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"Cammaer, Gerda"
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Cinephemera
What do digital platforms mean for cinema studies in Canada? In an era when digital media are proliferating and thousands upon thousands of clips are available online, it seems counter-intuitive to say that audio-visual history is quickly disappearing. But the two processes are actually happening in tandem. Adopting a media-archaeological approach to the history of cinema, contributors to Cinephemera cover a wide range of pressing issues relating to Canadian cinema's ephemerality, including neglected or overlooked histories, the work of found footage filmmakers, questions about access and copyright, and practices of film archiving. Spurred by rapid changes to technologies of production, viewing, and preservation, this collection showcases both leading and emerging scholars grappling with the shifting meaning of cinema as an object of study. Film historians are put in conversation with experimental filmmakers and archivists to provide renewed energy for cinema studies by highlighting common interests around the materiality and circulation of films, videos, and other old media. Considering a wide range of cases from the earliest days of silent film production to the most recent initiatives in preservation, Cinephemera exposes the richness of moving image production in Canada outside the genres of feature length narrative fiction and documentary - a history that is at risk of being lost just as it is appearing. Contributors include Andrew Burke (Winnipeg), Jason Crawford (Champlain), Liz Czach (Alberta), Seth Feldman (York), Monika Kin Gagnon (Concordia), André Habib (Montreal), Randolph Jordan (SFU), Peter Lester (Brock), Scott Mackenzie (Queen's); Louis Pelletier (Montreal), Katherine Quanz (WLU), Micky Story (New College), Charles Tepperman (Calgary), Jennifer VanderBurgh (Saint Mary's), William C. Wees (McGill), Jerry White (Dalhousie), and Christine York (Concordia).
eBook
Critical distance in documentary media
This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of \"critical distance\" in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman creative practices, sound art and interactive technologies. It is essential reading for scholars, practitioners and students working in fields such as documentary studies, film studies, cultural studies, contemporary art history and digital media studies.
Book
JASPER RIGOLE'S QUIXOTIC ART EXPERIMENTS WITH HOME MOVIES AND ARCHIVAL PRACTICES: The International Institute for the Conservation, Archiving, and Distribution of Other People's Memories (IICADOM)
This essay begins with Patricia Zimmerman's observation: \"As they move from attics to archives, from private use to public reclamation, home movies transform into public memory, mobilizing history as something particular, local, specific. What was fictional can transform into fact; what was factual can suggest a new fictional alchemy\". It builds on these ideas in an examination of an ongoing project of the Belgian artist Jasper Rigole, whose \"International Institute for the Conservation, Archiving, and Distribution of Other People's Memories (IICADOM)\" takes the idea of the film archive as its primary subject. The compilations that make up Rigole's fictitious \"IICADOM\" directly confront certain prevailing assumptions about the archival function. Like Rigole's work itself, its examination here is theoretically and creatively grounded, suggesting the degree to which his works might alter our ideas about archives' effects on history and memory as well as on notions of the self and collectivity. (Quotes from original text)
Journal Article
Cinephemera
What do digital platforms mean for cinema studies in Canada? In an era when digital media are proliferating and thousands upon thousands of clips are available online, it seems counter-intuitive to say that audio-visual history is quickly disappearing. But the two processes are actually happening in tandem.Adopting a media-archaeological approach to the history of cinema, contributors to Cinephemera cover a wide range of pressing issues relating to Canadian cinema's ephemerality, including neglected or overlooked histories, the work of found footage filmmakers, questions about access and copyright, and practices of film archiving. Spurred by rapid changes to technologies of production, viewing, and preservation, this collection showcases both leading and emerging scholars grappling with the shifting meaning of cinema as an object of study. Film historians are put in conversation with experimental filmmakers and archivists to provide renewed energy for cinema studies by highlighting common interests around the materiality and circulation of films, videos, and other old media.Considering a wide range of cases from the earliest days of silent film production to the most recent initiatives in preservation, Cinephemera exposes the richness of moving image production in Canada outside the genres of feature length narrative fiction and documentary - a history that is at risk of being lost just as it is appearing.Contributors include Andrew Burke (Winnipeg), Jason Crawford (Champlain), Liz Czach (Alberta), Seth Feldman (York), Monika Kin Gagnon (Concordia), André Habib (Montreal), Randolph Jordan (SFU), Peter Lester (Brock), Scott Mackenzie (Queen's); Louis Pelletier (Montreal), Katherine Quanz (WLU), Micky Story (New College), Charles Tepperman (Calgary), Jennifer VanderBurgh (Saint Mary's), William C. Wees (McGill), Jerry White (Dalhousie), and Christine York (Concordia).
eBook
VIEWFINDERS
Viewfinders is an international collaborative creative arts research project that connects travel experiences with mobile creativity. The mobility and functionality of devices like smartphones means that audience engagement with content no longer needs to be a passive viewing experience but can involve interaction, participation, and even location aware and/or responsive content. Viewfinders is an online project that incorporates all these elements to create a navigable augmented landscape composed of places visited, generated by mobile users in the form of brief travelling shots. It aims to recreate and explore travelling, contribute to the study of mobile cinema, compare various forms of
Book Chapter
The Interactive Documentary in Canada
Interactive documentary emerged rapidly from a constellation of
changing technologies and practices to much excitement, yet its
history is short and its future uncertain. In the mid-2010s Canada
was a world leader in the creation of i-docs. Less than a decade
later technological obsolescence has rendered many of these
celebrated projects inaccessible, while rapid digital innovation
continues to change the i-doc form and its modes of experience.
The Interactive Documentary in Canada captures this
transitional moment in documentary filmmaking and media production.
Bringing together a range of historical, theoretical, and critical
approaches, this collection examines the past - and the imagined
future - of a nonfiction storytelling phenomenon that has Canadian
institutions, figures, and works at its centre. Embracing a
polyphonic conception of interactive documentary, the volume
includes explorations of web-based, app-based, installation, and
virtual reality works that push the boundaries of what is
understood as documentary cinema. Leading documentary scholars and
makers consider the historical and technological contexts of i-doc
production, innovation, and exhibition; the political and
pedagogical potential of the genre; the ethics of the i‐doc
experience; and the format's future lifespan in the contemporary
media landscape.
The Interactive Documentary in Canada establishes a
place for the i-doc in the history of Canadian film, highlighting
the genre's significant impact on the National Film Board of Canada
and on contemporary global documentary media.
eBook
Jasper Rigole’s Quixotic Art Experiments with Home Movies and Archival Practices: The International Institute for the Conservation, Archiving, and Distribution of Other People’s Memories (IICADOM)
Belgian artist Jasper Rigole is the founder and conservator of the fictitious \"International Institute for the Conservation, Archiving, and Distribution of Other People's Memories\" (IICADOM, 2004). This ongoing multimedia project is an original and lively collection of linear films and multimedia art projects created out of found films, photographs, and documents the artist has gathered over the years. As an ongoing artistic project, it is in itself a constantly growing virtual archive for the images Rigole has recycled, a fraction of the huge analog film archive Rigole has built from anonymous 8mm images he has collected at auctions, in secondhand stores, and at flea markets. He uses these found home movies to make imaginary films that situate these images from the past in a contemporary context and aesthetic, combining elements from both literary and referential genres. His style can best be described as a filmic form of experimental life-writing that calls to mind the work of Jorge Luis Borges and Georges Perec, two important sources of inspiration for Rigole. Building on Patricia Zimmermann's ideas, Cammaer aims to illustrate how Rigole creates a \"new fictional alchemy\" for the home movies in his collection, \"mobilizing history as something particular, local, specific\" and yet, at the same time, embracing the universal quality of home movies by \"transforming them into public memory.\" Rigole assembles other people's home movies, creating a surrealist filmic world for them that is as universal as it is particular. With his distinct compilation style, Rigole has found an imaginative way to interrogate the way archives work, to explore the complex dialogue between memory and history, and to study the language of home movies in particular.
Journal Article
JASPER RIGOLE'S QUIXOTIC ART EXPERIMENTS WITH HOME MOVIES AND ARCHIVAL PRACTICES: TheInternational Institute for the Conservation, Archiving, and Distribution of Other People's Memories (IICADOM)
Belgian artist Jasper Rigole, founder and conservator of the (fictitious) International Institute for the Conservation, Archiving, and Distribution of Other People's Memories, or IICADOM, assembles found home movies to create a surrealist filmic world that is both universal and particular. He presents us an imaginative method to interrogate the way archives work, to explore the complex dialogue between memory and history, and to study the language of home movies in particular. Rigole's style can best be described as a filmic form of experimental life-writing that calls to mind the work of Jorge Luis Borges and Georges Perec, two sources of inspiration for the artist on which this article also builds, complemented by the cultural theory of Patricia Zimmerman and other home movie experts.
Journal Article