Small booklet (program?) from Archer library: Pop Off: The Regular 8 Faction, curated/edited by Milanda Kovacova, YYZ, 1998.
Short essays by Milanda Kovacova, John Porter, and Lisa Steele plus one page film descriptions (writer not indicated but likely Kovacova) for 8 films.
Scan this booklet.
Notes:
Page 13 (Robert Cowan) "It was not until I saw ... most of my films shown together than I realized that there definitely was common ground in all of them. It is nice to see that, but it is also a good idea to ignore it, otherwise you start to work in formula to remain safe. I hope I am still growing."
Page 19 (Linda Feesey), "At the time, I believed the elements of my films were pregnant with meaning. Now, I do not believe in meaning, per say. Meaning is an unnecessary and frivolous imposition upon my filmmaking".
Page 29 (John Kneller), "The hermetically sealed film cartridge is a design that takes into account the sensitive material nature of the film within. ... The simple irony is that while the films celebrate the visual splendor of architecture and landscape, they are equated entirely within a hermetic space. The filmmaker is thus dis-engaged from the experience and the process itself takes precedence."
Short essays by Milanda Kovacova, John Porter, and Lisa Steele plus one page film descriptions (writer not indicated but likely Kovacova) for 8 films.
Scan this booklet.
Notes:
Page 13 (Robert Cowan) "It was not until I saw ... most of my films shown together than I realized that there definitely was common ground in all of them. It is nice to see that, but it is also a good idea to ignore it, otherwise you start to work in formula to remain safe. I hope I am still growing."
Page 19 (Linda Feesey), "At the time, I believed the elements of my films were pregnant with meaning. Now, I do not believe in meaning, per say. Meaning is an unnecessary and frivolous imposition upon my filmmaking".
Page 29 (John Kneller), "The hermetically sealed film cartridge is a design that takes into account the sensitive material nature of the film within. ... The simple irony is that while the films celebrate the visual splendor of architecture and landscape, they are equated entirely within a hermetic space. The filmmaker is thus dis-engaged from the experience and the process itself takes precedence."
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