Broomer, an experimental filmmaker and scholar working in Canada, has produced a landmark volume, published by the University of Toronto Press – you can read sections of it on Google Books, just enough to make you want to buy the entire volume – which focuses on a deeply influential student filmmaking collective in the 1960s, whose most notable founders were about as far apart aesthetically as one might imagine – future commercial filmmaker Ivan Reitman, and experimentalist and critic John Hofsess, whose split-screen color film Palace of Pleasure, which Broomer helped to restore as part of the work of this volume, is a stunning half-hour of free form, poetic cinema, which I was lucky enough to see several times at the now-defunct Filmmakers’ Cinematheque, then located in the basement of the now-demolished Wurlitzer Building on 41st Street in Manhattan, as projected by the filmmaker Bob Cowan.
The film stunned me with its beauty, romanticism, and sensual visuals, and it came at the very end of what one might call the Romantic period in 1960s experimental cinema; the next year, Michael Snow created his landmark structuralist film Wavelength, and a whole group of films made in the vein of Hofsess’s work suddenly fell by the wayside, as critics rushed to embrace this much more formalist cinema. Broomer makes no secret in this text of how he feels about this; his work as a preservationist of Hofsess’s film speaks for itself, and he clearly embraces the purely experimental art of cinema – in its freeform, and less austere incarnation – over the more commercial aspects 0f the medium.
An experimental filmmaker himself, whose works may be found on Vimeo, Broomer’s work in this volume, and as an artist in his own right, is a healthy antidote – and hopefully, an “early clue to a new direction” (to paraphrase the title of a work by the American 1960s experimental filmmaker Andrew Meyer, another deeply Romantic artist of the era) in the university study of film, which has increasingly, in our STEM era, embraced the industrial model of filmmaking over purely artistic endeavors. Obviously, Broomer’s films will never make any money, and perhaps not even get that wide distribution, but he’s not pitching to the stands – he’s making work on his own terms for those who choose to appreciate it, and I wish that others would follow his example.
As the notes for the book read, in part: “founded in 1966 at McMaster University by avant-garde filmmaker John Hofsess and future frat-comedy innovator Ivan Reitman, the McMaster Film Board was a milestone in the development of Canada’s commercial and experimental film communities. McMaster’s student film society quickly became the site of art filmmaking and an incubator for some of the country’s most famous commercial talent.
In Hamilton Babylon, Stephen Broomer traces the history of the MFB from its birth as an organization for producing and exhibiting avant-garde films, through its transformation into a commercial-industrial enterprise, and into its final decline as a show business management style suppressed many of its voices. The first book to highlight the work of Hofsess, an innovative filmmaker whose critical role in the MFB has been almost entirely eclipsed by Reitman’s legend, Hamilton Babylon is a fascinating study of the tension between art and business in the growth of the Canadian film industry.”