Josephine Massarella is an independent filmmaker based in Hamilton. Her award winning shorts have screened world-wide. Her previous films include No End; Light Study; Night Stream; Green Dream; Interference; No5 Reversal; and One Woman Waiting. She is working on her latest 16mm film, Untitled. Josephine has a Master of Arts – Integrated Studies in Cultural Studies from Athabasca University, a graduate certificate in Advanced Film and Television from Sheridan College, and a Bachelor of Arts degree in film at the University of British Columbia. Josephine also teaches cinema studies.
Martha Davis was born in London, Ontario in 1959. She recieved her Honours B.A. in Film and Drama from the University of Toronto and began her career as a still photographer. She has made over twelve films and served on the boards of Directors of the Canadian Filmmakers’ Distribution Centre and The Funnel.
Louis Hock was born in Los Angeles in 1948 and raised in Nogales and Tucson, Arizona. He began making films when he was studying psychology and poetry at the University of Arizona, graduating with a BA in Psychology in 1970. In 1973 he received an MFA from the School of the Art Institute of Chicago. He joined the University of California, San Diego in 1977 and works as a professor the Visual Arts Department.
Richard Martin is a filmmaker from Vancouver Canada. At 19 he began directing and editing documentary films at the National Film Board of Canada. He was inspired by the West Coast film scene of Dave Rimmer and Al Razutis and began his own explorations in cinema. "Diminished", produced in 1979 won Honorable Mention at the 9th Northwest Film Festival and screened at Ann Arbor.
For Robert Beavers, the camera is not a simple recording device; it has a very lively quality that surrounds the elements of filming. This session presents two films he made in the 1970s based on a 15th-century painting and the writings of John Ruskin. The construction of images and sounds in these works connects the present with the past and the past with the present in a continual toing and froing.
During the 13 months I spent in New York, I always had my camera with me. This film concentrates on direct visual impressions of my daily life in New York. It is a sketchbook more than a documentation of my life. New York Film Diary is a very personal, silent inventory of what I saw, of what attracted my attention there –Milena Gierke
Programme: - New York Film Diary Sep. 3, 1994 - Oct. 3 1995 (1994-95) (Super 8, 90:00, silent, colour+b/w)
Rick Hancox, filmmaker, film teacher, musician (born in Toronto, January 1, 1946). Hancox grew up in Ontario, Saskatchewan and Prince Edward Island. All three locations have informed his poetic and finely crafted experimental documentaries, which fuse personal landscapes with issues of time, memory and history.
Hancox was introduced to film at the University of Prince Edward Island by American documentary filmmaker George Semsel. He went on to do graduate work in film and photography at New York University and at Ohio University, where he earned an MFA in film in 1973. During that period his short films won five major awards in the Canadian Student Film Festival. After working briefly in New York as an independent filmmaker, Hancox went on to teach film at Sheridan College in Oakville, Ont (1973-85).
John Price is an independent filmmaker who has produced experimental documentaries, dance and diary films since 1986. His love of analog photography led naturally to extensive alchemical experimentation with a wide range of motion picture film emulsions and camera formats. Engagement with these modes of creation connected the way an images texture communicates subtext and is a key feature of his work and the work he shoots for others.
Maria Klonaris & Katerina Thomadaki inaugurated "in France, in the mid 70’s [...] the trend of self-depiction of women in film. This trend, which begins internationally in the 40’s, deals with the central question of identity and body language. The confrontation of women artists with their self-image and the exploration of their/our subjectivity goes beyond the personal level and meets collective preoccupations. Thus our first field of engagement was with identity and interpersonal relationship. Throughout all the films and performances of the Body Tetralogy (1975-1979), it is the woman/self that is questioned, meditated upon, put into images. Self-representation is double: we look at ourselves and at the same time we look at the Other, the I and the Other invade simultaneously our mental and visual space. Through this process, we have developed an alternative to the male scopic domination embedded in traditional cinema, in particular regarding women."