Imprints is a collection of essays, interviews, ephemera, and personal reflections that chart Louise Bourque’s life and work. Since 1989, Bourque has made a significant mark on Canadian experimental cinema. Her works often involve the physical manipulation of emulsion, with the content of the work stemming from a different type of imprint, namely, that of memory and trauma, and her aesthetics are imprinted on the work of contemporary filmmakers dealing with memorial processes and abstract imagery.

In this expanded edition of Cinéma Radical, first published in French in 2008, the artist Christian Lebrat reflects on a cinema that “follows its own rules and questions the very definition of the medium.”

2nd edition. English translation by Anna Doyle. To be published in May 2021

As a publishing act, Migrant Thoughts argues that the image is inevitably nomadic and inexorably migrant and, as Henri Bergson reminds us, is everywhere. Everything is image. We are images among images, and in this respect film is no more than one of the media through which images move. Images become a gesture of resistance, as by being just an image and not a just image, as Jean-Luc Godard said, they are worthy and can never be subdued by power, despotism or an all-too human will corrupted by the idea of ownership.

Comment « rendre compte » des expérimentations sans récit et comment « expérimenter » depuis les récits du cinéma narratif ? Dans les textes écrits par Prosper Hillairet, des passages s’opèrent, circulent dans les films, entre les films, les styles, les cinéastes, les époques. L’ ensemble, tour à tour consacré à l’avant-garde des années 20, comme aux cinéastes expérimentaux français des années 70 et 80, avec quelques incursions tardives dans le cinéma narratif, tisse une réflexion à partir du cinéma comme « forme visuelle ».