Philip Hoffman has long been recognized as Canada's preeminent diary filmmaker. For over twenty years he has been straining history through personal fictions, using the material of his life to deconstruct the Griersonian legacy of documentary practice. As an artist working directly upon the material of film, Hoffman is keenly attuned to the shape of seeing, foregrounding the image and its creation as well as the manufacture of point-of-view. Hoffman's films are deeply troubled in their remembrances; he dusts off the family archive to examine how estrangement fuels a fascination with the familiar surroundings of home.
Karyn Sandlos, Toronto Images Festival, 2001.
Opening Series 2 - Philip Hoffman (1994, 16 mm, 7 min, Colour, Silent)
<a href="<em>Chimera</em></a> - <a href=" _cke_saved_href="<em>Chimera</em></a> - <a href=" http:="" www.lux.org.uk="" collection="" artists="" philip-hoffman"="">Philip Hoffman</a> (1996, <span data-scaytid="11" data-scayt_word="16mm">16mm</span>, 15 min, <span data-scaytid="13" data-scayt_word="Colour">Colour</span> and B&W, Sound)</p> <p><em>Opening Series 2</em> consists of 12 segments, each segment in its own hand- painted film canister. Through the visual references on the canisters, the audience, prior to the screening, orders the flow of the film.</p> <p><em>Kokoro is for Heart </em> features poet Gerry Shikatani and explores the relationships surrounding language, image and sound, set to the backdrop of a gravel pit. When I got the footage back from the lab I was disappointed because of the periodic flipping of the image. After screening the footage several times I realised that the malfunctioning camera rendered the filmed-nature, unnatural … the same questions surface: What is nature? What is natural?</p> <p>Phillip Hoffman</p> <p>Generally regarded as Hoffman’s masterpiece to date, <em>passing through/torn formations</em> wends its way through the often painful and contradictory relations of one side of his family. Moving back and forth between Canada and Hoffman’s mother’s homeland in Czechoslovakia, the film uncovers the lingering effects of war and epidemic, displacement and migration. </p><p>Chris <span data-scaytid="22" data-scayt_word="Gehman">Gehman</span></p> <p>‘The film (<em>Chimera</em>) consists of collected, <span data-scaytid="23" data-scayt_word="diaristic">diaristic</span> images amassed through Hoffman’s travels. <span data-scaytid="24" data-scayt_word="Uluru">Uluru</span>... Russian shoppers, a Cairo market, and day to day images from home and away... make floating appearances. These have been gathered on the run, and then reconstituted with an uncanny ephemeral floating rhythm, a dance of light, and replaying, with commendable control, the idea of visual music, visual jazz.</p><p>Dirk de <span data-scaytid="25" data-scayt_word="Bruyn">Bruyn</span></p> *****broken tag in above text (<p></p>