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A puppet of clown. Open mouth and haggard eyes.

© Jeremy Drummond, White Christmas, 1998

Trouble

Screening

Thursday, december 10, 2015, 7pm
Centre Clark



Centre Clark <br/>
5455 avenue De Gaspé, Local 114

Including videos by :
Pierre Ayotte, Laëtitia Bourget, Pier-Philippe Chevigny, Donigan Cumming, Jeremy Drummond, Alexandra Grimanis, Pascal Lièvre, Frédéric Moffet

Selected from Videographe’s collection, these videos raise ethical and moral questions, sometimes test the viewer’s limits, and have fun through various twists and turns. Drama follows comedy, Christmas meets The Exorcist, all in a variation on turmoil, discomfort and irreverence.

Free entry

La Visite, Pier-Philippe Chevigny, 2014, Québec, 8min46
«The Visit » is an observation documentary focusing on the phenomenon of tourism in World War II prison camp ruins. Although you’d expect those ruins-turned-tomuseums to be peaceful and silent, they happen to be some of most popular tourist attraction in Poland.

White Christmas, Jeremy Drummond, 1998, Canada, 1min32
A music video for Frank Sinatra and Bing Crosby’s “White Christmas” featuring mechanical children involved in sexually-induced activities, as found on display in a mall in London, Ontario.

Lucky Girl, Alexandra Grimanis, 2009, Québec, 4min50
Moments in our lives that seem insignificant at the time they occur can stay with us for years, if not forever. We are haunted by what could have been, what small differences may have changed the outcome of these moments and maybe our entire lives. Lucky Girl recalls one such moment – a moment that was simple but could have turned out very differently.

An Objective Measure of Arousal, Frédéric Moffet, 2001, États-Unis, 6 min
An Objective Measure of Arousal is an inquiry into the world of clinics specializing in the treatment of sexual offenders, primarily focusing on the methodology involved in the assessment of patients.

Plastic Sex, Pierre Ayotte, 1990, Québec, 5min40
Big Jim and Marilyn are inflatable dolls. They escape from their sex shop and once in the intimacy of their “Elvis room,” do everything you have ever wanted to know about sex but have never dared view on cassette.
Not to be taken seriously and definitely not for the faint-hearted.

Petit Jésus, Donigan Cumming, 1999, Québec, 3min02
On Christmas eve, a man alone finds someone he can talk to.

The Creationnists, Pascal Lièvre, 2006, France, 8min10
Pascal Lièvre remakes the way he supposed creationnists would do, a famous scene of the movie The Exorcist Directed by William Friedkin. Instead of being possessed by the devil, the little girl is this time possessed by Darwin and two priests exorcize her.

Recyclage, Laëtitia Bourget, 1999, France, 3 min
Recycling
A demonstration that involves the recycling of excrement to turn it into decorative objects. An ironic stance concerning the duality of the being which houses both the body and spirit, aligned with the contrast between abject material and art object.

© Charlotte Clermont, Plants Are Like People, 2018

Technical Support Program

Call for submissions

Deadline : March 1st, 2022



CALL FOR SUBMISSIONS

Deadline : March 1st, 2021

* New: 4 calls for submissions per year

Program description

The Technical Support Program is intended to support artists interested in experimentation and in pushing the boundaries of the moving image in all its forms.
This support can be used in the production phase of the project or in the post-production phase.

A total of 4 calls for submissions per year will be made, for which the following are the deadlines;

  • March 1st (for projects that will start between April and June)
  • June 1st (for projects that will start between July and September)
  • September 1st (for projects that will start between October and December)
  • December 1st (for projects that will start between January and March)

Please note that 2 projects per call for submissions will be selected.

Artists selected under this program have free access to:

  • Our editing suites, sound booth and digitizing equipment for a maximum of two weeks. These two weeks can be contiguous or spread over 3 months.
  • Free access to available equipment belonging to Vidéographe.
  • Two meetings with Vidéographe’s team to discuss the project and its circulation potential: one meeting at the start of the project in order to specify the needs and a second meeting at the end of the project.
  • The possibility of organizing a private screening at Vidéographe.

It is not necessary to be a member of Vidéographe to apply; however, should your proposal be accepted, we will ask that you become a member. Once you have signed the agreement, you will have three months to take advantage of the benefits that this program has to offer. Regular membership fees are $50 + tx per year and student membership fees are $25 + tx per year.

We are looking to support independent experimental or documentary works that stand apart for their currency and endeavour to renew the artistic language. We will accept proposals for single-channel video, installation, Web-based work, and all other forms of moving image. We consider all genres—video art, experimental work, fiction, documentary or essay form, animation, dance video, and videoclip. Please note that all works must be independent and non-commercial. Projects of a conventional nature, such as classic short narrative film or television documentary will not be considered.

Once your project is finished, you may submit it for active distribution by Vidéographe. Please note however that acceptance into the Technical Support Program does not guarantee that your work will be distributed.

Required

  • Candidates must possess full editorial and creative control of the project.
  • Projects must be independent and non-commercial.
  • Projects that have received support through this program may not be re-submitted.
  • Student projects are not admissible.
  • We encourage traditionally under-represented artists to submit a project. Vidéographe is driven by the conviction that multiple points of views are necessary to enrich society and the discipline we work in.

Selection process

Works will be chosen by a selection committee made up of Vidéographe staff and members.

Projects that are retained will be subject to a contractual agreement between the artist and Vidéographe. Schedules, revised budgets, and requirements regarding equipment, rooms, and technical support will be planned and clearly laid out, as will the terms and conditions relative to each party.

Application file:

  • Contact information and website if applicable
  • Project description (500 words)
  • Schedule; (Overall project timeline and detailed timeline for support for creation).
  • Technical needs; (Please consult our website for more details on our editing suites and equipment).
  • Resume.
  • Supporting documentation (current or past projects);
  • Maximum 10 minutes of video footage. Please send a link to your video(s). Do not forget to include the password if applicable; and/or maximum 15 images (max: 1024 px wide, 72 dpi); sketches, plans, and mock-ups may also be submitted in PDF format.

Submission of your file

Applications will be accepted by email only. An acknowledgment of receipt will be sent. Please write TECHNICAL SUPPORT PROGRAM in the subject heading of your email and send your file to info@videographe.org. Please send your file as a SINGLE PDF document (including links to videos). Files found in the text section of the email will not be taken into account.

Please allow three weeks for a response. Vidéographe chooses eight projects per year.

© Post-partum, Marie-Josée Saint-Pierre, 2004

vidéo-club: First Works

PROGRAMMING

April 29, 2025 at 7 pm
Cinéma Moderne



Vidéographe invites film buffs to a screening of First Works, a program bringing together the first short films of recognized artists in the film industry. The event will include a discussion with several guest filmmakers, including Chloé Leriche, Marie-Josée Saint-Pierre, Anne Émond, Alexa-Jeanne Dubé and Étienne Lacelle.

Through the programming of these nine films made between 1988 and 2019, Vidéographe celebrates the importance of audacity and experimentation in the journey of several unique voices in Quebec and Canadian cinema. From fiction to animation and documentary, these short films demonstrate deliberate risk-taking in terms of form, themes addressed, production methods and technologies used. 

 

► Click here to get your tickets

 

PROGRAM 

  • Once You’ve Shot the Gun, You Can’t Stop the Bullet, Jayce Salloum, 7 min 13 s, 1988
  • The Bridge, Karl Lemieux, 3 min 30 s, 1998
  • L’homme et la fenêtre, Chloé Leriche, 2 min 30 s, 2001
  • Post-partum, Marie-Josée Saint-Pierre, 10 min, 2004
  • Juillet, Anne Émond, 9 min 58 s, 2006
  • Parallèle Nord, Félix Dufour-Laperrière, 6 min 48 s, 2012
  • Tengri, Alisi Telengut, 5 min 34 s, 2012
  • Scopique, Alexa-Jeanne Dubé, 12 min 6 s, 2017
  • En el tumulto de la calle, Étienne Lacelle, 5 min 50 s, 2019