Midi Onodera (données partielles)

Films réalisés par Midi Onodera

The Bird that Chirped on Bathurst (1981)
Home Was Never Like This (1983)
Idiot's Delight (1983)
Ville? Quelle Ville? (1984)
Dead Zone (1985)
Made in Japan (1985)
Ten Cents a Dance (Parallax) (1985)
Displaced View (1988)
A Performance by Jack Smith (1992)
Skin Deep (1994)
The Basement Girl (2000)
Alpha Girls (2001)
Nobody Knows (2001)
Slightseer (2001)
I Have No Memory of My Direction (2005)
The Grand Design (2012)
Nuts (2017)
C'est à qui, ce ville? (2022)

Citations de Midi Onodera [en anglais]

« I approach film much as I did a blank canvas. In my early films I concentrated on learning how to control and manipulate the technical properties of the medium. I played with grain, texture, composition, and lights and shadow. [...] But beyond these concerns, for me the ultimate power of film rested and rests in its potential to directly reflect the social morals and climate of our time. »
-- Midi Onodera (source)

« I believe that producing a film is a full-time obsession. During production, this manic obsession both isolates/protects the maker from outside forces (precarious funding, politics, blockages in production cash flow) and drives the film forward. »
-- Midi Onodera (source)

« I was and am against the idea that films abstractly possess a gender and I was caught in the middle of a debate that I was unprepared to tackle. My films were looked upon as women's films and as lesbian works. I was programmed in Women's Film Festivals and became appalled that my films were only accepted by or deemed appropriate for half the population. Going against the predominate gender and sexual politics of the time, I wanted my films to speak to both men and women. (Perhaps by having the safe-haven of being embraced by the tide of 'women's films' I had the luxury of playing the young rebel filmmaker who wouldn't be labelled. Perhaps had I been working within a mainstream system, I would have found my filmic rebellion in B-movies or slasher/horror films.) »
-- Midi Onodera (source)

« The camera is so expensive and the film stock is so expensive. I've got some money in the bank. I can make a 60-minute 16mm film, but I don't want to, not yet, because I'm so afraid of the cost involved. I don't want to run off a thousand feet in 16mm and say 'Oh God, this is a piece of shit.' I'd rather work in Super 8 where I can work the camera myself. I can be in it myself, I can feel it. I can get the tone of the film. I can figure out what I want to say visually and sound-wise. I could write all I want but writing is not film. To me, the Super 8 format is personal. It was conceived for the home movie market from the very beginning, for people to take home movies, not to edit them, not to put on glossy soundtracks, but rather to find tones, to find human beings, real emotion. Whereas, with 16mm, you will possibly have to have a camera person, a camera assistant, a sound person, sound assistant. Suddenly, when you have four people or even two people on set with you, it becomes a question of whether you have it together enough or not. »
-- Midi Onodera (source)

« There is no question that [in the mainstream film and TV industry] a glass ceiling exists [...] for women and especially women of colour. In North American productions, men are still looked at as authority figures and given the benefit of the doubt in terms of the diverse subjects they are allowed to explore. Women are relegated to soft women's dramas, soaps, emotionally driven stories. Very rarely do women directors get the opportunity to do action movies. If you're a woman or a man of colour, for that matter, you are somehow led down the path to make films that reflect your cultural/ethnic background. »
-- Midi Onodera (source)

Pour lire les CITATIONS sur un film spécifique de Midi Onodera, veuillez voir : Ten Cents a Dance (Parallax) Displaced View Skin Deep

Notes sur Midi Onodera

A étudié au Ontario College of Art.

(sources)

Bibliographie sur Midi Onodera

Section 1 : Publications de Midi Onodera

ONODERA, Midi. « Dishing It Out and Taking It » , dans By, For & About: Feminist Cultural Politics, sous la direction de Wendy Waring, Toronto, Women's Press, 1994, pp. 141-154. [en anglais]
ONODERA, Midi. « Locating the Displaced View » , dans Feminisms in the Cinema, sous la direction de Laura Pietropaolo et Ada Testaferri, Bloomington, Indiana University Press, 1995, pp. 20-27. [en anglais]

Section 2 : Publications sur Midi Onodera

Chapitres de livres

DOYLE, Judith. « Midi Onodera » , entretien avec Midi Onodera, dans In a Different Voice: Conversations with Women Artists and Filmmakers, Toronto, Funnel Experimental Film Theatre, 1986, pp. 35-38. [en anglais] [catalogue d'exposition]
HOOLBOOM, Mike. « Midi Onodera: Camera Obscura for Dreams » , entretien avec Midi Onodera, dans Practical Dreamers: Conversations with Movie Artists, Toronto, Coach House Books, 2008, pp. 137-154. [en anglais]

Sites Web

« Midi Onodera », https://midionodera.com/. [site officiel] [en anglais]

Section 3 : Publications sur les films de Midi Onodera

Ten Cents a Dance (Parallax) (1985)

Chapitres de livres

MARTIN, Elizabeth et Vivian MEYER. « Midi Onodera: Ten Cents a Dance (Parallax) » , dans Female Gazes: Seventy-Five Women Artists, Toronto, Second Story Press, 1997, pp. 162-163. [en anglais]

Brèves parties de livres

MAYNE, Judith. « A Parallax View of Lesbian Authorship » , dans Feminisms in the Cinema, sous la direction de Laura Pietropaolo et Ada Testaferri, Bloomington, Indiana University Press, 1995. [en anglais] (pp. 199-204)
MAYNE, Judith. « A Parallax View of Lesbian Authorship » , dans Framed: Lesbians, Feminists, and Media Culture, Minneapolis, University of Minnesota Press, 2000. [en anglais] (pp. 153-160)
MAYNE, Judith. The Woman at the Keyhole: Feminism and Women's Cinema, Bloomington, Indiana University Press, 1990. [en anglais] (pp. 225-228)
ONODERA, Midi. « Locating the Displaced View » , dans Feminisms in the Cinema, sous la direction de Laura Pietropaolo et Ada Testaferri, Bloomington, Indiana University Press, 1995. [en anglais] (pp. 24-25)
WAUGH, Thomas. The Romance of Transgression in Canada: Queering Sexualities, Nations, Cinemas, Montreal, McGill-Queen's University Press, 2006. [en anglais] (pp. 256-259)

Displaced View (1988)

Brèves parties de livres

ONODERA, Midi. « Locating the Displaced View » , dans Feminisms in the Cinema, sous la direction de Laura Pietropaolo et Ada Testaferri, Bloomington, Indiana University Press, 1995. [en anglais] (pp. 22-24)

Brèves parties d'articles de revue scientifiques

BANNING, Kass. « The Canadian Feminist Hybrid Documentary », CineAction, no. 26/27 (hiver 1992). (pp. 111-113) [en anglais]

Chapitres de thèses

SIVAK, Nadine. « Exposing the Limits of Knowledge: The Displaced View and Skin Deep » , dans 'Howwe Gonna Find My Me?': Postcolonial Identities in Contemporary North American Drama and Film, 2000. Thèse de doctorat, University of Toronto, pp. 99-139. [en anglais]
WILSON, Sheena L. « Midi Onodera's The Displaced View » , dans Paradigms Lost and Re-membered: The Case of the Japanese Canadian Experience in Canadian Media, Cinema, and Literature, 2006. Thèse de doctorat, University of Alberta, pp. 187-220. [en anglais]

Skin Deep (1994)

Chapitres de thèses

SIVAK, Nadine. « Exposing the Limits of Knowledge: The Displaced View and Skin Deep » , dans 'Howwe Gonna Find My Me?': Postcolonial Identities in Contemporary North American Drama and Film, 2000. Thèse de doctorat, University of Toronto, pp. 99-139. [en anglais]

Fonds et collections d'archives

Ce centre d'archives conserve des fonds ou collections liés à Midi Onodera ou à ses films :

Cinemathèque québécoise (Montréal, Québec)