Gerald Saul, still from 25 Short Films in and about Saskatchewan
Super 8 film is a medium familiar to most people born between 1950 and 1970. It was the palm-size video camera of its day. Relatively cheap and easy to use, Super 8 film was the heart of home movies and no North American, suburban, nuclear family was complete without at least one shoe box archive of those shiny little reels of film documenting events such as birthday parties and summer vacations. For the most part, the camera was Dad's territory and "the family" gathered around, in the darkened living room, listening to a rattling projector and watching while their history careened by on the walls. In the late 60's and early 70's artists used Super 8 film as a medium for personal expression. Experimental diaries, travel journals and formal studies of light, shadow and movement abounded, although this work is largely absent from the official annals of cinema history and even some chronicles of avant- garde filmmaking. Those home movies reappeared in work created by both film and video artists in the latter part of the 80's and early 90's, as media artists explored the issues of family history, memory and the construction of identity. Old footage was resurrected, manipulated and incorporated into video and film. At the same time, video "camcorders" replaced Super 8 on the home front. But Super 8 didn't die. It has been hovering on the edges of the underground film movement and has re-emerged as the edgy, biting and playful tool of those who want to talk about the world with a unique voice and a particular kind of freedom. Quick Time: The Revenge of Super 8 presents the cutting edge of contemporary Super 8 filmmaking in Canada with work that pushes the potential of the medium to its limits. Recent work by Gerald Saul (Regina), Kika Thorn (Toronto) and others, is included.