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Title
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Truong/Tram family videos : Muny : baby shower : Ngày Đầy Tháng
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Description
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A video clip recording from 1992 consisting of a Khmer-Krom family celebrating a birthday. Project and donor(s) contributed description follows: "The Truong/Tram family’s home movie footage shot in VHS format on January 25th 1992, captures the 1-month old birthday party of their youngest son in Brantford, ON, shortly after moving from Hull, Quebec. A full and lively gathering, their celebration includes families chatting over a community meal, speeches, gift giving, dancing to 80’s music, and loving footage of a peaceful baby enjoying the party. The Truongs/Trams are of Khmer-Krom ethnicity, translating to 'Khmer of the South'. The Khmer-Krom are an [unrecognised] Indigenous group and ethnic minority in the South of Vietnam. Many Khmer people who inhabited the same refugee camps in Vietnam later immigrated together to Canada. When the Truongs/Trams arrived in Hull, Quebec (now Gatineau, Quebec) in 1989, they were able to regularly connect with a Khmer community at gatherings like these. The Troung/Tram family have since relocated to Toronto ON where they continue to celebrate and take pride in their identity, and attend Khmer language and dance classes. The Khmer Buddhist Temple of Ontario in Hamilton remains central to them and their community. Mother, Trinh Nha Truong, was happy to share her footage with Home Made Visible because she wants to show other Canadians that ‘our people live in Canada too.’"
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Type
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VHS
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Accession / Box
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2018-018 / 001
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Date
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25 January 1992
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Identifier
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2018-020 / 001 (01)
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Identifier (PID)
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yul:1148420
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Title
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Wong family videos : family reunion 70
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Description
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Project and donor contributed description follows:"A clip documenting the Red Packet (hóngbāo) ceremony taking place at Mr Wong’s 70th birthday celebration in 2002. During this ceremony family members were called up in a particular order to accept a red envelope of money from Mr Wong. Deanna Wong, Mr. Wong’s daughter who found and digitized this video, recalls that family members were called up according to age and lineage. For example, Mr. Wong’s siblings would be called first, followed by their children and grandchildren. In this video Mr Wong's eldest son, Terry was called first, and then, since their middle son Ted was not present, Deanna, the youngest of the three, came next. Following her came Terry's kids from eldest to youngest. And since Deanna nor Ted had children at the time, the eldest cousin and his wife, and their kids etc followed. As the eldest of 13 siblings, Mr. Wong would have had many envelopes to hand out! Originally from Hong Kong, Mr. Wong came to Canada to study engineering at McGill University in the mid-1950s, where he met Deanna's mother. Mrs. Wong's father, Deanna maternal grandfather, immigrated to Canada in 1921 and paid the $500 head tax in order to enter the country. Mr Wong's father, Deanna’s paternal grandfather, was a doctor specializing in acupuncture, which was illegal in Canada at the time, so he settled in California. Now his family lives around the world, including the United States, Singapore, Japan and in various places in Canada. This milestone birthday presented a great opportunity for a family reunion. And to accommodate everyone, this celebration took place in the home of Deanna’s eldest brother and Mr. Wong’s eldest son, Terry. Now a longtime resident of Toronto, Deanna calls Winnipeg home where she and her two brothers grew up. Although they were one of the few families of colour around, she remembers her neighbourhood and her experiences fondly. Her parents, particularly her mother, worked hard to build a Chinese community where the children could have Chinese friends and be exposed to their culture. They started a Mandarin school, even though Cantonese was their mother tongue, and began a summer camp. Family and community come together again at this celebration, one of many for the Wong family."
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Type
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video files
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Fonds
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Home Made Visible collection (F0723)
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Accession / Box
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2019-040/001(01)
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Date
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2002
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Identifier
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2019-040/001(01)
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Identifier (PID)
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yul:1152082
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Title
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Isaac family videos : Sacré-Cœur Christmas concert
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Description
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Item consists of footage of speeches, performances such as children singing, and audience members at a francophone Catholic school's Christmas recital. Project and donor contributed description follows: "Stella Isaac’s sister films her at her elementary school, École élémentaire catholique du Sacré-Coeur during their annual Christmas concert in 2004 at la Paroisse du Sacré Coeur located at Sherbourne and College. The footage captures a particular experience and community of mostly Black students of Congolese, descent attending the French school, which was located at Sherbourne and Bloor. Now located near Christie Pits, the community and neighborhood is no longer remembered in the same way. On stage during the concert the school’s principal mentions the students’ practice of prayer exemplifying the experience of religiosity at the school. Education at Sacré-Coeur is rooted in Catholicism and Christianity. Stella recalls a time when students in the class would put their Bibles and crosses on their tables before tests for an extra blessing. This was normal practice. Stella enjoyed attending a Catholic School and has fond memories of the experience, especially when receiving mentorship from particular teachers who pushed their students to prepare for success in their futures. ""I have a slight obsession with this time period and this school, especially as it relates to what it was like educating Black students. It was in an environment where I had a teacher that completely pushed us and believed in us and our intelligence. The footage also documents images of Stella’s younger brother, Jordan, who has Down Syndrome. She describes him lovingly: "It was nice seeing my little brother making tons of noise and yelling my sister’s name, rubbing my mom’s face." In relation to Home Made Visible, Stella shares: "It’s great to allow families the opportunity to revisit old footage, explore their history and share that. A lot of people don't think of Black people in Canada just existing. It’s a great way to change the Canadian narrative."
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Type
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video files
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Fonds
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Home Made Visible collection (F0723)
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Accession / Box
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2019-030 / 001 (01)
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Date
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2004
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Identifier
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2019-030 / 001 (01)
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Identifier (PID)
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yul:1152025
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Title
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Joudaki family videos : Iran vacation
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Description
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Item consists of footage of landscapes, cityscapes, and heritage sites in Iran. Project and donor contributed description follows: "Both Bita and her father, Abbas, contributed to this write up. Bita felt protective of her family and their image, and chose to contribute a clip that didn’t centre people but a place. The scenery itself is a beautiful valuable contribution of a country in flux. In 1998, Abbas visits Iran with his daughter Bita for the first time in sixteen years since moving to Canada. Bita at the time was a shy eight year-old and recalls that she didn’t speak for the first three weeks of the trip and that this was her first time leaving Canada. In this clip Abbas is alone behind the camera capturing historical sites. He was prompted to take this trip because an Iranian friend in Vancouver couldn’t go home and asked him to make these movies of Cyrus the Great, Isfahan, etc. and to bring them back to show on local Persian TV. He did end up making these movies on a miniDV camcorder but never did give them to his friend. The clip starts out at night time in Shiraz, with the Takht-e Lamshid built for Cyrus the Great. Then moves on to Isfahan, the "Great Mosque" that in farsi they call the Shah Mosque based in Naghsh-e Jahan Square. Abbas recalls at the time wondering how locals knew he hadn’t been living their for 16 years. People could tell that he had left and was living somewhere else. For Abbas, these clips show a country rich with stories and pride. After years of searching for these tapes, they found them again in the summer of 2018 the night before Bita returned to Iran for the second time in her life."
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Type
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video files
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Fonds
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Home Made Visible collection (F0723)
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Accession / Box
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2019-029 / 001 (01)
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Date
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1998
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Identifier
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2019-029 / 001 (01)
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Identifier (PID)
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yul:1152026
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Title
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Burke family videos : Christmas '92 : Singing
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Description
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A video clip recording representing a portion of the VHS cassette from 1992 consisting of a brother cooking breakfast on Christmas and a sister filming a tour of the house. Project and donor(s) contributed description follows: "It’s Christmas, 1992, and within the short span of this clip the presence of almost Leah Burke’s whole family is felt. From her dad offscreen singing along to gospel (Mahalia Jackson’s ‘Go Tell It On the Mountain), to her brother, the then sullen teenager, seen cooking pancakes for family breakfast, to finally Leah, who weaves through the house filming. She reveals herself as the documentarian in a mirror reflection waving ‘Hi’. In present day, Leah recalls, ‘This is a typical Burke house family moment’."
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Type
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video files
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Fonds
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Home Made Visible collection (F0723)
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Accession / Box
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2018-029/001(05)
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Date
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25 December 1992
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Identifier
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2018-029/001(05)
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Identifier (PID)
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yul:1150176
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Title
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Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 1 of 3
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Description
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Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. The children are reciting; reciting a shopping list, nursery rhymes like “itsy bitsy spider,” and their ABCs. The video letter of the boys learning to write and spell is a way to build and maintain a relationship with their grandmother from afar. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs.”
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Type
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video files
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Fonds
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Home Made Visible collection (F0723)
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Date
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9 Feb. 2003
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Identifier
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2019-034 / 001 (01)
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Identifier (PID)
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yul:1152049
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Title
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Bleeding to Life
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Description
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An essay-performance, this media-archaeological examination celebrates the revolutionary potential of recognizing and engaging with our collective, gaping wounds. Taking Caravaggio’s The Incredulity of Saint Thomas as a point of departure, I construct a narrative that links the production of subjectivities in “post”-colonial contexts, with the technosexual networks of resistance and coded information exchange that grew out of the government-manufactured crack epidemic in oppressed neighborhoods throughout the late 70s/early 80s and today. Indebted to the writing of Donna Haraway, Jussi Parikka, Hortense Spillers, & Kanye West. Created specifically for the Dark Diction event on January 16, 2015 at JACK in NYC, organized by Social Health Performance Club. Tattoo work was done by Josh Kil, photos by Laura Blüer, and video by David Ian Griess, and are featured here with those collaborators’ permission.
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Type
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Moving image
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Date
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Fall/Winter 2016
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Identifier
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intensions8-iandeleon
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Identifier (PID)
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yul:1156010
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Title
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Simulacra, by Steve Hudak
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Description
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Simulacra represents the culmination of research project exploring spatial and environmental similarities called Mixed-Reality Machinima. The work considers the phenomenological similarities between Grand Theft Auto IV and New York City. Mixing live footage shot in NYC with real-time-rendered video game footage and Second Life footage is what defines this mixed-reality experimental film genre. All research was completed under the supervision and guidance of Dr. David Harris-Smith in the New Media and Communications Masters program at McMaster University. Machinima as a film genre is still young, and while it resonates within gaming culture it has created minimal impact outside of this informed community. However its potential to create film quickly, creatively, and effectively make it a powerful and underutilized tool. What differentiates machinima from computer animation is the production process. An animation production each scene is rendered by a computer in stages, Cinematography, lighting, environments and characters develop slowly, until a scene is ready for final rendering and that output is what the audience experiences. Machinima production more closely resembles a film set, where the environment, lighting, and characters are always rendering in real-time, like a video game. Characters move and interact in real time by joystick, keypad, or keyboard and the screen view is recorded directly and edited, and that output is what the audience experiences. The final work can take many forms, the mixed reality prefix indicates the addition of real footage with rendered footage yet retains filmic conventions. Simulacra resides within and explores the constraints of cinematic practice as described by filmmaker and academic Leo Berkeley (as cited in Horwatt, 2008). With research into film production practice, low and micro budget filmmaking, improvisation, and machinima, Berkeley is a foremost expert on the subject. The narrative and cinematic devices employed in Simulacra directly and intentionally connote filmic expectations; these devices are no less derivative than the content. The work in Berkely's terminology would be less avant-garde and more experimental, as the construct devising it is contrary to normal film making techniques. The work relies directly on them for privilege; just as a frame or a plinthe contextualize art from the world, film and filmic narratives derive contextuality from cinematic devices. Thus the intention in Simulacra has been to employ them openly, strategically allowing the widest possible entry within the media landscape the work is designed to inhabit. In this way the work is meant to test/potentialize a viewership outside of the informed machinima audience. The term 'mixed reality' carries the connotation of referential multiplicity and the contextuality/phenomenology of reality. By 'mixing' them there is an indication that there can be more than one; which intentionally problematizes the distinction between the real and the non-real. This multiplicity creates an interesting reference to fact vs fiction, and whether ideologically there is a disjuncture in mixing them. It is this disjointed effect of multiplicity that Simulacra means to creatively consider.
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Type
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Moving image
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Date
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Spring/Summer 2014
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Identifier
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intensions7-stevehudak
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Identifier (PID)
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yul:1156002
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Title
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X, by Rebecca Belmore
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Description
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Performed on June 17, 2010 Wall of the Price Chopper, 181 Brock Street, Peterborough, Ontario Performance for Mapping Resistances exhibition. Curated by Wanda Nanibush as part of the Ode’Min Giizis Festival June 17-18, 2010, Peterborough, On Materials: A black truck, an assistant and a trumpet player, bags of milk, four buckets, water four cushions in the colours used in Robert Houle’s “Mohawk Summer,” four stones, a brick wall. Videographers: Nick Ferrio, Jessica Rowland Edited by: Nick Ferrio
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Type
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Moving image
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Date
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Fall/Winter 2012
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Identifier
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intensions6-rebeccabelmore
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Identifier (PID)
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yul:1156001
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Title
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Ati-atihan: Mother of Philippine Festivals, by Patrick Alcedo
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Description
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Every January, thousands of people from far and near dance, play music, and pray for three days in the streets of Kalibo, a town in the province of Aklan in the central Philippines. They are celebrating the Ati-atihan, an annual festival in honor of the Santo Ni–o, the Holy Child Jesus, and in remembrance of the indigenous Atis—commonly known as the Negritos—who are the putative ancestors of the Filipinos. The day before the third Sunday when the Ati-atihan reaches its climax with a grand procession, the local government of Kalibo holds a street dancing competition that tourists and residents await with much anticipation. In January 2009 I collaborated with photographer Nana Buxani, videographer Fruto Corre, and editor Florencito Fernandez to document the Ati-atihan and produce the present multimedia project. As a way of calling additional attention to the idea of social constructivism deeply embedded in the Ati-atihan performance—an artificial construction reiterated by the editing and selection of photos and ambient sounds, I asked my brother Peter Alcedo, Jr., who has played music for the Ati-atihan, to compose an original score for the project. In Ati-atihan: Mother of Philippine Festivals, I focus on five participants to illustrate the Ati-atihan’s ever-changing synthesis of sacred and secular, traditional and modern, local and global, serious and playful. This is part of a collaborative project. As a combination of photos, sounds, narration, and music, this multimedia project offers one model for articulating Ati-atihan’s cultural and historical complexity brought about by colonialism and the porosity of Philippine borders. Like any embodied performance, one could immediately conclude that to experience Ati-atihan one has to go to Kalibo during the festival season. But this multimedia project does not push solely for that kind of travel and experience. Rather, its images and the way they have been arranged to move across the screen challenge the limits of the viewer’s location. To experience a festival such as the Ati-atihan, it has become necessary in the contemporary world to also encounter a cultural phenomenon outside of its physical locale and in the virtual realm, an encounter that adds to and re-affirms the hybrid discourse implicit in the performances of this particular festival.
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Type
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Moving image
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Date
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Fall 2010
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Identifier
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intensions4-patrickalcedo
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Identifier (PID)
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yul:1155999
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Title
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Borders, by Alexandra Gelis
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Description
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Borders, 2010, is a 3 minute intimate photographic exploration of the bodies belonging to six queer individuals. This animation, made up of hundreds of high-resolution photographs, unabashedly examines the evidence of physical change and transformation: surgery scars, tattoos, and other traces. The bodies are fragmented, as are the stories affiliated with these traces, and identities remain delightfully elusive. Alexandra Gelis is a Colombian Venezuelan, Toronto based multidisciplinary artist with a background in photography, web design and visual arts. She works with photography, video and digital art to explore the image in relation to memory, migration and encounters. Her use of sequential photographs focuses on her relationship with communities where she has worked facilitating photography and video workshops. She also has developed a series of works documenting intimate performances and translating them into photomontages and video installations. Her video work has been shown in several venues in Toronto, Colombia, Venezuela, Panama and the U.S..
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Type
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Moving image
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Date
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Fall 2010
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Identifier
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intensions4-alexandragelis2
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Identifier (PID)
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yul:1155998
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Title
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One Dollar Click, by Alexandra Gelis
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Description
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One Dollar Click, 2009, features a 2 minute trip through 400 islands in Kunayala, home of the native Kuna community in Panama, and follows everyday routines and a mixture of signifiers that transforms cultures. Alexandra Gelis is a Colombian Venezuelan, Toronto based multidisciplinary artist with a background in photography, web design and visual arts. She works with photography, video and digital art to explore the image in relation to memory, migration and encounters. Her use of sequential photographs focuses on her relationship with communities where she has worked facilitating photography and video workshops. She also has developed a series of works documenting intimate performances and translating them into photomontages and video installations. Her video work has been shown in several venues in Toronto, Colombia, Venezuela, Panama and the U.S..
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Type
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Moving image
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Date
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Fall 2010
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Identifier
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intensions4-alexandragelis1
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Identifier (PID)
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yul:1155997
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Title
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A Silence Full of Things, by Alejandra Canales
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Description
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Political torture continues as a practice used to undermine the “enemy.” As spectators, most people can look away or turn it off. Others live with marked bodies and memories triggered by everyday smells, sights, and sounds. The central question behind this work was how to make a film about someone’s experience of torture. What kind of strategy and what kind of filmscape could embed the sensorial experience? What are the images and sounds? Furthermore how does one make the boundaries of documentary permeable? To be able to look again and ask new questions. A Silence Full of Things gave me the possibility to touch on the issue of political torture from a new perspective: the memory of the senses. From there a filmscape was created that proposes new relations between testimony, sensorial memory, image, sound and the sensorial entanglements of the audience. The film juxtaposes the poetic beauty of intimate imagery with a story about the physical, emotional and psychic wounds of political torture. Miriam narrates and performs her story. It is in this deliberate theatrical performance where shifting relations occur and the story becomes individual and universal at the same time. A Silence Full of Things is self-conscious about strategy, form, style, and effects. The internal composition of the film is made up of a relationship to close up images in order to arrive at the core of the pain through the beauty of the voice and the images: the fragility and delicacy of the lace, the yellowness of the day of the capture, and Miriam’s look to the audience at the film’s closure. Her face leaves us imagining being hit in the stomach. We cannot escape being affected by her expression. What, when and how we imagine documentary films to be saying are other matters. A Silence Full of Things leaves a sensorial mark, and it open questions on how we read the gestures, the signs and the words. Educated in Australia in performance, television, film and video production, Alejandra Canales is currently completing her Doctorate of Creative Arts at the University of Western Sydney. She has taught at the University of Western Sydney and at various community organizations. Her films have been shown at festivals internationally where she has gained recognition from the Film Critics Circle of Australia, and the Women’s International Film Festival among others. Alejandra Canales can be reached at alejaca@hotmail.com
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Type
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Moving image
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Date
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Fall 2010
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Identifier
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intensions4-alejandracanales
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Identifier (PID)
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yul:1155996
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Title
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D'Arcy Island, an installation by Don Gill
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Description
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"British Columbia has a leper colony. Its existence is not widely known, for those who compose it are of a race whose affairs never reach the public ear.” (The Dominion Medical Monthly: Ontario Medical Journal, No. 6, Vol. XI, Toronto, December, 1898.) In the nineteenth century D’Arcy Island, a small island off the east coast of Vancouver Island was used by the city of Victoria to quarantine residents diagnosed with leprosy after the discovery of the disease in a few people in 1891. The exhibition D’Arcy Island is part of a larger project, Carceral Landscape, which is concerned with the use of landscape as a device for human incarceration. The idea of Carceral Landscape was germinated by photographer Ansel Adams’s belief that the sublime beauty of the natural environment surrounding the internment camp at Manzanar, California inspired and helped Japanese American internees transcend their detention during WWII. D’Arcy Island critically considers the use of an island as a site of detention or banishment. “While the floor of the Owens Valley is desolate, very hot in summer and very cold in winter, the surrounding mountains are spectacular, especially the Sierra Nevada on the west, culminating in Mount Whitney rising fourteen thousand five hundred feet above the valley floor. The Inyo Range to the east is more of desert character and of lower elevation but is very beautiful in its own way. I have been accused of sentimental conjecture when I suggest that the beauty of the natural scene stimulated the people in the camp. No other relocation centre could match Manzanar in this respect, and many of the people spoke to me of these qualities and their thankfulness for them.” (Ansel Adams: an Autobiography. Little Brown, 1998. Pg 220) D’Arcy Island was exhibited at the Southern Alberta Art Gallery in Lethbridge Alberta in Fall 2006.
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Type
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Moving image
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Date
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Spring 2008
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Identifier
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intensions1-dongill
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Identifier (PID)
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yul:1155990
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-
Title
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Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 3 of 3
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Description
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Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. Muslim by faith, the children practice memorizing the Quran in Arabic. Their parents teach them to recite one line at a time to ensure that they learn at a young age. They know that seeing this would bring their grandmother joy and make her proud. The video letter is a way to connect with her through these recitations of a shared faith as she doesn’t speak English. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs."
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Type
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video files
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Fonds
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Home Made Visible collection (F0723)
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Accession / Box
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2019-034 / 001 (03)
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Date
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9 Feb. 2003
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Identifier
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2019-034 / 001 (03)
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Identifier (PID)
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yul:1152051
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Title
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Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 2 of 3
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Description
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Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. The children are practicing Urdu by reciting what they know: a well-known Indian nursery rhyme about a thirsty crow, and a biryani song that the family made-up because the boys found it amusing. The video letter of the boys practicing Urdu is a way to build and maintain a relationship with their grandmother who doesn’t speak English. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs."
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Type
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video files
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Accession / Box
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2019-034 / 001 (02)
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Date
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9 Feb. 2003
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Identifier
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2019-034 / 001 (02)
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Identifier (PID)
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yul:1152050
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Title
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HIV antibody testing : an informed approach
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Description
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"The testing question is presented in a balanced and intelligent manner in this video which explains what exactly a test will tell you, whether the results are conclusive, and what the difference is between anonymous and confidential testing"--Container.
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Type
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videorecording
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Identifier
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ACT 0201
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Identifier (PID)
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yul:278534
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Title
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The HIV antibody blood test : a guide to counseling
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Description
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Intended for medical professionals who deal with people considering the HIV antibody test. It strongly advises counselling all clients about the test, signs and symptoms, risk reduction, and planning for test results. The video contains three counselling sessions, and points out steps to follow when counselling a client.
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Type
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videorecording
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Identifier
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ACT 0176
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Identifier (PID)
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yul:278533
