This special issue of Rungh focusses on Film and Video, continuing a tradition that links to Volume 1, Number 3 (1992) and Volume 3, Number 1 (1995).
The Longing and Belonging: 1990s South Asian Film and Video program featured at the 2019 DOXA Documentary Film Festival included a small sample of the films and videos which played a role in defining what it meant to be “South Asian” in Canada in the 1990s. Rungh has commissioned new reflections by Shani Mootoo and Sunil Gupta to link the past to the present and to raise new questions about the future.
The launching of Rungh Reprints, a new programming initiative, is a part of a continued trajectory which will showcase significant pieces of writing that are often overlooked, but which need to be revisited. Sometimes, what seems very new today, has already been visited yesterday. In this issue, two essays from the Beyond Destination Video, Film and Installation by South Asian Artists (Ikon Gallery, Birmingham, England, 1993) catalogue by Ian Iqbal Rashid and Himani Bannerji start the series. Keep an eye on Rungh Reprints, it will continue to stimulate and surprise.
LIMITED SCREENINGs by Sammy Chien (remembering Pina Bausch) and the Poetics of Fragility, by Lata Mani and Nicolas Grandi, are a Rungh experiment in featuring full length versions of time-based media in our Screens section, for a limited period. View them while you can.
Rungh’s commitment to centring IBPOC conversations continues with a conversation between Ayumi Goto, Peter Morin and Tarah Hogue about "Passing ‘through the land". A conversation that links to the Vancouver Art Gallery show “how do you carry the land?”, from which the banner images for this issue have been selected.
Reviews about Vancouver’s 5X Festival, the play Honour in Montreal, and the adaptation of Shakespeare’s All’s Well That Ends Well, round out this content packed special issue.