Sep 24 08:30 PM
Cinesphere presented by Air France
Film & Video
Some classic works from Expo 67 and New Works and experiments by contemporary media artists inspired by the original event. Animation, found and decayed footage, and multi-screen performance brings the event into the 21st century. Rarely seen since 1967, George Dunning’s animation and a view of the classic cinematic experiment Labyrinth on Imax.
Expanding Cinema: Expo 67 Reconstructions and Other Finds
Program by Janine Marchessault.
The CinemaExpo67.ca Research Group has been working over many years, in partnership to excavate and digitally reconstruct the multi-screen films that played at Montreal’s Expo 67. Some of the films we have found and reassembled are presented over the three programs on Friday and Saturday. Imax was imagined by filmmakers like Graeme Ferguson and Roman Kroitor, the inventors of Imax, whose films we are screening along with some of Ontario Place’s Imax Collection produced throughout the 1970s. This program celebrates Canada’s cinematic heritage.
In program III, New Works and experiments by contemporary media artists inspired by the original event will be screened. Animation, found and decayed footage, and multi-screen performance brings the event into the 21st century.
Montreal’s Expo 67 represents one the most important artistic experiments of the twentieth century—a harbinger of the digital era to come, and a precursor to the multiplication and interconnectedness of screens that characterize 21st century digital architectures. More than three thousand films were produced for the event. Moving pictures were presented in approximately 65 per cent of the pavilions and complexes, many of which dazzlingly displayed a new flexibility of the screen and the new synaesthesia of visual cultures of the world as mediated by technology in the 1960s. As film critic Judith Shatnoff described it, “Film came on two screens, on three, five, six, nine in a circle, 112 moving screen cubes, a 70mm frame broken into innumerable screen shapes, screens mirrored to infinity, a water screen (at the Kodak pavilion), a dome screen.…” New names were invented for these proliferating screens: Circle-Vision, Polyvision, Kino-Automat, Diapolyecran, Kaleidoscope. While the 1964 New York World’s Fair had presented dozens of multi-screen projections (including Glimpses of the USA, which was projected on fourteen screens at the IBM Pavilion), nothing compared to Expo 67 in terms of the reinvention of screens and theatres to accommodate new forms of projection and spectatorship.
Program III - Expo 67, Reconstructions and Other Finds
Canada is My Piano
1967, 35mm digital transfer and three screen reconstruction, 7 MIN
Between Home and Dome
2016, Digital Video, 10 MIN
2016, Digital Video, 6 MIN
By the Time We Got to Expo
Phil Hoffman and Eva Kolcze
2015, Digital Video, 9.50 MIN
Sixes and Sevens
2016, 3 screen-digital video, 15 MIN
Colin Low and Roman Kroitor
1972, Imax, 21 MIN