Philip Hoffman: Collaborations & Meditations
When and Where
Description
AD HOC #54: Philip Hoffman: Collaborations & Meditations (1995-2024)
Free admission
"The short films in this program reflect a mix of formal experiments and collaborations that often feed into and fuel some of my longer poetic narratives, essay and autobiographical films, spanning my 45 year practice. Formally, the first half of the program are mid-career works which experiment with techniques of fragmentation through shooting, editing optical printing and through photo-chemical processes. The second part of the program consists of more recent works, where the worlds of plants and animals, both domesticated and wild, rub up against a filmmaking ecology derived primarily from various hand-made filmmaking processes: photogram-making, flower-processing/tinting as well as biodegradation/decay techniques of celluloid. Ultimately, some of these works are further treated through digital manipulation." –Philip Hoffman
PROGRAM:
1. Kokoro is for Heart (7 mins, 16mm, sd., 1999)
2. Chimera (15 mins., S8-to-16mm, sd., 1995)
3. By the Time We Got to Expo (9 mins, S8 & 16mm to HDV, sd., 2015)
4. endings (9 mins, 16mm to HDV, sil. and sd., 2023)
5. Flowers #3 (Kissed by the Sun) (10 mins, 35mm photogram to HDV, sil., 2024)
6. Deep 1 (15 mins, 35mm or 16mm to HDV, sd. & sil., 2023), TRT: 65 mins.
AD HOC aims to rethink what an experience of cinema can be. We seek to reposition historical landmarks and buried treasures within the on-going tradition of experimental and other non- commercial modes of filmmaking, drawing on work from Toronto, throughout Canada, and internationally. Within these parameters, we aspire to diversity in programming, as well as to multimedia and interdisciplinary screening events that bring together varied communities.
AD HOC = Stephen Broomer, Madi Piller, Jim Shedden, Tess Takahashi, Bart Testa.
AD HOC is made possible thanks to the sponsorship of Innis College and the Cinema Studies Institute at the University of Toronto. AD HOC would like to thank James Cahill, Denise Ing, Charlie Keil, and the staff of Innis College and the Cinema Studies Institute.