Outdoor Cinema

Antitube is painting its colors on the night sky with outdoor projections, part of its renewed collaboration with Bivouac urbain!

On August 6 starting at 9 p.m. at Place de l’Université in St. Roch, Quebec City, enjoy free showings of films that remind us all of the dynamic, artistic nature of film—films where the medium’s unbounded joyfulness approaches painting in movement!

Last year’s Bivouac Urbain highlighted how technology has transformed animated filmmaking over the decades. This year Antitube delves deeper, exploring the myriad roots and ramifications of visual expression, from painting to film to electronic media.

Is new technology breathing new life into the decades-old themes of the movies? And what inventive force does the moving image wield, if not a self-awareness of the medium’s basic properties that technology can perhaps alter but not replace? We let these questions guide our choices. The result? A program spanning decades of cinema shaped by the same basic elements—movement, collage of image and sound, color—elements whose expressive potential is limited only by how far filmmakers are willing to go to reinvent their art form.

Event program

August 6, 9 p.m
Eleven in motion

Eleven in motion

Collective, Canada, 2009, 30 min., DigiBeta.

The first part of the program explores the relationship between film and painting. The Toronto Animated Image Society invited several Canadian filmmakers to celebrate the compelling graphic universe of Painters Eleven, an important group of Canadian abstract painters that emerged in the early 1950s. Walter Yarwood, Kazuo Nakamura, Jock Macdonald, and others discovered a new way of seeing the world that rejects conventional wisdom and takes art back to the basics—line, color, and the viewer’s sensory experience. These films are what happened when the group’s visual experimentation spilled over into film. The selection offers a nice balance between the organic and the electronic, drawing on the full range of audiovisual techniques available to today’s filmmakers.



Old Ink. By Rick Raxlen (inspired by Harold Town)

Inner view. By Patrick Jenkins (inspired by Kazuo Nakamura)

As Above Below. By Élise Simard (inspired by Alexandra Luke)

The Yarwood Trail. By Richard Reeves (inspired by Walter Yarwood)

Traffic Flow II. By Nick Fox-Gieg (inspired by Oscar Cahén)

Strips. By Félix Dufour-Laperrière (inspired by Jack Bush)

Stroke. By Ellen Besen (inspired by Tom Hodgson)

Playtime. By Steven Woloshen (inspired by Jock Macdonald)

William's Creatures. By Pasquale LaMontagna (inspired by William Ronald)

The End is the Beginning. By Craig Marshall (inspired by Ray Mead)

The Importance of Hortense. By Lisa Morse (inspired by Hortense Gordon)

A to Z

A to Z

Michael Snow, Canada, 1956, 7 min., Beta SP.

Michael Snow, now recognized as among Canada’s most influential filmmakers of the last few decades, got his start with this gutsy animated short. Snow’s masterful spatial and temporal framing is already on display—as is his subversive thinking, setting this independent “black sheep” apart from the flock of Canadian filmmakers of his day, many of whom worked for the National Film Board.

My life in 5 minutes

My life in 5 minutes

Allyson Mitchell, Canada, 2000, 6 min., Beta SP.

A highly playful film that happily mixes traditional and electronic techniques to present an improbable biography. Toronto-based Mitchell, who has made over twenty films, teaches women’s studies at York University.

Patriotism 1

Patriotism 1

Joyce Wieland, Canada, 1964, 4 min., Beta SP.

This major Canadian filmmaker, longtime companion and creative collaborator of Michael Snow, focused on pushing the limits of Canadian and North American identity with comic splicing and pixilation. In Wieland’s work we see that basic artistic choices like editing and scripting always involve taking a political stance.

Bad Karma

Bad Karma

Don Best, Canada, 1994, 3 min., Beta SP

An apocalyptic portrait of industrialization that splices together found film and hand drawings. Albertan filmmaker Don Best made a number of animated films in the 1990s.

The Distance Between Here and There

The Distance Between Here and There

Christina Battle, USA/Canada, 8 min., Beta SP.

An abstract film made by applying color to film during emulsion and then exposing it to light. In 2006 Canadian filmmaker Christina Battle was selected for the prestigious Whitney Biennial in New York City. Her films are festival favorites the world over.

Post Mark Lick

Post Mark Lick

Sonia Bridge, David Brown, Canada/UK, 2002, 4 min., Beta SP.

What is film if not a way to travel without leaving your seat? Taking this notion as a jumping-off point, Sonia Bridge created this film collage that evokes leaving, wandering, and time lag. Repeated images with variations play on the illusion of movement. As is always the case with repetition, the film flirts with the danger of showing postcards in place of the real world around us.

Fear of Blushing

Fear of Blushing

Jennifer Reeves, USA, 2001, 5 min., Beta SP.

Fear of Blushing is one of the most representative expressions of current trends in film, working with texture in images in an advanced state of degradation. A New York filmmaker in her early forties, Reeves has already been honored with near-comprehensive retrospectives at both Kino Arsenal in Berlin and the San Francisco Cinematheque.

Chinese series; Persian Series 1-3; From: First Hymn to the Night - Novalis

Chinese series; Persian Series 1-3; From: First Hymn to the Night - Novalis

Stan Brakhage, USA, 2003, 1999/1994, 2 min./5 min./3 min. Blu-ray.

Brakhage is a luminary of postwar American art and inspiration to creators from Jack Kerouac to Martin Scorsese whose creative output reached far beyond film. His primarily experimental work became increasingly abstract with the years, to the point of painting directly on the film. The result is striking: meditative visual poetry. Our selections focus on this side of Brakhage’s œuvre.

Primiti Too Taa

Primiti Too Taa

Ed Ackerman, Colin Morton, Canada, 1986, 3 min., Beta SP.

Ackerman, whose resume ranges from NFB collaborations to work on Sesame Street, collaborated with Colin Morton on this delightfully simple film that pays tribute to Dada legend Kurt Schwitters, one of the inventors of Sound Poetry. The film transforms the meaning of letters, positing that in film (as elsewhere) speech is a question of rhythm and tone. A singular example of filmmaking at its most essential.

Two Eastern Hair Lines

Two Eastern Hair Lines

Steven Woloshen, Canada, 2004, 4 min., DigiBeta.

Montreal filmmaker Steven Woloshen is an apt choice to bookend our programming: a true experimenter unafraid to explore the splendor, and outer reaches, of the medium. In this short Woloshen discolors and recolors bits of found film. Nominated for a Jutra award for best animated film, 2004.

Coming soon


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