Super 8 Filmmaker John Porter, Toronto, Canada



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The Funnel
Catalogue Supplement 1987

• (digitized for CineZine by Fringe Online, 2007) •

44 Pages! 30 Filmmakers! 120 Films & Related Work!

Index; Artists L-Y;
Film Listing; Funnel Publications;
Appendix (Filmography / Bibliography / Screenings).

Below: ARTISTS A-J, Pages 8-18

Jo Ahlers, Ric Amis, Dave Anderson, Jim Anderson, David Bennell,
Amy Bodman, Bruce LaBruce, Mike Cartmell, Ian Cochrane,
Sharon Cook, Fenway Crane, Martha Davis, Ron Edding,
Munro Ferguson, Michaeline Fontana, Adele Friedman, Su Friedrich,
Eldon Garnet, Cindy Gawel, Michael Hoolboom, Jack Jeffrey, G.B. Jones.





Jo Ahlers is from Hamburg, Germany, where he began acting in his childhood. After moving to Toronto in 1966 he acted professionally. In 1967 he attended Cinecity's 'Cinethon' Festival and was inspired to make his only film to date - a one hour trilogy of which Praeterea Post Futurtum is the first part. Labs refused to print another part containing erotic imagery so the project was never completed. Ahlers has been painting since that time. His work has been exhibited in Toronto in 1985 and 1986.

Colour, Sound, (24 fps), 16mm, 12 minutes
The construction of P.P.F., adhering closely to the Brechtian theory of the theatre, is held together by its inner disturbance over being a film, complete with people, music, narrative, continuity, etc.
P.P.F. is a film about appearances, specifically those produced in filmmaking; and so it comments, ironically but gently, on what is transpiring: "Hold back the Distance, This is the Film, You're right There, and it's all coming together... on film". My doubts, rebounding from their own objectivations included. (The German word for lens is 'Objektiv', Latin enough for you to understand the title of this film as an objection to its proper function.) - J. A.



Ric Amis began photography at age nine in Hamilton, Ontario. He worked for fourteen years in construction and used that subject for his professional freelance photography and photo exhibitions. He lived in Vancouver for eight years, then moved to Toronto in 1978, and began shooting a lot of Super 8 film, then video. He frequented the Funnel and joined Trinity Video, doing both administrative and construction work for three years. He continues to work in video and photography and is the Managing Director of the Association of National Non-Profit Artists' Centres (ANNPAC). - John Porter, Cache du Cinema Notes

FLOW (1980)
Colour, Sound, (I8 fps), Super 8, 5 minutes
By the use of fragmented images of trees on a windy day, an impression of flow and movement is created. The soundtrack was created by Peggy Sampson through the use of electronics and the viola da gamba.



(Please refer to THE FUNNEL COLLECTION CATALOGUE 1984 for biographical information)

QUETICO (1985)
Colour, Sound, (18 fps), Super 8, 45 minutes
Quetico is the name of a provincial park just west of Lake Superior. In 1981 we, along with another fellow embarked on a seven day canoe trip in this park. As well as the experience of canoeing and camping we wished to discover the Indian pictographs said to exist on the shore rocks of some of the isolated lakes. The film is a document of our trip and discoveries, but as we worked on the project we found that the film was becoming more than this. We became interested in how something is remembered and reconstructed and in questions of memory, story telling, history and our concepts of beauty. This led to the shooting of reconstructed and simulated scenes that were then edited into the documentary footage. As well, the soundtrack presents a mix of location sounds and simulated sounds. At one point in the film we hear a voice attempting to imitate the dialect of a local fisherman. The film is not so concerned with passing information along as it is with leaving gaps and providing disinformation. Like the Indian pictographs, the film acts as a symbol that represents an event and evokes a mood. - J. A.


(Please refer to THE FUNNEL COLLECTION CATALOGUE 1984 for biographical information)

STAND OFF (1983)
B & W, Sound , 16mm film loop, 6 minutes
A film loop made from an old Mexican western produces a continual stand off between two cowboy factions. Meanwhile, the sound rescues the factions from their eternal dilemma and provides a twist to an old story.

CHARLES (1983)
35mm slides with sound cassette, 4 minutes (artist normally required to be present)
Every once in awhile, maybe as he walks from one room to another, Charles has a desire. This provokes Charles to make some modest reflections on the nature of desire. - J. A.

35mm slides with sound cassette, 6 minutes
Charles awakes one morning to find two knobs on his shoulders which soon become wings. This change confronts Charles with some dilemmas pertaining to sanity, free will and denial. - J. A.
...through the use of painted, scratched and photographic images, the slide piece locates and dislocates representation as a disjuncture between the 'expressionism' of painting and the cinematic 'truth' of photographic realism. - Dot Tuer

Jim Anderson has a number of film performances and installation pieces available for presentation. These include such pieces as: PREHISTORIC EXPANDED CINEMA, POST HYSTERIC EAR, THE MEANING MACHINE, THE PIECE OF TURF, A FILM AT THE BOTTOM OF MY FOOT, MY TRIP TO HOLLAND, and SAILING AROUND THE WORLD. Most do not require elaborate set-ups. Please inquire for further information.



(Please refer to THE FUNNEL COLLECTION CATALOGUE 1984 for biographical information)

Colour, Sound, (24fps), Super 8, 13 minutes
A satiric send-up of soap opera romance and materialism. Manipulated Italian comic book with subtitled lines voiced by Sophie Vitkovitsky, Pascal Sharp, and the filmmakers for maximum hilarity and irony. When the heroine says "Ron, we're afraid of the emptiness" while standing in an outrageously overdecorated apartment, we know just what she means. - M. F.


Born: Detroit, Michigan, 1962

Amy Bodman has spent much time travelling, keeping up a worldwide network of friends and relatives, and gathering artifacts and impressions which enrich her artistic view. She studied film at Ryerson Polytechnical Institute, Toronto.

TREE TALE (1986)
B & W, Sound, (24 fps), 16mm, 12 minutes
Tree Tale is a film about how space can change once it has been occupied for a long time. A girl climbs a tree, stays a while, then finally comes down again. - A. B.




Born: Tiverton, Ontario, 1960

Bruce graduated from the York University Fine Arts Department in 1983, and has done graduate work in interdisciplinary studies at York from 1983-86. He has won many scholarships and awards, including Famous Players Maple Leaf Award as best Film Studies Student, 1982-83. Bruce has written film reviews for Our Times, Cine Action, and Museum magazines and is a member of the Cine Action Editorial Collective. He has also written reports on the 1984 and 1985 Toronto Festival of Festivals, and has contributed recent works of fiction to Hide, Dr. Smith, and the upcoming softcorezine, JD.'s, of which he is Co-editor with G.B. Jones. No Guff, Egri is his first film.

Born: Sarnia, Ontario, 1963

Anne MacLean a graduate of the Theatre Department at York University, Toronto, is a member along with Bruce LaBruce of the Zuzu's Petals collective, and is a new member of the band Fifth Column.

NO GUFF, EGRI (1985)
Colour, Sound, (24 fps), Super 8, 10 minutes
"A light-hearted death romp" - Bruce LaBruce
"Art" - Tab Magazine
The film traces the hero, Egri Bikaver, in his foray to Bruce Lee's funeral at the Wing On Funeral Home. Meanwhile, across town, a woman with long red hair and a child wait for a bus in front of the Gay Cinema. Bodies fly, Egri dances, and the film climaxes in Blue Jays mania. - B. B.
Featuring: Nick and Ailsa, Lenny and Lucy Goldstein, Gloria Berlin, Bruce LaBruce, Anne MacLean, Bruce Lee.



Mike Cartmell, from Hamilton, Ontario, began making Super 8 films in 1973 with his own equipment. He studied philosophy and politics at the University of Toronto 1971 - 1976, and cultural studies at the State University of New York, Buffalo, 1976-1979. In 1979 he began shooting and exhibiting photography, and became more serious about his filmmaking. He programmed Zone Cinema in Hamilton from 1981 to 1984, then moved to Toronto and joined the Canadian Filmmakers Distribution Centre and The Funnel. – John Porter, Cache du Cinema Notes

B+W, Sound, (24 fps), 16mm, 19 minutes
The first section of a multi-sectioned work tentatively entitled EGYPT. Prologue: Infinite Obscure began with the idea of doing a ‘remake’ of Moby Dick using the parts of the text that John Huston omitted from his verson. A number of other issues began to take precedence however: the politics of the translation process; the relation of filmic to hieroglyphic writing; the possible intersections of (auto)biography and fiction; the articulation of (filmic) writing and (homo)sexuality. - M. C.



(Please refer to THE FUNNEL COLLECTION CATALOGUE 1984 for biographical information)

(1984 - 86)
Colour, Sound, (18 fps), Super 8, 9 minutes
Looking for My Grandfather is a letter sent to my dead grandfather which arrived by an error of the mailing system at the address of a dead state. Manipulated found footage with story added, which takes a boy outward from his memories to the awareness of death (absence) and towards an observation of that epistemological, immutable hole at the centre of the universe. - I. C.


Born: Toronto, Ontario 1958

Sharon Cook is a visual artist, musician, and filmmaker whose work is concerned with the relationships of animals, sounds and the human form derived from primitive sources. She often invents and constructs her own film/installation equipment.

Colour, Sound, (24 fps). Super 8, 2 minutes
The film uses 35mm negative footage of an outboard motor, hand registered and reshot, framed with a background of trees and sky. A vocalized imitation of a motor boat follows the films alternation between real time recording and frame by frame recording.

Colour, Cassette Sound, (24 fps), Super 8, 6 minutes
Forever. Yours is composed of a number of 3-D greeting cards of cats overlaid with a choral composition of voices which recite the banal poems that accompany these cards. As the voices join in unison to mark the occasions of death, birth, marriage and illness which prompt the use of these absurd images, the film suggests the relationship of representation to a consumer society's obsession with both social convention and euphemism. - Dot Tuer, Canada House Programme Notes

Colour, Sound (24 fps), Super 8, 35 minutes
From a sea cave in Labrador a six-armed oracle 'hosts' a variety of vignettes. Deer imaging is explored by a woman entertaining an antler, famous paintings are re-enacted, while most of the spoken dialogue is piglatin. In this quasi-musical, the sound track is an original score with songs ranging from "The Ballad of The Encyclopedia of Natural Defects" to "Ya Ya Mmm, Ya Ya uh huh". - S. C.

B+W, Sound, (24 fps), 16mm, 13 minutes
A subtitled science fiction thriller-the Introvolutions land in an abandoned field and begin experiments. Scientists discover the aliens and simultaneously conduct their analysis. When a conflict is discovered, the final transmogrification is imminent.



Born: Kamloops, 1929 (?)

Filmmaker Fenway Crane met his untimely end when a passing Air India flight, engaged in a demonstration for the Timex watch corporation, dropped a digital time clock over three thousand metres into the skylight of his penthouse apartment. Cultural anthropologists have recently unearthed miles of emulsion from his house in Southam Davies which collapsed under an arson's fire nearly a year ago; and they are presently at work reconstructing his oeuvre from Crane's personal notebooks. Doctors Templeton and Shapiro estimate Crane's canon may include up to seventy films produced between 1959 and 1981. Included below is a partial selection from the restored work to date. More titles will be forthcoming as work proceeds. The accompanying notes are taken from Crane's journal.

THE ORPHANAGE (1980/Ongoing)
Colour , and B & W, Sound, (24 fps), 16mm, 49 minutes
If corpses have sometimes seemed to us to be silent, perhaps it is because we are ignorant of the art of questioning them. The Orphanage is an ongoing episodic film cycle relating the changing space of empirical medicine. It moves from an eye that has simply to exercise its right of origin over truth (seeing is believing), from a botanical gaze of analogy and succession, to a look learned in language, promoting the visible to the legible.

B & W, (24 fps), 16mm, 5 minutes
Capital punishment comprises many kinds of death: some prisoners may be condemned to hang, others to having their hands cut off or their tongues cut out or pierced and then to be hanged; others, for more serious crimes, to be broken alive and to die on the wheel, after having their limbs broken; others to be broken until they die a natural death; others to be strangled and then broken; others to be burnt after first being strangled; others to be drawn by four
horses; others to have their heads cut off; and others to have their heads broken.


Colour, Sound, (24 fps), 16mm, 12 minutes
I spent the whole of a year past gathering images that would bring me to a place where I could look without having to understand, using the camera as a ranger might a noose and a snare. The events described are all of a daily compact: the birthday of a cast bound boy nearly eight, a drive through the country, a shared bath. But every image and place is made to move, each in its own turn, from the normative fictions of Eastman Kodak (presented here as a driving test for the terminally newlywed) to a mauled and broken surface impressed with the hands of its own construction. A young woman moves into the tortured emulsion to find a coat, while the solarized streetcars make their way from the frame. Blue haloes speak together in a Parliament Street tavern before giving way to a backwards glance, turning to find the fantasy that allows generations already past to live in the newly born, in their image.

B & W, Silent, (24 fps), 16mm, 12 minutes
1. Caroline says that I'm too good for her, that she hides behind her face like me with mine. They came over the other night, Tuesday or Thursday, after the reading. She said to me, "I like this one", Caroline gave her a book of drawings and she pointed after a time to a photograph of a woman dressed all in black saying, "The portrait is a self-portrait." It was the picture she'd been expected to choose. 2. She leaned against a whitewashed wall - lips quivering - nostrils dilating - eyes heavy with the gloom of unspent rainclouds - I drew closer - I whispered something and kissed her - a tear rolled down her check - and then I captured forever the moment - let me see f8 = 1/10 second Kl filter - panchromatic film - how brutally mechanical and calculated it sounds - yet really how spontaneous and genuine. (Edward Weston, Daybooks)


B & W, Sound, (24 fps), 16mm, 2 minutes
Black and white abstracts lifted from the looking glass (inside the hole where memory comes from).

REQUIEM (1986)
B & W, Sound, (24 fps), 16mm, 6 minutes
Set to the strains of Mozart, this eccentric utopiate passes from the ideality of light to a level glance inside the tree line, to a darkening that recalls a waking in the light of exodus (going down into and coming up out of).

B & W, Sound, (24 fps), 16mm, 12 minutes
He told me before he made the trip from Amsterdam, and when we met that summer we both knew it was for the last time. I needed to find a way to imagine him, to express something of the dignity he'd borne in the weeks before his death. John asked me for the loan of a Bolex that summer, and he shipped it back in August with '2000 feet of high contrast printer stock in 'need of processing. He'd shot the works: in a notorious whore house in the red light district of the city. On his thirty-first birthday. jp (1951-1982)



(Please refer to THE FUNNEL COLLECTION CATALOGUE 1984 for biographical information.)

PATH (1982/85)
Colour, Sound, (18 fps), Super 8, 111 minutes, will be available in 16mm in the spring of 1987 (Video preview tape available in 3/4" and 1/2")
Employing a simple repeated three part structure, PATH is about personal experience and the interpretation of that experience. Both humorous and serious, the film is a cross-Toronto exploration of perception. - M. D. The repeated three-part structure of PATH is as follows: first, Davis is filmed connecting dots on a street map; next she walks the distance on the street, filming as she goes; then she is filmed making drawings and models of what she has seen along the way. PATH has an original soundtrack composed in collaboration with Toronto musician Bill Grove.

Colour, Sound, (24 fps), Super 8, 12 minutes (Also available in 3/4 inch and 1/2 inch VHS Videotape)
While in the throes of making PATH, I completed three very short, loosely orchestrated street happenings which I call my 'performance trilogy'. They are a bit like sketches for the larger pieces, tiny gems which share some of the same concerns but of course don't have their breadth and scope. A Performance Trilogy is a good accompaniment to either of the features, and is best shown at the end of 'an evening, after the post-screening discussion and .questions. - M. D.
U R LUCKY (1982, 3 minutes) involves placing a medallion on the sidewalk and filming whoever happens along to pick it up.
SNOW SEARCH (1983, 2..5 minutes) finds four performers searching for each other, each carrying one quarter of a photographic portrait of Michael Snow.
MAKING A SCENE (1984, 5..5 minutes) offers passersby the opportunity to don a mask and become either an elephant or a mosquito.




Ron Edding, from Montreal, has always painted. He and a friend made Super 8 films with their own equipment at age fourteen. He studied fine art and film at junior colleges for two and a half years, and then at Concordia University (1975 - 78) including John Locke's avant-garde Film Theory class. In 1979 he moved to Toronto, rented a painting studio, bought a Super 8 camera and began sharing resources with painter/filmmaker Joseph Tabah. He has made many films. "The strength of Super 8 filmmaking is that one person using a single camera can produce an extremely expressive and immediate piece of work. Despite its simplicity, Super 8 films can achieve a level of sophistication more often associated with larger formats." - R. E.

Colour, Cassette Sound, (18 fps), Super 8, 13 minutes
The construction of seemingly disjointed images is fused with the fantasies of a woman talking to another woman which she has contacted by random probability through the telephone book. Sexual encounters, anonymous yet intimately connected bureaucracies, paranoic delusions, and mathematical probabilities collude in this metaphor for personal relationships in a modern city. Written by Terri Favro. – Dot Tuer, Canada House Programme Notes




Munro Ferguson and Pascal Sharp began making films together at the age of four. They met while on the editorial staff of the Cahiers du Cinema and moved to Toronto to become apologists for bourgeois aestheticism. - M. F. & P. S.

Colour, Sound, (18 fps), Super 8, 30 minutes (also available on 3/4" Videotape)
A thirty minute epic which retells the Greek classical plays (Oedipus Rex etc.) using household objects and miniature dolls and animals.

(WITH EO SHARP) Colour, Sound, (18 fps), Super 8, 6 minutes
In Loblaw's Check Out Game simulation is encapsulated in cardboard ladies traversing a board of miniature supermarket items while plastic shopping carts pass across the frame full of tiny replicas of consumer products. This is a 'teeny-vision' of the cinema, characteristic of these filmmakers' humorous obsession with the diminutive dimensions of a reality that accompanies a consumer-oriented society. In all their works, models supplant a cinema verité, and narrative becomes a function of a reconstructed representation that operates in a closed system of toys and studio settings. - Dot Tuer, Canada House Programme Notes



Adele Friedman is a Chicago based filmmaker who began making films in Albuquerque, New Mexico in 1975. Coming to filmmaking from a background of still photography and an exhaustive study of early silent films, Friedman's early work traces the relationship of the camera/filmmaker to the world through portraiture. This work conjures the notion of Victorian 'Cartes de Visites'. Personality as well as the physical attributes are extracted by her camera through connection of the subjects with their spaces. Her later work is closer to dramatic narrative, employing certain traditional narrative devices - sets, actors, flashback - to move toward an imaginary world of people and objects which is sensual and affectionate, and where theatricality reveals unspoken psychodramas. Friedman pays special attention to capturing special qualities of light,. creating dreamlike atmospherics. Most of her work is silent and in black and white.

UNTITLED 1981 (1981)
B & W, Silent, (24 fps), 16mm, 10 minutes
Untitled 1981 is a film of a woman's dreams; of being alone, with a man, with another woman. It is a film about the layering imagery of disjointed thought processes that occur in dreams.



Su attended the University of Chicago and Oberlin College. Since that time she has worked as a freelance photographer and has taught photography and filmmaking. She has also written numerous articles and has been involved in publishing and was a co-editor of Heresies. She has published a book entitled Gently Down The Stream. She currently lives in New York and her films have been shown throughout North America and Europe.

B & W, Silent, (18 fps), 16mm, 14 minutes
Gently Down The Stream involves text that is actually scratched into the emulsion of the film and tells of her dreams, coupled with images expressing her desires and uncertainties. - S. F.
"It has a creepy power... its scratched texts seemed to quiver anxiety." - Scott Macdonald, After Image, March 1986.

B & W, Sound, (24 fps), 16mm, 55 minutes
The Ties that Bind tells the story of a woman who lived in Germany during the Second World War, and like most Germans has had to pay the price ever since for letting Hitler's actions continue unchallenged. This woman is the narrator of the film as well as the filmmaker's mother.- S. F. "The film is an original: a moving and courageous tribute from a child to a mother's beleaguered memory." - David Edelstein, The Village Voice, April 1985.



(Please refer to THE FUNNEL COLLECTION CATALOGUE 1984 for biographical information.)

B & W, Sound, (24 fps), 16mm, 7 minutes
Political Error is a cultural political parody of didactic analysis of group dynamics employing a 1950's dirt lot baseball game as a central metaphor.

Born: New Jersey, 1959

Cindy Gawel studied engineering at McGill University and film at Ryerson Polytechnical Institute, Toronto. She is currently working for independent/experimental filmmakers in all areas of production, specializing in optical printing and effects (picture and sound), and has two of her own films in production.

Colour, Sound, (24 fps), 16mm, 8 minutes
Superimpositions, false starts, repetitions, printed texts, physical laws, co-ops, and voice-over narration - an attempt to break through the physical and social barriers to communication and find a voice.



Michael Hoolboom, from Burlington, Ontario for two years studied writing at the University of Windsor and played music. Then he created street performances in Toronto for two years (1981 - 82).
He studied Media at Sheridan College 1980 - 83, making eight 16mm films, and becoming a member of the Funnel in 1984. - John Porter, Cache du Cinema Notes

NOTE: There is no fixed or determined order for the following films which are simply listed here chronologically. They may be rented singly or in combination. The filmmaker would be happy to make suggestions. - M. H.

B & W, Silent, (24 fps), 16mm, 5 minutes
The nineteenth century homosexual became a case history and a childhood, in addition to being a type of life, a class and category with an indiscreet anatomy and a mysterious chemistry. Nothing that went into his composition was unaffected by his sexuality; the homosexual was now a species.

Colour, Sound, (24 fps), 16mm, 10 minutes
Just as a sequence of images is set in motion inside a man as his life comes to an end - unfolding the views of himself under which he has encountered himself without being aware of it - suddenly in his expressions and looks the unforgettable emerges, and imparts to everything that concerned him that authority which even the poorest wretch in dying possesses for the living around him. This authority is at the very source of the story.


B & W, Sound, (24 fps), 16mm, 7 minutes
The head is made round so thought may change direction. The Song is laid over two picture rolls, printed together. The first magnifies the grain of the film, filling the screen with the circling constituents of its material base. The second roll draws a succession of figures from a dimly-lit nightlife. There is a dance, a house party and a subway turnstile moving toward the most domestic kind of horror, a horror of the commonplace and mundane, the horrors of toothbrush and comb and electric lamp.

B & W, Silent, (24 fps), 16mm, 10 minutes
The Big Show is a light reading letter for its audience, offering up a succession of printed intertitles, language as the event that 'takes place'. Processed by hand in the filmmakers bathtub, the titles struggle to speak beyond a surface hopelessly disfigured in its development.

Colour, Sound, (24 fps), 16mm, 30 minutes
A film for the agoraphobic or simply sedentary. This film is made up of four eight-by-ten inch display trans which may be affixed by the viewer to any light bearing surface. The order and arrangement of the images is completely at the viewer's discretion. Two cassette sound tracks are available, one mixed for walkman headphones, the other for regular stereo playback, so please specify preference when ordering. This film is designed for home use and may be received alone or in the company of famous friendships.


Colour, Sound, (24 fps), 16mm, 7 minutes
Writing is here only a moratorium, as it is for someone who writes his last will and testament just before he hangs himself. We were passing over Loocan's Ridge when Jackson took the fall, a sheer drop of thirty feet that left him a bloody pulp at the foot. He lay there for an hour while I went to get help, and when I returned he motioned towards the pack. Lying there between the coverlet and the glove warmers were five rolls of Tri-X he'd managed to shoot nearly insensible with pain. He told me, "It's hard to tell where you leave off and the camera begins."

B & W, Sound, (24 fps), 16mm, 40 minutes
The story of sound in the beginning of writing, with guest appearances by Ashley, Bach, Beatles, Barthes, Borges, Elvis, Cage, Costello, Derrida, Oldfield and Warhol.

B & W, Sound, (24 fps), 16mm, 2. 5 minutes Here in the setting room of France's lightest nursery, two brothers wean the dream of the infinite rectangle from a homoerotic tryst of communion, sacrilege, incest, unveiling and apocalypse. Because their gestures of introduction, their movements of opening and closing are trained through the mute lamp of the machine, this film is a kind of retelling of the story of film, a fable of time as history, a sounding of possible fictions.




Born in Chatham, Ontario, Jack studied at the University of British Columbia and then the Banff school of Fine Arts. His sculptures and installations often utilize wrapped bundles of steel that are formed into desired shapes. His sculpture exhibitions include solo and group shows in Toronto, Vancouver, and Paris. Jack has recently been dividing his time between Toronto, Paris and Amsterdam.

Colour, Sound (18 fps), Super 8, 8 minutes
This is a film Jack did of his installation piece at Artculture Resource Centre, Toronto in 1983. As Dot Tuer says about the show in Kick it Over magazine:" this piece is a culmination of Jeffrey's attempt to fuse the media available to the artist with a political concern to create an 'anti-war' statement. It is also an illustration of a political art which successfully challenges the dominant visual perceptions of war.... For the focus in Holding Pattern is not only to confront the abstractness of war, but also to critique the way the media has codified the images of mushroom clouds and high powered jets as aesthetic." - Dot Tuer, Kick it Over #9, December 1983


Born: Toronto, Ontario.

G.B. Jones, from Thornhill, Ontario, studied film for two years while at the Ontario College of Art intermittently from 1975 to 1981. Besides making films, she played in several experimental bands and has been most active since 1981 with the band Fifth Column (who use films in their performances) and with co-publishing the 'tapezine' Hide. She also creates diverse visual art and co-organizes concerts and screenings.

Colour, Sound, (24 fps), Super 8, 8 minutes
Based on the 'true' story of a murder committed by an acquaintance in a small Ontario town, the film reconstructs the media's coverage of the event while a voice-over recounts the context for the murder as a dialogue between two local friends... The two friends talk endlessly of the murderer's 'girls' and drugs and sex, while the simulated media vignettes contain harried witnesses with no comment, and people rushing into courtrooms with coats over their heads as the press hound them for information. Evocative of the publicity which created a Charles Manson story... - Dot Tuer, Cache du Cinema Catalogue.
Directed by G.B. Jones and featuring Caroline Azar, Jean Young, Anita Smith, Scott Kerr, Candy Pauker, Eric Fitz, Denise Cooper, John Porter, Micheal I., and Victor Benyes.


The Funnel Catalogue Supplement 1987

Artists continued (L-Y)

Introduction - Index - Alphabetical Film Listing

Appendix (Filmography / Bibliography / Screenings).

The Funnel's First Catalogue 1984
62 Pages! 50 Filmmakers! 200 Films & Related Work!

Artists A-J, Artists L-W,

Introduction w/ Alphabetical Film Listing,

Appendix (Filmography / Bibliography / Screenings).

The Funnel's First Pamphlet, 1982


CineZine - Histories - Toronto 8mm & Super 8 - The Funnel - Funnel Bios '82