Salt Water Bodies and Turning Tides curated by Amanda Dawn Christie

Salt Water Bodies and Turning Tides: Moving Pictures by Women on the East Coast (curated by Amanda Dawn Christie)
Friday, October 15, 2010 at 7:30 PM
Winnipeg Cinematheque
Free
(+ panel discussion to follow with Heidi Phillips and Amanda Dawn Christie)

This unique collection of experimental films and videos made by women in Atlantic Canada, explores the interconnected play of body, gender, and landscape in the region. This screening takes the viewer on a journey through representations of the female body in Atlantic Canada through dance, animation, and experimental documentary. These films and videos chart the territorial frontiers between the inner and outer body; mapping the phenomenological inhabitation of the body, and the empirical excursions of the body into the external geographies and social landscapes of Atlantic Canada.

Going Home by Louise Bourque
Assembled by Becka Barker
Struggling in Paradise by Gerd Cammaer
Hysterica and the Wandering Womb by Michelle Lovegrove Thomson
Pustulations by Lisa Morse
Baseball Dances by Natalie Morin
Pretty Big Dig by Anne Troake
Pretty Bird by Tara Wells
Throwing Rocks by Melanie Colosimo
Crows and Branches by Millefiore Clarkes
I Wish by Linda Rae Dornan
I’d Rather Have a River by Angela Thibodeau
Quand Je La Cueille by Maryse Arsenault
8 Husbands of Zsa Zsa Gabor by Heather Harkins
Olive Prepares by Siloen Daley (2007, 15 min)
Things for Now by Amanda Fauteax
Video Et Taceo (I See But I Keep Silence) by Colleen Collins
Opus 40 by Barbara Sternberg

———————————–

From Uptown Magazine October 14, 2010

The artist from a thousand dimensions
Interdisciplinary whirlwind Amanda Dawn Christie touches down at Cinematheque for a series of screenings (and one workshop)

The drawing on Amanda Dawn Christie’s homepage could very well be titled Anatomy of an Artist.

She laughs. “That image actually came from my master’s thesis,” says the Moncton native. Visit http://www.amandadawnchristie.com and you get a helpful visual breakdown of the artist’s multifaceted creative capacities.

Christie laughs again at the next question: If a particular discipline involves a certain set of standards and conventions, and she calls herself an interdisciplinary artist, does that mean that she doesn’t have any discipline?

“It’s funny that some people think that designation means I can’t or won’t be disciplined as an artist — that I’m defiant or flaky somehow. But I’m not just some dilettante. I’m a skilled artist in various disciplines and proud of it.

“In fact, you could say I’m quite disciplined at being interdisciplined.”

Basically, this means Christie works in various media, which she then relates to each other. For example, she’s interested in both performance on film but also film in live performance. The designation “multimedia artist” might also fit.

“It’s always the concept that drives the work,” Christie says. “I use various disciplines, various media for my own purposes, as appropriate.”

Winnipeggers will have a chance to get hip to Christie’s jive this week at Cinematheque. Her work will be featured in both Breath/Light/Birth: Spirituality in Experimental Cinema, curated by Winnipeg experimental filmmaker Heidi Phillips, and Dividing Road Maps by Time Zones: The Films of Amanda Dawn Christie.

Christie herself is curating Salt Water Bodies and Turning Tides, a program of experimental film and video shorts by Atlantic female artists. She’s also running a Saturday afternoon workshop on “film performance.”

Admission to all screenings is free; the workshop is free for members of the Winnipeg Film Group.

Christie says the commonly used term for what she does is ‘expanded cinema.’

“The image doesn’t just stay on the screen anymore,” she explains, “or there’s two images projected on the screen simultaneously.

“I also manipulate the film right there in front of the audience: moving the projector, looping the film, using coloured filters,” she adds. “It’s like being a cinematic DJ.”

She compares herself to a stunt driver. “Most films go from A to B to C, but stunt drivers take wild detours and push the limits.”

That’s why she wears the goggles. “I’m performing in costume. And audiences often turn to watch what I’m doing,” she says. “It’s a bit like a magician, too; people want to see how I’m performing my tricks.”

– Kenton Smith

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~ by cineflyer on October 5, 2010.

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