Sponsored by the Architectural Institute of BC. Credits include special thanks to the Audio-Visual Department of SFU. Produced by SFU Film Workshop under the direction of Luke Bennett for the Architectural Institute of British Columbia. Deals with city planning and architecture in Vancouver, B.C.
A film about an Indigenous boy who sells items at the corner of Georgia and Granville in Vancouver. (Diane Edmonson, Brent Stranghan, Fred Easton, cinematographers.) Easton was part of the primary film crews during Greenpeace's early days (1975-79): http://rexweyler.com/greenpeace/greenpeace-history/characters/.
"Mary Ann McKewan’s … brightly written satire shot in color in a botanical greenhouse at UBC. Skillfully photographed by Fred Easton, the movie leaves no doubt that its Eve (Valerie Ambrose) is properly undressed for the part, yet preserves her maidenly modesty for its full seven minutes." [Michael Walsh, "Student film mood: Calmness supplants revolution," ca. 1973 article]; "(Filmmaker’s first 16mm film, shot in 7241 colour reversal camera stock.) An irreverent look at ‘The Original Sin’." [Spring Arts Festival, March 11-April 8, S.F.U. Film Workshop Productions 1973, program]
"An 18-minute parody on the business of making movies in Canada. Actually a film-within-a-film, it represents itself as a documentary in the making of Oblivion, an awful film that has met with surprising critical success. Oblivion, shot in color, is unreeled as part of the surrounding documentary, shot in black and white but printed on color stock to give it a hint of tint. The film is actually a Workshop group project and in it the group‚Äôs own fascination with film, its possibilities and its paradoxes get a thorough, if light-hearted going-over." [Michael Walsh, "Student film mood: Calmness supplants revolution," Province?, ca. 1973]; "Aikenhead is an alumnus of the Ontario Arts Council‚Äôs film apprentice program who is now studying at Simon Fraser University. Ivory Founts was a funnier and more sophisticated filmmaker-making-a-film film than any other I have seen. This type of approach seems mandatory at student film festivals. I was uncomfortable that he won top prize, but his film worked. He put into it just about every clich?©d image of the filmmaker imaginable. It was a fun film." [Kirwan Cox, "Opinion: The Canadian Film Festival," Cinema Canada, October/January 1973/74, no. 10-11, pp. 76-77.]; "(This film was produced as a Group Project for 16mm Workshop, shot in Eastman Colour Negative 7254, 4-X Negative, Double-X Neg, and printed on colour print stock.) The Filmmaker‚Äôs notes for this film:
"Sometimes, above the gross and palpable things
Of this diurnal sphere, his spirit flies
On awful wing; and with its destined skies
Holds premature and mystic communings:
Till such unearthly intercourses shed
A visible halo round his mortal head". - Keats" [Spring Arts Festival, March 11-April 8, S.F.U. Film Workshop Productions 1973, program] Won the Norman McLaren prize (for best film of the festival) at the 5th Canadian Student Film Festival, Montreal, 1973. [Cox article]; Participated in the International Student Film Festival – "Cinestud ‘73" in Amsterdam, Netherlands." [SFU News Release, 25 March 1974]. Director Aikenhead continues to work in the film industry: http://www.imdb.com/name/nm0014589/
"A 5 -minute black and white film by Marilynn Kansky. A study in isolation and personality, it is not unlike the films once turned out by American avante gardist Maya Deren." [Michael Walsh, "Student film mood: Calmness supplants revolution," ca. 1973 article]; "The film is based on the following thoughts by the filmmaker: … ‘Each person is a thousand selves. Blending and fading from one to the other. For life is an ongoing process.’ M.K." [Spring Arts Festival, March 11-April 8, S.F.U. Film Workshop Productions 1973, program]