Christina Battle’s hand-processed, coloured and manipulated films explore the material and transformative possibilities of the film medium. Using techniques such as cameraless animation and collage, she “paints and sculpts” on film. Her work explores built and natural environments, history and the act of collective remembering, and a fascination with weather and storms.
Study guide includes an essay by Janine Marchessault, York University.
a yellow field meets clear blue skies. a mist of water over bright green grass. a well worn sidewalk in grey and white. a lone black crow on a sandy beach. a lowering sun fades into the sea.
“The desert wind from America’s Southwestern ghost towns blows through the film’s emulsion, stripping away the myth behind the imagery of shoot-outs, outlaws and the lone gunmen from Hollywood Westerns.” - Images Festival, Toronto, 2004
The anxieties and frustrations of McCarthy-era Hollywood are integrated into this reconstruction of an infamous scene from “High Noon.” The struggle between a sheriff and his deputy become one with the film’s emulsion.
