence of another resistance, that of the body of Lily Eng in performance." from Language and Representation (catalogue) Philip Monk, 1982
Adrienne Mitchell has studied film at Queens University and Ryerson Polytechnic Institute and done independent study of film semiotics through the work of performance theorist Richard Shecker. Her early works, as represented in The Funnel collection, follow an expressionist tradition using gestures, stances and spatial/temporal manipulations to represent emotional states or moments. These films were used as the basis for several performance events that took from the behavioral modes set up in the films.
Mitchell is currently working on a film that she describes as a "docu-drama" that will compare and contrast the political climates of Toronto and West Berlin - and the resulting art cultures in each city.
KIND WHIP (1982, B&W, Sound, 16mm, 11 minutes,
also available on 3/4" Video)
Featuring: Patrick McKay
SPECIAL INSTRUCTIONS: Film version requires double system projector, as sound is on magnetic stock only. Film may be played silent as an alternative, or video version may be used instead.
Suzanne Naughton studied film at Ryerson Polytechnical Institute. Her film Mondo Punk, produced while she was still in school, generated much controversy when released because of its style and content. It was even shown in London by the British Film Institute. Naughton has since sought employment in the film industry and is still a rock 'n' roll fan.
MONDO PUNK (1978, Colour, Sound, 16mm, 6 minutes)
Stephen Niblock considers himself primarily a visual and performance artist. He has worked with set-designing, painting, installation, sculpture and film. A number of his film works exist in 'unprojectable' states as well as prints which may be run through a projector. The original may be exhibited as a gallery piece, mounted on rewinds. An examination of the film strip reveals its highly scuptural qualities. Sections are literally 'inlaid', emulsion is torn away, parts are spray-painted. Like 'artists' books', these film works question the basic qualities of the communicating format. As an art object, the film acts as a metaphor for itself.
Niblock has combined film and performance as well. The Magician Sees, for example, sets the "illusion" of film (ie: that real objects are seen to move) as the backdrop for "sleight of hand" illusions. The work is built around this doubling of meanings; film as language as communication.
In 1982 Niblock graduated from the Ontario College of Art and helped to found Chromazone Gallery in Toronto. He is a Funnel member.
BUDDHA LAS VEGAS
A NEW FICTION 12345678910
THE LADY'S FACE
SPECIAL INSTRUCTIONS: Only Super 8 version available for projection. Left Screen 18fps, right screen (dark red) 24fps.
THE MAGICIAN SEES
A man, dressed in standard streetwear (business suit) blunders into the cone of projection. He stares transfixed by the images. He hurries out of the light. Two wooden blocks clap. The man reappears, somersaulting back onto the stage in the garb of an Oriental fighter. He looks out into the audience and, in perfect synchrony, blinks his eyes with the theatrical, grease painted visage which now dominates the screen behind him. The hero looks at the screen, tentatively, he takes hold of the screen, it begins to turn about its vertical axis and the fighter with it. The images flip-flop anamorphically before us, the magician continuing to follow. The screen stops, the magician is gone. Before the screen stands a young woman whom we saw on the screen. She releases the white bird. The magician reappears to release a cascade of cloth birds from the rafters. The film ends.
SPECIAL INSTRUCTIONS: Available only through special arrangements with the artist.
Midi Onodera graduated from the Ontario College of Art in 1983 where she studied film with Ross McLaren and was an active member of the College's Women Artists Collective. Her work shows her strong commitment to feminism. The credo of Onodera's work is "the personal is political" and its converse, by implication. In addition to making films, Midi Onodera is a writer and photographer. She also contributed to Hide, a local fanzine, Incite magazine, Fuse magazine and has produced a documentary film on the women's band, Fifth Column. Midi is currently equipment manager at The Funnel.
THE BIRD THAT CHIRPED ON BATHURST STREET
SPECIAL INSTRUCTIONS: Sound starts part way through film.
ENDOCRINE (1982, Colour, Sound, Super 8, 15 minutes)
HOME WAS NEVER LIKE THIS (1983, B&W, Sound,
16mm, 5 minutes)
John Porter is a prolific filmmaker and performer who now works almost exclusively in Super 8. The lightweight Super 8 camera he uses has an automatic 'intervalometer' and a shutter which can be left constantly open. It is the perfect instrument for experimenting with what he calls "two of my oldest ideas: animation/pixillation...and the wiping of images with time exposures". Porter has produced two major series of films: Porter's Condensed Rituals which exploit the animating capacities of his camera, and Camera Dances which takes advantage of the lightness and mobility of Super 8. Porter's films are innovative and fun, a pleasure for young children and seasoned avant-garde film fans. Jim Hoberman of the Village Voice has called Porter's films "as enjoyably kinetic as they are refreshingly artless."
Porter has been a contributing member of The Funnel for a number of years and is a tireless contributor to the community. He is currently working on a written history of experimental film in Toronto.
Most of the following films are part of a series entitled Camera Dances, begun in 1974. Dances are created on the screen by choreographing the camera or the projector. Porter performs alone in many of them, and with some he performs live in the theatre. The portability and responsiveness of Super 8 equipment is used to its fullest. Unless otherwise noted, all are in Super 8 projected at 18fps.
CINEFUGE (1974-81, Colour, Sound, 5 minutes)
JUNA AND I (1976, B&W, Silent, 2 minutes)
ANGEL BABY (1979, Colour, Silent, 2 minutes)
FIREFLY (1980, Colour, Silent, 3 minutes)
FIREFLY (Performance, 2 minutes, first performed
DOWN ON ME (1980-81, Colour, Silent, 4 minutes)
"Exceptionally good ... its effect is on the edge of revolutionary." Kerri Kwinter / Fuse Magazine.
"Eerie and evocative." Ross Skoggard / Art Magazine
CALENDAR GIRL (1981, Colour, Sound, 3 minutes)
ANIMAL IN MOTION (1981, Film/Performance, 2 minutes)
SWINGING (1981, Colour, Silent, 2 minutes)
TOM'S TRAMPOLINE (1981, Colour, Silent, 1 minute)
MARTHA'S BALLOON RIDE (1981/82, Colour, Silent,
TOY CATALOGUE (1981/83, Colour, Sound, Variable
SCANNING (1981/83, Film/Performance, Colour, Variable
PORTER'S CONDENSED RITUALS (1976/ -, Colour, Silent,
Robert Rayher studied avant-garde film at McGill University in Montreal. He considers himself an "independent moving imager" and works in video, words, sound and still photography in addition to making films. Bruce Jenkins of Media Study/Buffalo writes: "Tracing his roots to three significant influences (Brakhage, Snow and Cage) Robert Rayher has developed a style which is both sensual and minimalist, rigorous and alleatory, abstract and concrete."
Rayher's works are marked by an interest in the workings of chance. Some have used chance operations in editing, and some are even accompanied by instructions for projection, such as the suggestion that a coin be flipped to determine how projection should be carried out.
Recently, through an involvement with Tangente: Danse Actuelle, an alternative dance space in Montreal, Rayher has produced works on the interface of film or video and human movement. In addition to his own art work, Rayher has also taught and written on film aesthetics.
ECLIPSE (1980, Colour, Sound, 16mm, 1 minute)
EUREKA (1980, Colour, Sound, 16mm, 4 minutes)
LETTER TO A LONG LOST FRIEND (1980, Colour, Sound,
16mm, 8 minutes)
YELLING FIRE (1980, Colour, Sound, 16mm, 4 minutes)
Born in France, Pierre Rovere moved to Canada (Montreal and Toronto) in 1981. He received his Bachelors and Masters degrees in cinema from the University of Paris. Starting as a filmmaker in 1970, his work now ranges from experimentation with computer, film & video to the creation of multi-media environments. Many of his works, including the film Black and Light, exist in several formats - installations as well as film or video. Rovere's interest and facility with computer technology led him to involvement with Telidon and he recently designed TV Ontario's french language Telidon Data Base, and is currently head of Visual Presentation of TVO's videotext service. He has recently developed a videotext generator for the NAPLPS (North American Presentation Level Protocal Syntex) system, which is currently the prime focus for his own work.
BLACK AND LIGHT (1974, B/W, Sound, 16mm, 8 minutes)
The film attains the maximum contrast possible - Black was made by using the darkest film to be found, and Light, produced by holes in the black film. The film is experienced on the screen and in the area between the projector and the end of the room (movements of the "pencils" of light rays). Festival of Expanded Cinema, I.C.A., London 1976
"Black and Light, a gestalt perception piece, was decidedly Pierre Rovere's strongest work." Malcolm Legrice-Studio International
Julian Samuel lives and works in Montreal. He made his first films in the mid 1970's in the Super 8 gauge. Some were enlarged to 16mm (as with Formation in the Funnel collection). With more recent work Samuel has shifted toward analysis. In Literature, Language and Film, for example, he examined the breakdown of meanings through abstraction and their reformation into other kinds of (poetic) meanings. The film In India and Pakistan uses structure as a device to approach anti-colonial political questions. Increasingly Samuel is concerned with an analysis of media/ideology manipulation both in his film work and other activities (such as a weekly radio programme which he hosts called Questioning Events in The Third World). He continues to stress the importance of experimentation in form as a means of creating new discourse on socio-political realities.
FORMATION (1976, Colour, Silent, 16mm, 11 minutes)
Alan Sondheim is a multidisciplinary artist and writer; he has produced a large body of work in video, radio/audio, installation, film and writing. He has published sixty articles, ten books, and edited Individuals: Post-Movement Art in America (Dutton, 1977), an important anthology of writings by contemporary artists.
Some of Sondheim's early work (1968-75) included installations which assumed the form of scientific/perceptual experiments. To quote Robert Joseph Horovitz, "These rich-field experiments, though done in a quasi-scientific spirit, are deliberately outside the framework of experimental science ... they are designed to provoke and record intuition, analysis, and problem-solving behaviour in general, under circumstances where they cannot be easily applied." (Beyond Reductivism, Robert Joseph Horovitz, Artforum, December 1974)
In recent work, Sondheim has shifted his attention from experimental science to the so-called "soft sciences", where analytic methods are applied through language to rationalize social and psychological activity - information theory, cybernetics, structural analysis, linguistics, theories of perception and sexuality, deconstruction of narrative and ideology. He interrogates analytic methods; he challenges the 'neutrality' of technology and methodology by uncovering the interests at work in it.
Currently, Sondheim has abandoned video for the time being and is continuing his Numbered Untitled Film Series, and his series of articles on landscape, clutter, pornography, photography and science, among other topics.
HOLLYWOOD (1981, B&W, Sound, 16mm, 60 minutes)
"The work reflects clutter, and the kind of discourse which circulocutes discourse. Clutter grounds the social in the specific; events are frayed, fall away, dissolve, much as they do in reality." A. S.
SPECIAL INSTRUCTIONS: Must be played on Mag Sound projector.
Blaine Speigel received a B. A. in Communications Studies at the University of Windsor then enrolled in York University's Film Program. However, he became disillusioned and has now switched to studying Electronic Music there. He is interested in combining film and photography with electronic music.
While still a student, Speigel has received several awards at festivals and had a film chosen for inclusion in the Frontier television series on the U.S. Public Broadcasting System.
THREE BIRD LIMIT (1982, Colour, Sound, Super 8,
5 1/2 minutes)
*Merit Award, Athens International Film Festival, 1982; Second Prize, Vancouver Metro Media Super 8 Film Festival.
SPECIAL INSTRUCTIONS: Sound will seem low at the beginning, but it gets louder as the film progresses.
Edith Steiner has been a photographer since the early 1970's. Her work displayed in galleries or published in books is portraiture, particularly of musicians and performers. Some of these photos have appeared on record album covers. Steiner is personally active in music and her photographs often break through the conventionalized mystique of the celebrity to ground her subjects in everyday life and production. The work is intimate, direct and unsentimental.
Steiner's work frequently includes performance and original music. She experiments as well with vocal styles and instructions, writing and composing songs. Her first solo Mtn/performance took place at The Funnel in 1983.
EXAMINATION ABOARD A U.F.0. (1983, Colour, Sound,
Super 8, 4 minutes)
SPECIAL INSTRUCTIONS: Sound on cassette.
Adam Swica's Super 8 films have a literate sophistication that at times belies their technical simplicity. Recent works have dealt provocatively with the issue of authority, at work both in the conventional modes of cinematic representation, and in content. Working in collaboration with writer John Frizzell, Swica has set up 'typical' filmic situations with an actor addressing the camera. What follows is an undermining of the viewer's familiarity and identification. The result is both infuriating and engaging.
Swica's most recent films, Words / Lazlo / Dentistry, Launch 5, Livingroom With John, Jackie-Death / Anger / Sex, and Beauty for Connie, form a group, of which Peter Chapman has written "Playing with the film audience's only too willing desire to suspend disbelief, these works confront and confound that desire and leave one wondering about yet another unreflected part of one's relationship to filmed images. Not the obvious product of any current academic theory of representation, these films make their points through humour, variations in acting technique and by playing artifice against our expectations of authenticity."
Swica was one of the original members of The Funnel and contributed much to its establishment and incorporation.
MONTANA SHUFFLE (1976, Colour, Sound, Super 8,
Urban scenes dissolve into one another maintaining a vertical axis that separates left from right but binds present, past and future together.
PEEP AND SQUEAK (1978, Colour, Sound on cassette,
Super 8, 8 minutes)
WORDS / LAZLO / DENTISTRY (1982, Colour, Sound,
Super 8, 10 minutes)
LIVINGROOM - WITH JOHN (1983, Colour, Sound, Super
8, 10 minutes)
JACKIE - DEATH / ANGER / SEX (1983, Colour, Sound,
Super 8, 18 minutes)
BEAUTY - FOR CONNIE (1983, Colour, Sound, Super
8, 13 minutes)
Villem Teder views his role as artist as part of a larger system involving the material properties of film, or projection and viewing conditions, and of perception of the work. The viewer of Teder's work is a privileged participant in this ongoing experimental process; a work may never be shown more than once in exactly the same form. Some films are made without a camera or laboratory. Teder marks the filmstrip's surface by hand and regards the projection as an important, discrete element in the film's list of properties and states. He points out, "the frame and the reticulation exist only in the projection of the film." The human eye participates in picking out continuity and "movement" from the masses of shapes on the screen.
In other works, Teder uses photographed images, but he is concerned mainly with film's ability to reveal hidden energies not usually visible to the eye. Highly abstract visual experiences like the way a forest floor looks when one looks down while walking quickly, are brought, by means of film's intensified theatrical viewing situation, from the background of life to conscious awareness.
Villem Teder was one of the original members of The Funnel, and has contributed much to the experimental film community through his technical expertise, advice and assistance to numerous filmmakers.
CELLULAR PROGRESSION (1979, Colour, Sound, 16mm,
Teder painted footage according to this discovery, cut
it into a loop and rephotographed it using the optical printer, then
re-edited a soundtrack recorded several years before, also using "loop"
HOMAGE TO HENRY FORD (1978, Colour, Sound, Super
8, 4 minutes)
IF YOU FIND A WAY OUT (1982, Colour, Sound, 16mm,
SPECIAL INSTRUCTIONS: Sound on cassette tape.
INCIDENTS FROM THE TRIM BIN (1983, Colour, Sound,
16mm, 25 minutes)
THE INTERVAL (1978-1979, Sound, 16mm, Length varies)
SPECIAL INSTRUCTIONS: Sound is on 1/4" audio-tape. Filmmaker must be present for exhibition of this piece.
RESONANCES / MUSIC FOR BLACK HOLES
"An array of subsonic rhythms not only reveal some of the invisibilities of sound, but the subtle sound/time distortions that occur in everyday existence. While the methodology is apparent, it is none-the-less an enthralling work." Dean Motter, 1979
SPECIAL INSTRUCTIONS: Sound on 1/4" audiotape. Filmmaker must be present for exhibition of this piece.
MAN RAY #3 (1979, Colour, Silent, 16mm, 8 minutes)
MUSKOKA, NOVEMBER '79 (1979, Colour, Silent, Super
8, 20 minutes)
SPECIAL INSTRUCTIONS: Filmmaker must be present. Three matched 16mm projectors are needed. Sound may be played through separate speakers for each projector, or mixed onto one speaker as the situation permits.
NO COMMERCIAL POTENTIAL (1983, Colour, Sound,
16mm, 12 minutes)
NOVEMBER 13, '82 (1982, Colour, Silent, 16mm,
4 1/2 minutes)
TREES AND GRASS (1980, Colour, Silent, Super 8,
SEQUEL TO TREES AND GRASS (1981, Colour, Sound,
Super 8, 60 minutes)
SPECIAL INSTRUCTIONS: Sound on cassette tape.
VACATION STUDIES, JULY, SEPTEMBER, OCTOBER '81
Carolyn White is currently a student at the Ontario College of Art where she is studying Experimental Arts. She has exhibited photo-text works on the themes of "beasts" and "dreams", and has completed a series of drawings which make reference to picture book Fairy Tales, re-interpreted to address contemporary issues such as abortion. Through the construction of a single, resonant image, Carolyn White's films address political problems without becoming polemical. The films are visually graphic and pleasing.
She was editor/designer of both SIC and RANT magazines, publishing the work of Toronto artists, and is a co-editor of Impulse Magazine.
TEST RABBIT (1983, Colour, Sound, Super 8, 5 minutes)
WATER (1983, Colour, Sound, Super 8, 3 minutes)
Joyce Wieland's training as an artist began at Central Technical High School in Toronto and continued "on the job" as a commercial artist. Her interest in filmmaking began at Graphic Films in Toronto where she learned animation techniques.
Wieland is well-known in Canada primarily for her work in the visual arts - painting, drawing and mixed media work. Her films have won acclaim internationally for their innovative structures and content. In the 1960's, she and her husband at the time, Michael Snow, spent several years living and working in New York City, immersed in a flourishing and fertile avant-garde film culture. Wieland was one of the few women to achieve recognition as an experimental filmmaker during that period.
Joyce Wieland's work, in film and other media is both emotionally rich and conceptually strong. She has had a concern for imagery about women and with a feminine sensibility for many years and has combined this personal interest with overtly political and ecological (though infrequently didactic) content on a number of occasions.
Several of Wieland's films concern themselves with Canada, as a geographic and spiritual entity of lakes, rivers, mountains, wildlife and so on, and as a political nation with international vulnerability and internal divisions.
Joyce Wieland continues to work and exhibit, concentrating in recent years on figurative and allegorical painting. She has recently been awarded the Order of Canada for her outstanding contributions to Canadian culture.
WATER SARK (1964-65, Colour, Sound, 16mm, 14 minutes)
"I decided to make a film at my kitchen table, there is nothing like knowing my table. The high art of the housewife. You take prisms, glass, lights and myself to it. 'The Housewife is High.' Water Sark is a film sculpture, drawing being made while you wait." J.W.