Essay contributors include Stan Brakhage, Fred Camper, Jack Chambers, R. Bruce Elder, Avis Lang, Sarah Milroy, Bart Testa, Peter Tscherkassky, Ross Woodman, and Michael Zyd. Published by Cinematheque Ontario. Distributed in Canada by Wilfrid Laurier University Press. Distributed outside Canada by Indiana Unviersity Press.

In 1968, Canadian artist and filmmaker Jack Chambers was diagnosed with leukemia. Faced with his own mortality, Chambers began a programme of research into the nature of his own immortality. From that starting point the artist embarked on a nine-year journey that would ultimately take him to the end of his days. In his search, Chambers consulted many sources: philosophers, scientists, poets, priests, mystics and clairvoyants. Using the metaphor of the complementary-colour contrast of red and green, Chambers examined life’s inherent paradoxes, resolutely searching for synthesis. What resulted was ‘Red and Green’, a collage of quotations and ideas – a visual and literary mosaic – photocopied and diligently pasted into ring binders. The manuscript called ‘Red and Green’ has spent the greater part of its existence closeted in a studio, a basement and an archive. Today, Tom Smart, with remarkable care and persistence, presents Jack Chambers’ Red and Green, Chambers’ final thoughts on the purpose of the artist in society.

This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original publication. Canadian Film and Video / Film et vidéo canadiens provides an in-depth guide to the work of over 4000 individuals working in film and video and 5000 films and videos. The entries in Volume I cover topics such as film types, the role of government, laws and legislation, censorship, festivals and awards, production and distribution companies, education, cinema buildings, women and film, and video art. A major section covers filmmakers, video artists, cinematographers, actors, producers, and various other film people. Volume II presents an author index, a film and video title index, and a name and subject index. In the tradition of the highly acclaimed publication Art and Architecture in Canada these volumes fill a long-standing need for a comprehensive reference tool for Canadian film and video. This bibliography guides and supports the work of film historians and practitioners, media librarians and visual curators, students and researchers, and members of the general public with an interest in film and video.

Published as part of The Films and Videos of Jamelie Hassan, the first curated project to bring together and examine Hassan's use of moving image art forms, this richly illustrated book represents an important new avenue of research into one of Canada's most prominent artists. The catalogue examines in detail nine films and videos produced by Hassan over her career. These films and videos are discussed and contextualized within Hassan's artistic practice through a series of texts - including an introduction by Julian Jason Haladyn, two major essays by Laura U. Marks and Miriam Jordan, along with an opening statement by the artist - as well as extensive visual documentation relating these works to the installations or projects from which they are derived. The Films and Videos of Jamelie Hassan is published by PLATFORM: Centre for Photographic and Digital Arts and Art Gallery of Windsor in association with Blue Medium Press.

Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.

What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live? In his new book A Body of Vision, R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context. Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder’s razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

From the cheaply made "tax-shelter" films of the 1970s to the latest wave of contemporary "eco-horror," Canadian horror cinema has rarely received much critical attention. Gina Freitag and André Loiselle rectify that situation in The Canadian Horror Film with a series of thought-provoking reflections on Canada's "terror of the soul," a wasteland of docile damnation and prosaic pestilence where savage beasts and mad scientists rub elbows with pasty suburbanites, grumpy seamen, and baby-faced porn stars. Featuring chapters on Pontypool, Ginger Snaps, 1970s slasher films, Quebec horror, and the work of David Cronenberg, among many others, The Canadian Horror Film unearths the terrors hidden in the recesses of the Canadian psyche. It examines the highlights of more than a century of Canadian horror filmmaking and includes an extensive filmography to guide both scholars and enthusiasts alike through this treacherous terrain.

The most exhaustive and up-to-date reference book on Canadian film and filmmakers, combining 700 reviews and biographical listings with a detailed chronology of major events in Canadian film and television history.

This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.