Monthly Archives: March 2008

Film Farm, Reviews & Articles

Film–Is There a Future in Our Past?

(The Afterlife of Latent Images)

By Rick Hancox
INCITE

Is film dead, or are rumours of its death–as in Mark Twain’s response to the gaffe about his own demise–“greatly exaggerated”? Rumours of film kicking the bucket are nothing new – “FILM IS DEAD” was a banner headline in Daily Variety in 1956 when videotape was invented. Maybe I should have called this talk “A Fleeting Filibuster on the Future of Film,” but it seemed that a title relating to the past was appropriate, thus “Film – Is There a Future in Our Past? (The Afterlife of Latent Images).” The idea of the latent image–exposed film waiting for development–is one of the key differences between film, and its bond with the past, and video, with its virtual window on the present. Of course once the latent image is developed, and comes to life on the screen, it only knows the present tense. Thus, the notion that film’s future as a medium is in its past, is one of the ironies I want to explore.

Read the rest of the article here.

Film Farm, Film Farm Publications

Incite: Film Farm 1994-2006

Films, Excerpts & Video Diaries

The Independent Imaging Retreat

Films & Excerpts:
Minus by Chris Chong (1999)
We are Going Home by Jenn Reeves (1999)
Behind this Soft Eclipse by Eve Heller (2004)
Hardwood Process by David Gatten (1998)
Disenchanted by Sarah Lightbody
Across by Cara Morton (1997)
Fall by Deirdre Logue (1997)

Compiled by Philip Hoffman.
All films and excerpts are used with the permission of the artists.
Total Running Time: 21:35 minutes

The Independent Imaging Retreat began in the summer of 1994 as a pro-active response to the increasing cost and commercialization of film production programs, professional development opportunities for artists and filmmaking workshops.

Frustrated with federal and provincial cutbacks to education and limited creative opportunities for independent filmmakers, Canadian experimental filmmaker Philip Hoffman set out to create a context in which film could be taught and explored with integrity, innovation and compassion.

The workshop would place an emphasis on experimentation, personal expression and the use of hand processing techniques. The Retreat began with a modest budget at Hoffman’s home in rural Mount Forest, Ontario. With the most basic film materials, an antiquated film processing machine, a makeshift darkroom and screening facility, and a small group of dedicated volunteer artists (including filmmakers Rob Butterworth, Tracy German and Marian McMahon), the workshop facilitated the filmmaking of six participants.

With such limited resources, it quickly became evident that imperfections and surprises were to become a critical source for creative and aesthetic possibilities and a philosophy for the workshop was born.

From 1994 to 1998 the Retreat received institutional support from Sheridan College in the form of a basic administrative structure, cameras, tripods, light meters and related filmmaking materials.

In 1999, however, Hoffman began teaching at York University, losing essential support from the institution. From 1999 onward the Retreat has been fully and truly independent.

The Retreat continues to operate on a not-for-profit basis. It is artist driven and remains focused on the development of individual artists and the production of experimental film works.

For a decade, the Independent Imaging Retreat has initiated and enhanced the work of local, national and international independent filmmakers and has expanded the traditions of experimental filmmaking in Canada.”

Originally published here.