HOME MOVIE DAY 2022
Saturday, October 15th is the “official” HMD date this year, but like last year we welcome events throughout October and beyond – any day can be Home Movie Day! We're continuing to encourage virtual events in 2022, while also welcoming in-person or hybrid gatherings when and where they are safe. We partnered with the Bay Area Video Coalition to produce a how-to guide for hosting virtual events – check it out below!
If you're ready, you can SUBMIT YOUR HOME MOVIE DAY EVENT HERE! Please note that it takes up to 48 hours for your event to appear below once it's submitted, so please check back. And for more info:
You can browse events from the list below (use the square icon to customize your view) and click for details and links to film screenings, workshops, and interactive community events happening throughout the year. Many events are online, so you can drop in on a Home Movie Day anywhere in the world.
If you’d like to find out how to view and share your own home movies, get in touch with your local HMD event host and explore some of the resources on this site.
If you are interested in hosting a Home Movie Day event and need more info, get started by reading our How-to Home Movie Day 2022. All of the great HMD resources from years past are still available in the About Home Movie Day section. And if you need more help or aren’t sure where to start, write to us at email@example.com. We’re here to support you and help you share your home movies!
- This event has passed.
Mining (And Manipulating) The Home Movie – Canadian Images in Conversation Screening
October 16, 2021 @ 6:00 am - October 23, 2021 @ 8:45 pm PDTFree
Mining (And Manipulating) The Home Movie
Curated by Madison More
Live Panel Discussion: October 16 at 7pm
The experimental filmmakers whose work is in this program will discuss the idealistic nature of home movies and how their work addresses issues of memory and decay.
Screening Dates: October 16 – October 23
An often untapped source of historical evidence, home movies (and other types of orphaned film) offer a snapshot of Canadian life not recorded in mainstream histories of our country. While they can help people discover and remember our collective history, some historians and culture theorists have criticized their use as historical evidence, citing that they tend to idealize the past through what was filmed, how it was filmed, and who was filming. Containing personal and found home movies, as well as other types of source material, the films in this program reflect on the complexities of home movies and the realities they depict through the ways they incorporate and manipulate their source material. Emphasizing themes of memory and decay, the films raise questions about how our collective history should be remembered. Who gets to tell our stories? How should those stories be told? How can we begin documenting the past in a way that is reflective of different cultural groups?
Christina Battle, nostalgia (April 2001to present), 2005, 4 min, 16mm
Critiques our idealistic view of the past by distorting images and sound.
Eva Kolcze and Philip Hoffman, By The Time We Got To Expo, 9 min, Digital
Re-visits Expo 67 by manipulating footage from the event with different photochemical processes.
John Kneller, Separation, 2008, 6:30 min, 16mm
Separates the different colours of the film emulsion of home movies, drawing attention to the layered materiality of the film strip.
Amanda Dawn Christie, Mechanical Memory, 2005, 5 min, 16mm
Explores the decay of memory and the filmstrip using super 8mm footage taken by the filmmaker’s father.
Sara Angelucci, Snow, 2000, 5 minutes, digital
Uses the final fragments of home movies to create a series of “endings,” each one being obliterated by the white dots that appear at the end of each filmstrip.
Freda Guttman, Film Muet / Silent Movie, 1994, 9:20 min, digital
Experiments with 8mm home movie footage of the filmmaker to explore how familial roles are represented in the space of the home movie.
Louise Bourque, Imprint, 1997, 14 min, 16mm
Alters home movie footage of the filmmaker’s family home through tinting, bleaching, and other experimental practices.
Lindsay McIntyre, her silent life, 2011, 31 min, digital
Uses filmed images and audio interviews to explore the life of the filmmaker’s Inuk great-grandmother.
Canadian Images in Conversation is a new collective that is inspired by the legacy of the Canadian Images Film Festival, which took place in Peterborough between 1978-1984. With support from the ReFrame Film Festival and Trent University, CIIC aims to showcase Canadian films and filmmakers through regular screenings and artist talks.