Archive of Cinewords

August 28, 2013 § Leave a comment

Julia Kwan interviewed by Ileana Pietrobruno, March 2006
Steve Rosenberg interviewed by Ileana Pietrobruno, November 2005
Kerry Laitala interviewed by Ileana Pietrobruno, September 2005
Jem Noble- The Collapse of Memory and Promise, Cineworks/Signal and Noise May 2010
On Cinematic Cartographies, or, What is Art Good For? by Roger Beebe, 2009
Moveable City- by Vanessa Brown, Sept. 2009
08/08/08: An Interview with Project 8 Founder Julie Sargosa by Amy Lynn Kazymerchyk, 2008
The Enduring, cheyanne turions Critical Essay, April 2009
Cinema + Disjunction, curated by Ben Donahue, April 2009
Who Will Give Up Their Distinctions? cheyanne turions Curatorial Essay, July 2008 
Plaidcolumn’s Reponse to “Who Will Give Up Their Distinctions?”, July 2008
Notes on an Independent Aesthetic of Dance-Film in Canada, by memelab, 2008
Claudia Morgado Interviewed by Ileana Pietrobruno
Karin Lee Interviewed by Ileana Pietrobruno


A couple of notes about the history of Cineworks* . . . by Al Razutis

December 11, 2012 § Leave a comment

A couple of notes about the history of Cineworks, if only to upset any mythology arising from (some future discovery of) fossilized remains or flawed memory.

When Cineworks first ‘got a place’ (1980) – and you always start an organization with a ‘place’ – it was an empty office, adjacent to Canadian Filmmakers DIstribution Centre West (CFMC-W) – later an independent CFDW, and later Moving Images – on Pender St. We had no furniture, no equipment, nothing but a space with lots of ‘potential’. Our first film equipment was a set of rewinds, 4-gang 16mm synchronizer, splicer and audio squawk-box. I delivered this to Cineworks as a gift, from my collection, but it really came from Intermedia (Vancouver org. ’67-’71), which had dissolved almost 10 years earlier.

But we needed a ‘production’ (to qualify for future grant considerations). One weekend, I brought in a rear-screen, stop-motion 16m projector, Bolex camera/tripod, and over a week created ‘The Wildwest Show’ (a reel in my film Amerika) one frame at a time (rewinding, double exposing the matte content).
This work was notably laborious: With a flu affecting my concentration, I forgot to open the ‘variable shutter’ on the first complete batch of animation, and the lab results were predictably ‘black’ (unexposed) film. So, I had to do it all over, one frame at a time, with the flu, but in those days we just ‘did it’, however we could, and however long it took. This film, I would say, is the ‘first film’ produced ‘at Cineworks’. No big deal, but not a myth.Frame captures (in SD 2006 video capture) of Wildwest Show can be viewed at:

If others have memories to share, they would be most welcome, because in the end, we forget ‘everything’.

*Re-posted with the permission of the author, 2012.

Al Razutis  is a multimedia artist, educator and innovator in motion-picture film and video, stereoscopic 3D video, holographic technologies and arts, and web-digital graphics for websites and virtual reality and was a founding member of Cineworks Independent Filmmakers Society. For more information, visit alchemists

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