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Film is the art form of our times. It has formed the background of
our lives, informed visual arts practices, and formed our culture's
stories, its memory. MOMENTS OF PERCEPTION is a landmark book. The
first history of twentieth and early-twenty-first-century Canadian
experimental filmmaking, it maps avant-garde film across the
country from the 1950s to the present day, including its
contradictions and complexities. Experimental film is political in
its very existence, critical of the status quo by definition. In
Canada, some of the country's best-known artists took up the moving
image as a form of artistic expression, allowing them to explore
explicitly political themes. Mike Hoolboom's exposure of the horror
of AIDS, Josephine Massarella's concern for the environment, and
Joyce Wieland's satiric look at US patriotism are just a few
examples of work that contributed to social movements and provided
a means to explore issues of race and gender and 2SLGBTQ+ and
Indigenous identities. Featuring a major essay on the history of
the movement by Michael Zryd and profiles of key filmmakers by
Stephen Broomer and editors Jim Shedden and Barbara Sternberg,
Moments of Perception offers a fresh perspective on the
ever-evolving history of Canada's experimental film and moving
image media arts.
Edgar G. Ulmer: Detour on Poverty Row illuminates the work of this
under-appreciated film auteur through 21 new essays penned by a
range of scholars from around the globe. Ulmer, an immigrant to
Hollywood who fell from grace in Tinseltown after only one studio
film, became one of the reigning directors of Poverty Row B-movies.
Structured in four sections, Part I examines various contexts
important to Ulmer's career, such as his work at the Producers
Releasing Corporation (PRC), and his work in exploitation films and
ethnic cinema. Part II analyzes Ulmer's film noirs, featuring an
emphasis on Detour (1945) and Murder Is My Beat (1955). Part III
covers a variety of Ulmer's individual films, ranging from
Bluebeard (1944) and Carnegie Hall (1947) to The Man from Planet X
(1951) and Daughter of Dr. Jekyll (1957). Part IV concludes the
volume with a case study of The Black Cat (1934), offering three
different analyses of Ulmer's landmark horror film.
Edgar G. Ulmer: Detour on Poverty Row illuminates the work of this
under-appreciated film auteur through 21 new essays penned by a
range of scholars from around the globe. Ulmer, an immigrant to
Hollywood who fell from grace in Tinseltown after only one studio
film, became one of the reigning directors of Poverty Row B-movies.
Structured in four sections, Part I examines various contexts
important to Ulmer's career, such as his work at the Producers
Releasing Corporation (PRC), and his work in exploitation films and
ethnic cinema. Part II analyzes Ulmer's film noirs, featuring an
emphasis on Detour (1945) and Murder Is My Beat (1955). Part III
covers a variety of Ulmer's individual films, ranging from
Bluebeard (1944) and Carnegie Hall (1947) to The Man from Planet X
(1951) and Daughter of Dr. Jekyll (1957). Part IV concludes the
volume with a case study of The Black Cat (1934), offering three
different analyses of Ulmer's landmark horror film.
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