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<DIV><FONT size=4><STRONG><SPAN style="FONT-FAMILY: Verdana">Film: Lacan
Palestine</SPAN></STRONG><SPAN style="FONT-FAMILY: Verdana"><BR></SPAN><SPAN
style="FONT-FAMILY: Verdana">Mike Hoolboom in attendance</SPAN></FONT><SPAN
style="FONT-FAMILY: Verdana"></SPAN></DIV>
<P class=MsoNormal><SPAN style="FONT-FAMILY: Verdana">Sponsored by QuAIA and
Beit Zatoun</SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: Verdana">Saturday, November 24,
2012</SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: Verdana">7:00pm – 9:30pm</SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: Verdana">at Beit Zatoun, 612
Markham Street</SPAN></P><SPAN style="FONT-FAMILY: Verdana"><BR>Fresh from
screenings in Vienna, Jihlava, Montreal and Paris, Pleasure Dome presents the
Toronto premiere of Mike Hoolboom’s new feature length essay<SPAN
class=apple-converted-space> </SPAN><EM>Lacan Palestine</EM>.<SPAN
class=apple-converted-space> </SPAN><BR><BR>Mining a wealth of material
from TV news, documentary, fiction,and fantasy film,<SPAN
class=apple-converted-space> </SPAN><EM>Lacan Palestine</EM><SPAN
class=apple-converted-space> </SPAN>is a visual rollercoaster, with
Hoolboom using cinema to suggest Palestine as a place of recurring
colonial/psychological projection a space whose conquest is here spectacularly
relived in celluloid waves of armed crusaders, legionnaires, Mongol horsemen,
biplanes, and machine guns.<BR><BR>But as the film's title suggests, this is far
more than mere collage. Layered, often deeply personal, and frequently
challenging, the film intersperses its newsreels, desert fantasias, and historic
encounters with oneiric ruminations on subjects from patricide to John Coltrane,
and from the elusive nature of joy to what Hoolboom calls the “loveless love
story” starring Moses, Abraham, and Jacques Lacan. Dizzying in its technical and
conceptual density,<SPAN class=apple-converted-space> </SPAN><EM>Lacan
Palestine</EM><SPAN class=apple-converted-space> </SPAN>is incomparable
cinema.<BR><BR>“The grand prize goes to<SPAN
class=apple-converted-space> </SPAN><EM>Lacan Palestine</EM><SPAN
class=apple-converted-space> </SPAN>for its immersion in a complex subject
that arrives via a montage that is subtle, sensitive and strong. Its great
visual richness emerges from impressive iconographic research. In spite of its
diversity of images, this fluid work carries an insistent theme of personal
history that makes us identify with a fate or destiny, creating a persistent,
high wire hum.”</SPAN><EM><SPAN style="FONT-FAMILY: Verdana">Festival
International Signes de Nuit</SPAN></EM><SPAN
style="FONT-FAMILY: Verdana"><BR><BR>“A mind boggling achievement by Canadian
artist Mike Hoolboom, who has been called ‘the greatest found-footage master of
the era.’ Skilfully assembled from existing film material, Hoolboom conjures
visual allegories and cut-up counter-narratives around a notion of Palestine as
“a land that is not a land.” Dizzying in its technical and conceptual
density,<SPAN class=apple-converted-space> </SPAN><EM>Lacan
Palestine</EM><SPAN class=apple-converted-space> </SPAN>is truly
incomparable cinema.” <SPAN
class=apple-converted-space> </SPAN></SPAN><EM><SPAN
style="FONT-FAMILY: Verdana">Nick Denes, London Palestine Film
Festival</SPAN></EM><SPAN style="FONT-FAMILY: Verdana"><BR><BR>“This beautiful
experiment is as noble as it is absurd, the intractable struggle continues, and
in the midst of this fine searching a single certitude emerges. We are really in
front of something that we can call cinema. Its striking intelligence and sudden
illuminations confront us with a singular and authentic cinema. In the acrobatic
editing, in Hoolboom’s control from the beginning of the film to the end, there
is something shining, urgent, burning. There is a nearly blinding dimension to
this accumulation of fragments that impels the viewer to re-see the movie as
soon as it is finished. To observe again its folding parts, to find the hidden
meanings, to meditate again and again on its implications.”<SPAN
class=apple-converted-space> </SPAN></SPAN><EM><SPAN
style="FONT-FAMILY: Verdana">(Marcel Jean, 24 Images, no. 159, Oct/Nov
2012)</SPAN></EM><SPAN style="FONT-FAMILY: Verdana"><BR> <BR>All proceeds
generously donated by Mike Hoolboom and Pleasure Dome to "Sustain Beit Zatoun
Fund"<BR><BR>---<BR>Need to know:<BR>- Doors open at 6:45<BR>- $8 / $5 Members
or Students<BR>- Accessible on demand via portable ramp; washrooms not
accessible<BR><BR>Tasty refreshments (non-alcoholic) and Zatoun oliveoil+za'atar
dipping.
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