All posts by Phil Hoffman
Working with Plants: Teaching Online (2020)
By The Time We Got To Expo at the Musée d’art contemporain de Montréal “In Search of Expo 67”
By The Time We Got To Expo at the Musée d’art contemporain de Montréal “In Search of Expo 67”. The film has recently screened at the Alchemy Film Festival in Scotland, in the “Rhythms Crackle” program – check out the full list here.
DocPoint Masterclass and “Introspective” in Finland
Five Screenings at DocPoint:
Continue reading DocPoint Masterclass and “Introspective” in Finland
Café Ex: The Films of Philip Hoffman
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.
More information can be found at the Canadian Film Institute’s website.
By The Time We Got To Expo: Review in the Globe and Mail
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.”
Process Cinema Workshops in Northern Ontario and London
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 at Festival du nouveau cinéma
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.”
LUX FILM FARM 2015, U.K. – A Hand Processing Film Workshop with Philip Hoffman
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
Interview – Racing Home (by Myriam Rafla 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.)”
See the full article here.
McMahon website here