“Who has not marveled at the triumph of slow motion? At the end of every sporting event the decisive moments of the past hours float past in a dreamy montage, everything slowed to a crawl, as if it had occurred days, even years ago, part of a past that seems already out of reach, filled with bygone charms. The pages of Vimeo and YouTube have delivered us to a global tidal wave of slow motion magics, where heroines of time are caught in the full thrall of their secret erotic life, their faces filled with hand grenade smiles and arms stretch beyond the horizon with an inflated heroism. In his too familiar essay, Walter Benjamin wrote about slow motion as a way to defeat capitalism. He imagined that hidden within our everyday gestures were a cornucopia of unseen resistances, that our bodies performed a micro-politics of nay saying that the camera would at last reveal. But the digital revolution appears to have unveiled these once hidden intervals as another area of over exposure, bent beneath the first law of digital culture: that everything should be visible, bright, clear, tagged, identifiable. The surveillance state insists: there is no outside.”
On Thursday December 10, 2015, Philip Hoffman will attend a screening of some of his work as part of Café Ex:
Inaugurated in 1998, the eighteenth season of this ongoing visiting artist series presents artist-curated evenings of independent experimental film and video in the intimate atmosphere of Club SAW. Once again, the series features Canadian experimental cinema, with guest filmmakers presenting their work and engaging in extensive discussions with audience members for a “pay-what-you-can” admission.
Take a look at the review Justine Smith wrote for By the Time We Got to Expo in The Globe and Mail:
“Using Expo 67 as a backdrop, the experimental By the Time We Got to Expo (directed by Eva Kolcze and Philip Hoffman) uses 8mm footage to expose the decay of physical materials and, as a result, the decay of Montreal itself. The concrete modernist architecture built during this era is rendered cracked and apocalyptic under the scratches of the damaged film.”
Philip Hoffman and Eva Kolcze will be conducting a touring process cinema workshop based on the Film Farm, one in Northern Ontario and one in London in association with the Liaison of Independent Filmmakers of Toronto.
“Process Cinema explores a creative tradition in alternative filmmaking that is improvisational and interactive. Through this process-driven methodology, the screenplay as governing document is replaced by a fluid integration of writing, shooting and editing, not necessarily in that order.This way of working ‘through’ process has a comparative body of work in music, through jazz, in art, through ‘action painting’, in the performative aspects of the sketchbook or through ‘spontaneous prose’ in beat poetry.”
By the Time We Got to Expo will be screening at Festival du nouveau cinéma in Montreal this October.
From the catalogue: “A meditative journey through Expo 67, re-visiting a significant moment in Canadian history using manipulated imagery taken from educational and documentary films. Footage has been re-worked using tints, toners and photochemical techniques to create a vibrant collision of colours, textures and forms.”
Philip Hoffman has been developing a hands-on, artisanal approach to filmmaking for more than 20 years in Canada at his summer workshop, the `Independent Imaging Retreat’ or `Film Farm’. Now this process-oriented workshop comes to the UK with a 2-day intensive project, ‘the Lux Film Farm’ hosted by Lux and the Double Negative Dark Room in proximity to the Hackney Marshes in East London.
Read more at LUX’s site for PROFESSIONAL PRACTICE: LUX FILM FARM A Hand Processing Film Workshop with Philip Hoffman, 20-21 June 2015
Check out this interview about Racing Home, a project using Korsakow software and unfinished footage from Marian McMahon, produced through ARC (Adventures in Research-Creation) at Concordia University.
“Experimental filmmaker Phil Hoffman revisits the themes of loss, memory and identity in Racing Home, a film originally shot on 8mm and 16mm film in the early 1990’s by his partner Marian McMahon, who succumbed to cancer in 1996. After several iterations of the film, Hoffman was finally able to ‘complete’ it using the Korsakow system. The result is a nonlinear, poetic reflection on Marian’s original themes of identity through his own lens and personal sense of loss and memory of Marian. (Scholar and Korsakow filmmaker Monika Kin Gagnon coined the term ‘posthumous cinema’* to describe this approach to filmmaking.)”
“In a film that consists as a series of displacements, its hard to know where to begin. It would be facile to suggest that time is spatialized (the characteristic of Jamesonian postmodernism) or, conversely, that space registers the vertical imprint of its diachonic totality (Derridean hauntology). But something very like that happens in Philip Hoffman’s All Fall Down (2009). So one has to be careful here – the lives of actual people, and their deaths, are at stake here.”
by Tom Kohut (cineflyer – Motion pictures and related arts in Winnipeg, Canada)
Landscape With Shipwreck
“Passing Through: A Philip Hoffman Retrospective”