2015 - Toronto Animated Image Society Showcase
2015 - Winnipeg Underground Film Festival, Winnipeg
2015 - Fabulous Festival of Fringe, Durham
2015 - Stereo Scopophilia, Other Cinema, San Francisco
2014 - Electric Eclectics, Meaford
The Public Slaw by Winston Hacking & Andrew Zukerman begins by reclaiming a trailer of DreamWorks 2008 computer-animated action/comedy/martial arts flick Kung Fu Panda. Through emulsion lifting and other forms of emulsion manipulation, the appropriated trailer seems to both denounce DreamWorks’ slick computer animation and to explore the materiality of a medium that is being displaced by new modes of digital production.
The film itself is a handcrafted, psychedelic journey into a realm that blends the vernacular of found footage experimental cinema, internet culture and public access television; not coincidentally all forms of democratized media. The film is “hosted” by a confused public access Dracula (played by Kevin Leggatt) who introduces the viewers to an onslaught of images including pugs, no budget horror films, collaged images, a news bulletin consisting of a falling cat landing on its feet, among other things, all surrounded by a visual commentary in the form of direct animation.
The final section of the film is a dance performance (by Minae Omi) that is reminiscent of 60's freak-out films. The hi-con black and white images, together with the intensity of the animation, editing and camerawork, create a chaotic, visceral experience that is bound to appeal to the audience’s innermost nihilistic impulses.
- Clint Enns
Satiating the headache without dispensing of the appetite, Zukerman and Hacking surveil the realm of the just had, about to, and in the midst of lunch. It is a private indulgence in the crammed mess hall, a calculated risk in the basest of mall courts; recollections upon deep scrutiny of the ravaged plate. The greasy deposit dispersed by a brackish spray, drooling over the brim onto the pages of your micro-daily. The newsprint concedes to the oily invasion, becoming clarified to reveal simultaneously each offering of the divertissement subsection.
Your Sunday funnies now mired in the visible answer grid of last week’s unsolved cryptic. Suddenly haunted by internal murmurings threatening protest or the indelible whispers of ridicule, the refuse is promptly dispatched to the bin. The host dreams of his parasites while they in turn dream of a better body. Suds flung from the tidying hands onto the draped excess of the black bag; a cleansing before the last movement.
The bag dreams its animation. Indifferent to the fractured grid, a dancer (Minae Omi) surveys the environs with insufficiently raised periscopes. Bobbing in the brine the figure unwittingly doubled, seeks to rend itself from the reflection.
- Dominique Alexander