on specific films can be found in Filmography.
Landscape With Shipwreck
first person cinema and the films of philip
(edited by karyn sandlos and mike hoolboom)
Hoffman has been making personal documentary films for over
twenty years. He has devoted his life to examining the narrow
aperture each of us uses to bring our own experience into focus.
As many of the writers in this volume will attest, telling personal
stories is dangerous work.
Landscape with Shipwreck is an untidy stew of gravediggers
and critics, architects and builders. In their conversion of
pictures into words, each has used the history of their own
naming as compass and guide. These photographs and scripts speak
alongside the written word, not to fill in the gaps but to deepen
them, not to make the strange seem more familiar, but to turn
towards the secret task of this volume: to write what cannot
be written. To write what must never be written. To uncover
a kind of writing that is beside itself, and without regret.
Hoffman's work is an encouragement to those who want to
use autobiography as subject matter, personal vision as
a trademark, and show how small resources can be a positive
Hoffman is a precious resource, one of the few contemporary
filmmakers whose work provides a bridge to the classical
themes of death, diaspora, memory, and, finally, transcendence.
As Landscape With Shipwreck makes clear, Hoffman
explores these most Canadian of themes without grandiosity;
instead they emerge from stories held close to the ground,
the family, and personal experience, whether at home or
in very unfamiliar places indeed. And he does so through
a constant renovation of method that enriches the viewers'
ability to grasp how film form contains and conditions meaning.
This is just the sort of human voice articulated through
film that we desperately need amidst the thunder of corporate
media in all forms."
Rosler, Artist and Professor of Media
and Critical Studies at Rutgers University
Hoffman's films are a revelation for those lucky enough
to see them. At once literary document and visual archive,
Landscapes With Shipwreck advances contemporary thinking
about Hoffman's films and the autobiographical documentary
tradition in Canadian cinema."
Piers Handling, Director, Toronto International Film Festival
LANDSCAPE WITH SHIPWRECK ONLINE
LANDSCAPE WITH SHIPWRECK ONLINE
Part 2, Part
3 (PDF Format)
The Films of Philip Hoffman
(Edited by Tom McSorley)
Published by the Canadian
Film Institute, 2008.
All rights reserved.
lake is calm, like a great sheet of ice.
In the middle, between the beach and the far shore,
has surfaced a large finely textured brick,
its sharp edges shaped by the rising sun.
Beneath the scene, a voice:
I like wrecked bricks, the points pierce my eyes,
sending me hurling in space.
I revisited this curious post-adolescent site in 1989
after the completion of an initial cycle of excavations.
Formal experiments on super-8 using the single-frame-zoom,
which splayed the surround of the filmed subjects,
squeezing out their ghosts. After seven years of collect,
reflect, revise this form found its place in the film
`Chimera’, and the power of its pull lead me into
dark gardens of loss. In Mark Doty’s words:
What these ashes wanted, I felt sure,
Was not containment but participation.
Not an enclosure of memory,
But the world.’
These films are a circle of stones. Embedded in each
the world, reaching
deeply into the past, rolling on..
Philip Hoffman, Circling Stones, Spring 2008
Phil Hoffman’s Freeze-up (1979)
of Hoffman (Expected Time of Arrival)
know you are, so what am I?: 25 passing through/torn
as Aesthetic Allegory
in Disorientation: Chimera
Hoffman Filmmography 1978-2008
RIVERS OF TIME ONLINE
of Time, (PDF Format)
About Philip Hoffman
Study Guide: Philip Hoffman - POETRY AND PROCESS: THREE
FILMS BY PHILIP HOFFMAN (Canadian Filmmakers Distribution
Centre Spotlight Series)
Book Review Landscape with Shipwreck: First Person Cinema
and the Films of Philip Hoffman by Elizabeth Johnston,
edited by Karyn Sandlos and Mike Hoolboom
Spy Who Knew Too Much by Richard Kerr
Landscape Journal by Ronald Heydon
Spaces by Darrell Varga
Hoffman: biographical notes by Peter Harcourt
Quests: Passing Through Philip Hoffman's Family Cycle
by Peter Harcourt
Diary, by Grecia A. Sarigianni, Salsomaggiore, 1986
Hoffman Interview by June Hodgson and Mike White
Media News, Sheridan College, 1988
Through: The film cycle of Philip Hoffman by Mike
Hoffman’s Films by Gary Popovich
Cinemas: Hoffman in Context, by Chris Gehman
Landscape with Shipwreck: First Person Cinema and the Films
of Philip Hoffman ed. Hoolboom and Sandlos Toronto: Insomniac
Independent Filmmaker Comes to Perth For Solo Screening!
Through Navel Gazing: Philip Hoffman and First Person Cinema
by Miia Jonka
Film Farm, BizBull Sept., 2004
Independent Imaging Retreat by Chris Gehman, 2003
the Inconscious: A Film Farm Journal, by Maureen
Bradley, June, 2002
and Fairy Dust by Cara Morton, Liaison of Independent
Filmmakers (LIFT) Newsletter. Summer 1996.
Nature and Chemistry: Hand-Processed Films from The
Independent Imaging Workshop by Janine Marchessault
by Philip Hoffman
Trip AVEK Magazine for Audio-Visual Culture, Finland,
Feb. 16. 2004
Talk, April 2001
In The Sky: Beginnings of a filmmaking retreat, 1997
Blanche, Guide of the Ontario Cinematheque, Fall
Play of History, A Play of History Catalogue, Toronto:
Power Plant, February 1987
(in the digital age), an interview with Phil Hoffman
by Aysegul Koc March 2002
interview with Philip Hoffman, Inside
the Pleasure Dome: Fringe Film in Canada by Mike
First Edition: Gutter Press, 1997. Revised and Expanded Second
Edition: Coach House, 2001
Hoffman in the 90s: an interview by Mike Hoolboom
Hoffman Interview by Jane Hodgson and Mike White
Hoffman Interview by Hunter Cordaiy for Metro Media
& Education Magazine, July 18, 1991, first version
with Philip Hoffman by Mario Falsetto, 1989
Hoffman Radio Banff Interview by XX – Autumn
with Philip Hoffman by Lee Hill
Francisco Cinematheque (2004)
"Passing Through: A Philip Hoffman Retrospective"
Film Institute (2002)
Landscape With Shipwreck
through/torn formations and the Performative Documentary (2004)
by Robert Craig