Women & Gender Studies Institute

Kay Armatage, Emeritus

B.A. (Hons) (English Literature, Queen's University); M.A., Ph.D. (English, University of Toronto)

email : kay.armatage@utoronto.ca

Kay Armatage is a Professor Emeritus at the University of Toronto, cross-appointed to the Cinema Studies Institute and the Women and Gender Studies Institute. She has served in a number of administrative capacities for Women’s Studies & Cinema: Director, Undergraduate Women’s Studies Program, UofT (1987-92); founding Director, Graduate Collaborative Program in Women’s Studies, UofT (1994-2000); Acting Director, Cinema Studies (2003/04, 2008/09, 2010/11); Acting Principal, Innis College, 2010. She has worked extensively in the arts as well, as an International Programmer, Toronto International Film Festival (1983-2004) and as Vice-Chair of the Ontario Arts Council (1991-1997).

  • Author, The Girl from God’s Country: Nell Shipman and the Silent Screen, University of Toronto Press, 2003.
  • Editor, Equity and How to Get It, Inanna Publications, 1999.
  • Co-Editor, Gendering the Nation: Canadian Women’s Cinema, University of Toronto Press, 1999.

Articles in Books and Refereed Journals 2000s

  • “Fetish and Fashion in Canadian Cinema”, 25pp., Topia: Journal of Cultural Studies, 2003.
  • “Janis Cole and Holly Dale: Cinema of Marginality,“ English Canadian Cinema (working title), ed. Jerry White, University of Alberta Press, 2003.
  •  “Sex and Snow: Landscape and Identity in the God’s Country Films of Nell Shipman”, 40pp. Accepted for A Slightly Different Light: Exploring Marginalized Issues and Forces in American Silent Film.  ed. Tom Slater, Southern Illinois University  Press, 2003.
  •  “Fetish and Fashion in Canadian Cinema”, 25pp., Filmbuilding, ed. Linda Lewis, on-line book, Ryerson University, 2001.

Articles in Books and Refereed Journals 1990s

  • “Nell Shipman: A Case of Heroic Femininity,” Gendering the Nation: Canadian Women’s Cinema, ed. Armatage et al., University of Toronto Press, June 1999.
  • “The Feminine Body: Joyce Wieland’s Water Sark” (reprint), Joyce Wieland: A Guide to the Film Literature, ed. Kathryn Elder, Toronto: Cinematheque Ontario Publications, 1999.
  • “Kay Armatage Interviews Joyce Wieland” (reprint), Joyce Wieland: A Guide to the Film Literature, ed. Kathryn Elder, Toronto: Cinematheque Ontario Publications, 1999.
  • “Feminist Film Theory, Canadian Women’s Cinema and Women’s Studies in the Age of NAFTA”, Sonderbulletin Special Issue, Berlin: Zentrum fur interdisziplinare Frauenforschung, 1997, 53-60.
  • “Ethnography and its Discontents: Ulrike Ottinger’s Taiga”, Arachne vol.3 no. 2 (1996), 31-47, refereed.
  • “The Body-That-Disappears-Into-Thin-Air: Vera Frenkel’s Video Work”, Mirror Machine: Video in the Age of Identity, ed. Jeannine Marchessault, YYZ Books, 1995.
  • “Nell Shipman: A Case of Heroic Femininity”, Feminisms in the Cinema, ed. Ada Testafieri, Indiana University Press, 1995.
  • Les Silences du Palais, Moufida Tlatli and Tunisian Women Filmmakers”, Cine-Action, no. 38-39, Winter 1994.
  • “History of Canadian Women Filmmakers”, Changing Focus, ed.  Mary McDougall Maude, Toronto: TWIFT, 1991.
  • “Dog and Woman, Together At Last: Animals in the Films of Nell Shipman”, Cineaction, no. 24/25, August 1991.
  • Entries on Canadian Women Filmmakers, Nell Shipman, Beryl Fox, Women’s Film Festivals (International), Toronto International Festival of Women’s Cinema (1973), Studio “D” of the NFB and others, The Women’s Companion to International Film, ed. Annette Kuhn (London: Virago Press Ltd., 1990).
  • “The Silent Screen and My Talking Heart”, Canadian Journal of Social and Political Theory, vol.14, nos. 1-3 (1990), pp.204-214.

Articles in Books and Refereed Journals 1980s

  • “Joyce Wieland, Feminist Documentary, and The Body of the Work”, Canadian Journal ofPolitical and Social Theory, vol. 13 nos. 1-2, 1989, pp. 91-101.
  • “Fashions in Feminist Film Theory”, Best Canadian Essays: 1989, ed. Douglas Fetherling (Saskatoon: Fifth House Publishers, 1989) pp. 195-214.  Originally published in Descant #61, Summer 1988, pp. 90-115.
  • “Reverse Angle: Filmmaking from a Feminist Perspective”, Popular Feminism Publications, Centre for Women’s Studies, OISE, Summer 1988.
  • “Women in Film” and “Canadian Women’s Cinema”, Documents in Canadian Film, ed. Douglas Fetherling (Toronto: Broadview Press, 1988), pp. 167-176. Originally published in Toronto International Festival of Women & Film Programme Notes, 1973.
  • “All That Lovin’ Stuff: Sexuality and Sexual Representation in Some Recent Films by Women”, Cine-Action, no. 10, Fall 1987, pp.35-37.
  • “The Feminine Body: Joyce Wieland’s Water Sark“, Dialogue, ed. Pierre Verraneau, Seth Feldman & Michael Dorland, (Montreal: Mediatexte Publications Inc., 1987); also published in Canadian Woman Studies, Spring 1987.
  • “The Seven Sins of Bette Gordon’s Variety“, Cine-Action, no. 5, Spring 1986, pp. 7-11.
  • “Feminist New Narrative”, Borderlines, no. 6, Winter 1986/87, pp. 18-19.
  • “Chantal Akerman”, Ten Filmmakers for the Future, ed. Piers Handling (Toronto: Frederick Ungar Publishers Ltd., 1985).
  • “About to Speak: Patricia Gruben’s Sifted Evidence“, Take Two: Canadian Film Reader, ed. Seth Feldman (Toronto: Irwin Publications, 1984), 298-303; originally published in Wordsand Images, ed. Seth Feldman & Michael Dorland, (Montreal: Mediatexte Publications Inc., 1984), pp. 67-75.
  • “Joyce Wieland”, Women and the Cinema: A Critical Anthology, ed. Karyn Kay & Gerald Peary (New York: E.P. Dutton, 1977); reprinted from Take One, vol.3 no. 2, Feb. 1972.
  • “If Men Have Not Changed, Women and Children Have: Gertrude Stein’s Lucy ChurchAmiably“, Atlantis vol.3 no. 1, Fall 1977, 48-65.

Other Papers

  • “The NFB Wars” Canadian Forum, March 1983, pp. 39-42.
  • “Canadian Women’s Cinema”, Canadian Forum, Special Issue on Canadian Culture, Vol. LXI, no. 715, Feb. 1982, pp. 24-25.
  • “Winter of Discontent”, Canadian Forum, Vol. LXII, no. 718, May 1982, pp. 38-41.
  • “Independent Film Production 1982”, Canadian Forum, Vol. LXII, no. 721, Sept. 1982, pp. 39-40.
  • “The Impact of Feminism on Aesthetic Theory and Practices”, Fireweed, no. 15, 1982, pp. 13-17.
  • “Material Cinema”, Canadian Forum, Vol. LX, no. 705, Dec. – Jan. 1980 – 81.
  • Our Hitler“, Canadian Forum, Vol. LX, no. 708, Apr. 1981, pp. 39-40.
  • “Here We Go Again: Feminist Film Theory”, Canadian Forum, Vol. LXI, no. 714, Dec.-Jan. 1981-1982, pp.46-47.
  • “Striptease: Work, Performance, Sexuality”. Canadian Women’s Studies, vol. 3 no. 2, 1981, pp. 33-35.
  • “Look at Richard Gere: Sexual Objectification in Cinema”, Canadian Forum, vol. LX no. 700, Jun-Jul. 1980, pp. 48-49.
  • “Women’s films and `Women’s Films'”, Canadian Forum, vol. LIX no. 695, Dec.-Jan. 1979-80, pp. 48-49.
  • “Feminist Filmmaking: Theory and Practice”, Canadian Women’s Studies Journal, vol. 1 no. 3, Spring 1979, pp. 49-50.
  • “Political Film in Canada”, Canadian Forum, vol. LVI no. 690, Jun-Jul. 1979, pp. 48-49.
  • “Women in Film”, Take One, vol. 6 no. 4, Mar. 1978, p.43.
  • “Feminist Film Theory”, Take One, vol. 6 no. 8, Jul. 1978, pp. 36-38.
  • “Why Not Hollywood”, Take One, vol. 6 no. 2, Jan. 1978, pp. 38-39.
  • “Dialectical Blisters”, Take One, Vol. 5 no. 12, Nov. 1977, p. 34.
  • “Gertrude Stein and the Nineteenth Century Women’s Movement”, Room of One’s Own, vol. 3 no. 3, 1977, pp. 28-36.
  • “Women in Film”, Take One, vol. 3 no. 11, Sept. 1973, pp.45-48.
  • Women & Film International Festival Programme Notes, Writer and Co-Editor, Women & Film International, 1973.
  • “Gertrude Stein: The Mother of Us All”, Sixpack #5, Fall 1973.
  • Women in Film Special Issue, Take One., vol. 3 no. 2, Feb. 1972, Co-Editor.

Contributing Editor, Take One Magazine, 1973-76.

CREATIVE AND PROFESSIONAL WORK

Curatorial Work

  • Curator, Contemporary World Cinema, Discovery, Special Presentations and Real to Reel Series, Toronto International Film Festival, 1989-2004.
  • Jury member, Wolpin Award for Israeli Cinema, Jerusalem Film Festival, Jul 2001.
  • Jury President, Documentary Awards, Hamptons International Film Festival, Oct. 20-24, 1999.
  • Tiger Awards Jury, Rotterdam International Film Festival, Netherlands, Feb. 1999.
  • Documentary Jury, Hamptons Film Festival, New York, Oct. 1998.
  • Festival Jury, New England Film Festival, Boston, Dec. 1997.
  • Surfacing, Retrospective of Canadian Women Filmmakers, Toronto Festival of Festivals, 1989.
  • Curator, Contemporary World Cinema and Perspective Canada, Toronto Festival of Festivals, 1982-1988.
  • Chantal Akerman Retrospective, Toronto Festival of Festivals, 1985.
  • Guest Curator, Canadian Images Film Festival, Trent University, Mar. 1984.
  • Beryl Fox Retrospective, Canadian Images Festival, Trent University, Mar. 1983.
  • Co-Curator, “A New Look: Women & Film 1982”, Canadian Images Festival, Trent University, Mar. 1982.
  • Co-Curator and Co-Organizer, Women & Film International Festival, Toronto, 1973.  This was a 10-day international festival, the third in the world, organized by twelve women, of whom I was one.  With one other woman, I was responsible for writing and editing the programme notes and catalogue for the festival (see documents).

Films

  • Artist on Fire: The Work of Joyce Wieland, 54 min. documentary film, completed with the assistance of the Canada Council, Ontario Arts Council, Ontario Film Development Corporation, and Telefilm Canada, produced by Dominion Pictures, 1987.
  • Storytelling, 55 min. 16mm. Experimental documentary film,  funded by the Canada Council, produced by Atlantis Films, 1983.
  • Striptease, 24 min. 16mm. documentary film, funded by the Ontario Arts Council, with the assistance of the National Film Board, produced by Lauron Productions, 1980.
  • Speak Body, 8 min. 16mm. avant-garde film, funded by the Ontario Arts Council, 1979.
  • Bed and Sofa, 12 min. 16mm. experimental narrative, funded by the Ontario Arts Council, 1979.
  • Gertrude & Alice In Passing, 8 min. 16mm. experimental narrative, funded by the Ontario Arts Council, with the assistance of the National Film Board, 1978.
  • Jill Johnston, 25 min. 16mm. Documentary, produced with the assistance of the National Film Board and the Ontario Arts Council, 1977.
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