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The Innii Hcnid it puUUhed (roughly) monthly by the Innii College Student 
Society and if printed by WeUcr Publiibing Company Lid. The opinions 
exprutcd herein vc lUnbutaUe only to their auihon. Leoen to the editor should 
be addrcucd to The Editor, Inxiis College.2 Sussex Ave., Toronto, Ooi., MSS 




"Outside of a dog a book Is nan's best 
friend. Inside of a dog it's too dark 
to read." 

-Groucho Marx 



Chaucer, Ombudspeople and You 



What, you are wondering, is the 
connection between the three 
above-named subjects? Well, hold 
on to your calculators and new spiral 
notebooks, because I'm not exactly 
certain myself - but whatever it is, 
it's sure to be electrifying. You will 
soon become accustomed to this 
kind of editorial free-associaiing, for 
what editor in her/his 
(gender-neutral) right mind wants to 
actually choose a topic lo write on, 
stick to il and achieve a kind of 
logical or coherent argument, not to 
mention conclusion? Not this type. 
I am a person of many opinions, 
ideas and experiences. But mainly, I 
am a person who lacks discipline in 
her/his (well, actually her) writing 
skills, as many of my professors 
have duly noted. 

If you arc a new student you may 
not be aware of this, but if you are a 
returning student you have probably 
been somewhat aware of stirrings 
around ciunpus on the subject of 
gender-neutral language. We have 
all been too much aware of the 
his/her or s/he problem of essay 
writing, and Ihe proper course to 
follow has been widely debated for 
years. Personally, I belong to the 
"iheir" school of third-person 
pronouns (graduated with honours), 
finding it a simple and convenient 
way of referring to any 
un-sexually-known subject. Many 



fieople are adament that "their" is 
plural and plural only, and thus the 
use of it in a singular context is 
unenglish (ie., ungrammatical) and 
evil. However, "their" has only 
recently been used as exclusively 
plural - a hundred years or so ago il 
was perfectly acceptable in reference 
to a single person when the gender 
was uncertain. The inimitable 
O.E.D. gives an example from 
Thackeray; "A person can't help 
their birth." Somewhere between 
the nineteenth and twentieth 
centuries some stuffy 
grammartarians decided that 
Thackeray and those who preceded 
him were all wrong. Well, I say it's 
perfectly okay. Go ahead, say 
'■they". Be radical. Encourage your 
professors to say "Each student may 
hand in their essay whenever they 
want" as often as possible - in the 
name of improving the English 
language, of course, and not 
cranking out terminally lazy students 
such as myself. 

The reason that this topic is on my 
mind is due to the recent decision to 
change the title of "Ombudsman" to 
"Ombudsperson", now officially on 
the books. My question is this: 
Man, woman or person, what thp_ 
hell is an ombud? Rather than just 
change the suffix, why not use a 
whole new term that actually seems 
to correlate to the job that is done 



(whatever that is)? Being a woman, 
Tm sure that I would prefer not to be 
called a mailman (now letter carrier), 
or chairman (now simply just chair), 
but I think Td rather be a mmlman 
than an ombudsperson. Call me 
crazy. While Tm on the topic, may 1 
recommend that we do away with 
"feminized" regular words, like 
actress and waitress? If you act, you 
are an actor, just like if you doc you 
are a doctor. A female writer is not a 
writress, so why should she be an 
authoress? How about 
veteranarianness for an ugly 
mouthful? The point is, we need not 
invent feminine endings if we don't 
consider the word or the job to be 
masculine in die first place. Doctor 
is not a masculine term, although 
historically most people in Uiat field 
were men. The word simply 
describes a job, now occupied by 
both sexes. Does anybody say 
"professoress"? No, thank God. 
Nor am I an editoress. I think I've 
made my point (to deadi), and you 
may not agree, but I agree with me. 

Speaking of you, my reading 
public, and your response to this 
paper... .This brings me to my next 
subject. I will be blunt with you, 
and this is especially directed at the 
new students at Innis. The Innis 
Herald is your newspaper, if you 
don't contribute to it in your unique 
way, with your unique voice, 1 will 



be forced to write all the articles 
myself in my boring, pedestrian 
voice. If we don't get any 
submissions for the next issue, I will 
simply have lo use my old essays for 
filler. You will perhaps be 
particularly interested in my 
dissertation on Classical rhetoric in 
Chaucer's Troilus and Criseyde. 
No? Well it won't be my fault if it 
shows up. We at the Herald are 
very easy lo please. If you live on 
this planet, you might have an 
opinion about something. And 
maybe, just maybe, you could write 
down those thoughts and pass them 
over to us. We especially welcome 
articles on the environment, politics, 
Innis sports. Student Society 
business, university experiences (the 
printable ones), music and drama. 
See? We're flexible. But we're 
likely lo get mighty unreasonable if 
crossed - and the surefire way to 
cross us is to ignore us. Go ahead, 
write something. Join some groups 
around Innis (Film Society, 
Amnesty, Bart Testa Admiration 
Society) or start your own. Give 
Blitz some new tapes to play in the 
pub. But don't just sit there. Or, sit 
there until your butt turns to 
marshoiallow; just exercise your pen 
and your mind before you find 
yourself losing at Jeopardy against 
the Pilsbury Dough Boy. 



Karen Sumner 



m 





First Film Society Meeting 

September 20, 5 PM, Innis Town t4all - Just 
Before 
The Orson Welles Films. 

Agenda: 

What Is the Innis Film Society? 
Programming for January to April 1991 . 

ALL WELCOMEil 



August 1990; Volume 25; Issue 1 

The paper that pays you back - with interest. 

Editor: Karen Sumner 
Assistant Editor: Jermy Friedland 

Film Editor: Steve Gravestock 

Random Thoughts Editor: Chris Nix, a.k.a Mole 

Environment Editor: (your name, next issue) 



Cdnlributors: 

Mole Isobel HeaUicote 

Jim Shedden John Browne 

Nancy Friedland ICSS 

Loren Davie Joey Schwartz 
David Sumner 



Illustrations: 
Brian Poehlman 
Lesley Turner 
Kaie Mckay 
Jenny. David, Steve 




The EdiW 



ICSS Update 



Loren Davie 
VP Services 

What is the ICSS? 

The ICSS. the Innis College 
Student Society, is ihe studeni union 
of Innis College. It consists of all 
Innis College students, whether ihey 
be full- or pari-iime. If you are an 
Innis student, then you are a 
member of the ICSS. 

Meaning What? 

It means that you can vote at ICSS 
meetings. Most of the drudge work 
is done by the thirteen executive, but 
anyone can participate. 

Participaie in What? 

We sponsor sports, clubs, social 
events (read; pubs), the Formal, 
trips lo Hart House Farm, 
orientation, concerts, refugee 
students and all sons of other stuff. 
The money for all of this comes 
directly from you, the members of 
the ICSS. The services are there for 
you to lake advantage of. Almost 
everydiing is free. 

Where Are You? 

The ICSS office is room 116 at 
Innis. When you come in the main 
doors from St. George Street you'll 
find the Pit immediately on your left 
and us on your right. 

When and Where Do You 
Decide Things? 

We have meetings that are open to 
the public about once e»'ery two 
weeks. If you are an Irmis student, 
come on out and participaie and vole 
in the meetings. This is your 
college; have a say in running it. 
This fall (very soon) we'll be having 
some bi-eleciions to fill vacant 
positions in the executive. If you're 
really ambitious then you might 
consider trying out for one of these. 
(Please - we need you.) 

Where Do I Find Out More? 

We're going to be bombarding you 
with info during the first couple of 
weeks while orientation is on. There 
will be all sorts of sign-up sheets at 
the First Year Dinner, and if all else 
fails, just ask the friendly entourage 
lhat hangs around die ICSS office. 




Activism, Apathy and Other 

Social Diseases; or how to be smarter 
than your average bear. 
An Introduction for the 
First Year Student. 



Smut at Robart's 




Nancy Friedland 



Having recently been a first year 
student (that is. last year), I findthat 
now, with a summer's perspective, I 
am in a position to judge my own 
involvement or lack thereof in U of 
Ts various extracurricular activities. 

It is possible, and altogether much 
loo easy, to just get lost in the 
university shuffle. But fortunately, 
you clever first year student you, 
you have chosen the small, 
somewhat friendly, somewhat artsy 
fartsy, somewhat "film noirish" 
Innis College. Here, you can get 
involved in the Cinema Studies 
Students Union, you can write for 
this very lovely rag and you can save 
the planet or - by gum - the 
universe. Or you can hang out with 
the Dead .Heads in the Pub, if they 
have survived another year. 

Beyond the hallowed halls of 
Innis. however, there lies much 
more. Not necessarily anything 
better, just more. More serious 
papers, more serious activist groups, 
more serious people, more serious 
seriousness. Yes, Dorothy, look 
beyond your own backyard and you 
will find the dark, grave underbelly 
of U of T. I, myself, have ventured 
there and I assure you it ain't 
Kansas. 

Let mc say though that there is 
absolutely nothing wrong with 
seriousness, if that's your bag. But 
by all means try something that 
might not be your niche, for that is 
the very purpose of first year. This 
was my experience of first year, 
although my words of warning come 



from my own experience with this 
"seriousness" of which I speak. 

Shonly after first year began I got 
involved in organizing and 
participating in an intellectual 
discussion group. In theory, and for 
awhile in practice, this was a great 
idea, it was an open forum for 
discourse on any subject. We talked 
a lot about feminist issues, the 
environment, politics: You name it, 
we had an opinion. But now as I 
look back I see that die discussions 
weren't so open. This wasn't 
critical discourse. Critical discourse 
would mean that we had to be 
critical. We were, but not of ideas or 
opinions " of each other; or people 
who weren't at die meeting diat day; 
or people who couldn't hear us 
whispering about diem. 

It was a very self-righieous group 
that only looked for reinforcement of 
its moral position regarding the 
issues. 1 found it very easy to get 
caught up in die momentum of this 
constant encouragement and patting 
of each other's backs. It gave me 
the power to accomplish a lot of 
good things. I spoke to my 
philosophy T.A. about die lack of a 
female/feminine perspective in the 
first year curriculum. I stood up for 
thmgs the group believed in even 
when I was a minority outside the 
group. I felt that 1 had die power of 
all those very smart people in the 
group behind me. 

But I also dismissed diose views I 
had fomierly respected because they 
didn't conform to die views of the 
group. Only now have I realized 
diat those weren't entirely my beliefs 
I was standing up for. I had 



forgotten how to Udnk for myself. 

In diinking critically it is also 
important, especially in the 
oh-so-cynical world of university 
students, not to become too critical. 
You will notice the constant banter in 
the letters written to various 
newspapers in which someone's 
rage and fury about some very 
minute detail in an article, or some 
small misprint in a book, is vented. 
You don't have to be much smarter 
dian your average bear to realize diat 
diis nil-picking represents a certain 
loss of perspective on things. Ask 
yourself which is more important; 
the issue at hand that is being 
somewhat ignored, or the misprint 
over which oodles of people arc up 
in arms? 

Obviously, I've learned a lot from 
my involvement last year. 
Primarily, I've discovered that any 
group dial is formed around a moral 
position is very powerful and 
sometimes dangerous. It means dial 
you will be judging people not by 
dieir actions but by dieir beliefs, and 
if you have die right to do that 
doesn't everybody — be it 
Greenpeace saving seals or the 
Ayaiollah Khoimiani condemning a 
man to death for publishing his 
tieliefs. 

So. There you have it. If die first 
year student has anydiing to leam 
ft'om my mistakes let it be this: Get 
involved, do what you want to do, 
but don't get too serious about 
everything. Act as an individual and 
think for yourself. And, by gum, as 
a wise man once said to me, don't 
have such an opien mind diat your 
brains fallout. 



Mole 

"Gentle Reader, we see God 
through our assholes in the 
flashbulb of orgasm." - William S. 
Burroughs. 

The above line might well be 
offensive to some people. If it is 
offensive to you, dear reader, would 
you like to have the book banned? 
Afterall, it is in Robart's Library. 
Why should they carry diis kind of 
filth? 

Actually, die book isn't fildi in my 
opinion. I also don't think it should 
be baimed. Luckily, nobody has 
noticed it yet. I'm sure somebody 
would like to see it removed. 

Last year, a group on campus 
wanted a map ofa certain country to 
be removed from Robart's. It 
showed a part of their country as 
being part of another nearby 
country. This was not a 
geographical mistake, but an attempt 
by die map-makers to display the 
fact that their country was the real 
owner of die land. Suffice to say, 
the group representing the other 
country decided that the map 
promoted hate against them. Thus, 
they decided. let us try to ban the 
map. 

Really, this is such a small 
difference of opinion. If anyone 
could ban a map or book because of 
political or other differences, 
Robart's would be empty. Why 
hasn't a Christian tried to ban 
William S. Burroughs? If I were a 
Christian, I would probably be so 
offended by the above quote that I 
would immediately try to ban his 
works. 

Forget about diis political and 
religious stuff. Do you want 
somelhing really perverse? Try 
Paedophilia by Tom O'Connor. 
This book advocates child-aduU 
sexual relationships. The author is 
convinced he's not sick, even 
diough he likes to have sex with icn 
year old boys. 

Better still, if you're into French 
literature and sexual perversion, why 



noi try all ihirty-or-so volumes of the 
Marquis de Sade, available at 
Rohan's and at Prau. In particular, 
try Les 120 Journees de Sodome or 
La Nouvelie Justine, both of which 
advocate rape, anal sex, urine 
drinking, shit eating and murder as 
forms of sexual gratificadon. Why 
has nobody complained about poor 
old de Sade? His works are so evil 
and disgusUng, so perverse, so vile, 
that I'm really surprised that 
nobody's spoken up. He must be 
feeling pretty neglected. 

On a lighter note, Mordecai Richler 
had a fun summer, defending his 
book The Apprenticeship of Duddy 
Kravitz (available at Robart's, diose 
disgusting smut peddlers). A 
puritanical group in Essex county 
wanted Richler's book, as well as 
The Catcher in the Rye by JJ). 
Salinger and A Clockwork Orange 
by Anthony Burgess, banned 
because of dieir "vulgarity, sexual 
expressions and sexual innuendos." 
Richler wrote an article for The 
Globe and Mail where he 
described Larry Bastien, 
spokesperson for die Essex group, 
as having lived a very sheltered life 
. and who had previously only used 
books to "prop up a window with a 
broken sash." 

As that article in July 14di 
Saturday Magazine stated, 
"everyone is against censorship, but 
everyone has somediing they'd like 
banned." Very true. However, I 
would be mortified if anyone tried to 
ban de Sade's works. He may have 
been a woman-hating sex-fiend, but 
who cares? Tve read plenty of his 
novels and I have yet to kidnap 
several Christians in order to cut 
holes in them to have more orifices 
to penetrate. After reading 
Paedophilia, I feel no more attracted 
lo six years o\ds than \hc ncxv 
average guy. And after reading 
Duddy, 1 feel no more inclined to... 
um... hmmmm,. Didn't he make 
love next to a lake? Actually, that 
sounds like a good idea.... Excuse 




A Tale From Beyond The Bruce 




David Sumner 

After eight hours of walking, the 
weight of my pack now hangs 
pairtfuHy on my shoulders and my 
hips; the subtle strap adjustments 
and weight shifts no longer provide 
even brief comfort. My feet and 
legs, although complaining of no 
specific ailments, have resigned 
themselves to providing only 
half-hearted suppon, increasing my 
tendency to stumble even on the 
flattest ground. My pack collides 
more regularly with the trees diat 
lean over the trail, bouncing me 
through the forest like a demented 
foot. The sun has suspiciously 
swung around to my right which 
means I am walking south. I should 
be walking north. (1 lost the map for 
this section of the trail several hours 
ago — mental note: In future 
memorize all maps in the morning.) 
Did I turn myself around 
somewhere, am I retracing my 
steps? It's easy enough to do; Step 
off the trail to attend briefly to some 
personal business, come back and 
discover that you can't tell which 
direction you had come from. I 
know it can happen: I set such a 
precedent yesterday. I am 
exhausted, hungry and possibly lost. 
Furthermore, a disturbing thought 
has been forming steadily over the 
last kilometre and has now grown 
into a full-fledged conviction: Today 
I will surely be eaten by bears. 

Dark pine forest, wet 



moss-covered rock, open birch 
forest with lush fern covering, 
occasionally a sn^all clearing filled 
with dead wood and dotted with 
short scrubby brush and wild 
flowers — a continuously repealed 
cycle. Have I already passed 
du-ough diis clearing? I stare at what 
seem to be die same squat bushes, 
wild flowers, and sun-bleached dead 
logs i saw an hour ago. And before 
me winds that familiar but indistinct 
narrow path. Willed by my aching 
shoulders, I drop my pack and scout 
ahead. Sure enough, the clearing 
quickly changes into dark pine forest 
again. I walk back to my pack, but 
caimot convince my arms to heft it 
onto my back again. My mutinous 
body tells me it's time to set up 
camp. I examine die clearing, trying 
unsuccessfully to peer into the 
depths of the surrounding 
undergrowdi. I uneasily conclude 
that camping here will ensure that i 
be calen by bears. 

I'm not being reasonable, I know. 
I'm tired and alone, isolated by 
dense forest, kilometres away from 
anything human. My diinking is 
foggy and irrational and, 
surprisingly, I am aware that it is so. 
Yes, diere are bears in these woods, 
but they are black bears which I'm 
told do not attack people. Yet I 
remember reading somewhere that 
Ontario was an exception to this 
blagk bear maxim. More bears, a 
sign in die campground two nights 
ago announced, had been spotted 



diis year dian . . . dian when? I 
can'l remember, but what does it 
matter? It is hardly comforting 
news. A modier bear and her cub 
were spotted near Lion's Head. A 
list of bear rules was posted: Don't 
leave food laying about, and 
certainly don't bring any into your 
tent at night. There are still several 
hours of daylight left, maybe I 
should move farther along die trail? 
I am somehow positive that there is 
no chance of being eaten by bears 
farther along the Uail. But I now 
have the tent up and the contents of 
my pack strewn about. Despite my 
anxiety. I prepare to light a fire -- 
that great and comforting symbol of 
the triumph of humanity over the 
animal kingdom (including bears). 
There is plenty of dried wood about 
and I begin gathering ii up. I 
arrange a handful of small twigs 
teepee fashion in the cenue of a ring 
of stones, add larger pieces and set it 
alight. But before my symbol is 
fully ignited, I am startled by a 
horrifying sound; 
"HhlihrrrrTTmmmmppphhhh!!" 
At once. I am bolt upright; my 
heart pounds. For the first time in 
my life the hair on die back of my 
neck involuntarily stands on end. 
My eyes dart over the brush in front 
of me. I dare not move although I 
feel the adrenaline pounding through 
my body. But I discern no 
movement and hear no sounds. My 
mind races -- isn't that a well 
trampled animal path leading under 



the brush? Have I managed to camp 
directly in front of a bear's den? 
Keeping a wary eye on die bushes in 
front of me, I stoke my fire. The 
dry wood catches easily and 1 crouch 
beside it, hoping the smoke will 
drive away all beasts in proximity. 
Nearby lies a targe but not unwieldy 
log. Hefting it, I am encouraged 
with visions of nobly defending 
myself from the onrushing bear. 
But die dreams of heroism rapidly 
blur and doubt fills my mind: Can I 
kill my bear with one blow? Isn't a 
rampaging wounded bear much 
worse than one that's feeling just 
fine? Will the bear msh at me on its 
haunches or on alt fours? Will I 
need to swing high or tow? What if 
there are two bears, or three, or 
four? Disheartened, I put down my 
club but keep it by my side. 
Maintaining a large, smoky fire 
seems my best defence. But again, 
that blood-curdling soimd reaches 
through me and snaps me to my feel; 

"HhhhrTTrrTTTnmmmmpppphh ! ! ! ! " 

Four nights ago, at my first 
campsite on this Oip, I lay in my tent 
shortly after dark and patiently 
taught myself that each little noise 
was nodiing more than the rustling 
of the wind through die trees or die 
light scratching of a loose tent flap. 
Such noises could not possibly be an 
eight-hundred pound bear tiptoeing 
toward me hungry for my human 
flesh. If I treated every unusual 
sound as a death -delivering crisis, 1 
told myself, I'd never get any sleep. 



Soon I learned to relax and fall 
asleep, in defiance lo U^e nocturnal 
world around me. 

Now, in die smalt clearing deep in 
die forests of the Bruce Peninsula, I 
stand trembling widi a formidable 
log raised by my side, looking eye to 
eye, fleetingly, with my foe ... a 
small brown hummingbird, perhaps 
the smallest creature in the forest. 
Taking no notice of me, my log or 
my fire, die tiny bird buzzes off into 
the forest with a resounding 

"Hhhhrrrmmmppphhh! " 

Ashamed, I drop my log. cook and 
eat my supper, read for awhile, 
make up my bedding and go to 
sleep. My bear fear, although 
diminished, has not quite dissipated 
and. in a flash of derranged 
defiance, I scr^ble out of the tent, 
lay my log by the entrance and pee 
on it for good measure, announcing 
to the bcasLs in attendance that this is 
my territory and I'm ready to defend 
it. As I drift into steep, I realize that 
the fear of being eaten by bears 
caused me to forget entirely about 
the Massassauge rattlesnakes. Don't 
rattlesnakes seek warmth at night? 
In another panic of paranoia, I 
involuntarily wiggle to the centre of 
my tent .... 




» _ 



- parovde., feed 
- Sf^C Cov>cev-\r 




1 






S ^r)ba^ >} 





New Sludcnis: Thi! Is nol Innis 
College. It's Vic. 



ALL NIGHT FILMS 
SEPTEMBER 13.9 PM 

Classic Television 
- Fiintstones, Mary Tyler 
Moore, Underdog 

Fistful of Dollars (Leone) 

The Fly (Cronenberg) 

The Last Waltz (Scorcese) 

Weekend (Godard) 

INNIS TOWN HALL 
All Students Welcome. 
Bring a Sleeping Bag 

Ireakfost (on ttie house) 
to Follow. 



ir} 9biarioi 7 

1990 

(The Partyer's guide to the first 
two weeks in university.) 

Welcome to Innis from the ICSS 
and the Orientation Committee 
(sponsorship plug). We're here to 
make sure that you get a lot more fun 
than sleep in your first two weeks 
here. If you don't feel jaded by the 
end of it then you didn't show up for 
enough events. So, experience the 
flavour (stale beer and natchos), and 
welcome to the rest of your academic 
life. 




Labour day: Sleep in. 

University Tours: Take one of 
these, especially if you're from out 
of town. U of T is one of the most 
convoluted, bizarrely designed 
organizations in existence, and it 
helps to at least find out where the 
bare necessities are located. You 
won't regret it. 

Shinerama: Across Canada, 
across the city, across 
Engineeringland even, we all shine 
shoes to raise money for charity — a 
worthwhile way to spend the 
afternoon. 

Barbeque: On the Innis Green 
(you know, our backyard) we fire 
up the barbeque and cook whatever 
it is that we're cooking this year. 
Have a hamburger/hotdog/whatever 
on us. On the grass. 

Scavenger Hunt: Can you find a 
genuine flash-frozen Woolly 
Mammoth? Or two subway 
transfers from the ends of the line? 
They're worth points! 

Centre Island: A groovy place, 
especially if you've never been tliere 
before. It's part of the Toronto 
Experience. Lots of parks. And 
make sure you go on the Haunted 
Barrel works ride in one of them. 




SAC Carnival and Parade; 

Student's Administrative Coi\ncil 
brand fun. Do not start wars with 
Erindale students. There are more of 
them. 

SAC Concert: SAC uses its 
mighty muscles to pull in major 
Canadian talent. It can be a hell of a 
show. 

THE FARM!!!: Ifyou only go to 
one Orientation event (and don't be 
so reclusive!), make it this one. We 
leave on Friday, we come back on 
Sunday. That's three days and two 
nights of something beyond just a 
party, at the amazing Hart House 
Farm. Do Not Miss This One. 

First Year Dinner: We buy you 
dinner at Hart House. Free food, 
sign-up sheets, and staff and alumni 
sitting next to you making fun of the 
big shots giving speeches. 

Surprise Night: We're not going 
to tell you (especially since we don't 
know yet ourselves), but we're sure 
it'll be surprising. 

Comedy Night: We go to either 
Yuk Yuks or Second City and see 
some great comics. Take my wife, 
please. 

Film Night: In Town Hall, all 
night, all amazing films. Jim 
Shedden and the Innis Film Society 
reach into the far recesses of the 
cinematic ether and pull forth some 
great flicks and cartoons too, doc! 



Pub Night: La Pub, in La Innis 
Cafe, with La music and La dancing. 
Unfortunately, you'll need La I.D. 
to get in. 

House Party: Party off-campus. 
You always need another party. 

Blue Jays Game: Last event. Go 
to the Dome, cheer the home team 
and buy a $5 hotdog. 

You'll never get a chance to do all 
this stuff quite like this again, so 
take advantage! (Afterall, you paid 
for it with your fees.) This is a great 
chance to meet the people at Innis, 
who are Innis. This is the part of 
university education they didn't tell 
you about. 



I ■ 

i WRITE FOR THE HERALD! ! 

: IF WE CAN DO IT 

1 SO CAN YOU 

i Watch for the posting ot the next deadline 
: - and be ready 




The Fart Heard Around the World 




Sieve Gravestock 

An doesn't have lo provoke or be 
particularly radical lo be worthwhile; 
every work doesn't have lo inspire 
the same sort of response that 
Stravinsky's Riles of Spring (riots) 
or Ulysses (bannings) inspired. 
The idea that an artwork must be 
radical (politically or fonnally) is a 
iinicjely twicntieth-century one which 
achieved axiom status with tlie 
surrealists and similar movements. 
The surrealists -- at their worst and 
most influential ~ fctishized outrage 
and novelty often at the expense of 
analysis and craft. As a result, every 
artwork thai didn't break new 
ground and lambaste the 
bourgeouisie and it's taste for 
"realism" was dismissed as 
reactionary or irrelevant. 

(To realize how twentieth-century 
this notion is, you only have to look 
at the rhetoric of the English 
Romantic movement. The poets 
involved considered themselves 
radical -- and were considered 
radical - yet they emphasized craft 
and an awareness of literary history. 
They also attempted to connect 
themselves with English literary 
tradition, arguing that their most 
immediate, most influential 
predecessors -- the Augusians — 
were the ones who broke with 
tradition.) 

The result of this fetishization of 
radical style and radical politics is 
poor aesthetics in critics, audiences 
and artists and, therefore, lousy art. 
Crummy, confused, vapid charlatans 
like Patricia Roxema, Atom Egoyan, 
Spike Lee or Jean-Jacques Bcneix 
get enormous press and are rarely 
criticized, while brilliant, ostensibly 
more traditional artists like Gillian 
Armstrong can't get some of their 
best work reviewed or even properly 
released in Canada. The 
anti-bourgeouis rhetoric doesn't 
even hold up. As Roland Barthes 
observed, the avante-garde depends 
on the bourgeouisie for it's 
existence. If the middle-class didn't 
exist, the avant-garde couldn't either 
since it wouldn't have anything to 
object to. The avant-garde's 
supposed liberating break, 
furthermore, is a cul-de-sac since the 
demand to object to "realism" 
(especially narrative) restricts it just 
as much as the demand for realism 
confines the supposedly bourgeouis 
artists. Consequently, the 
experimental filmmaker Ernie Gchr 
conducts the same perception 
experiments that Man Ray did sixty 
years ago. The only difference is 
that Ray's stuff is still entertaining 
while Gehr's is boring. Ultimately 
this supposed radical art is co-opieU 
anyway because, as the Marxist 
critic Christopher Candell pointed 
out, capitalism thrives on novelty. 
Something new has to come along 
constantly in order to keep the 
machine going. Sooner or later these 
guys all show up in museums or 
billionare's private collections. 

Some of the greatest works of art 
have a translucent quality because 
the artists understand Qic ambiguities 
and complications in whatever 
situation they assess. For examples, 
look at works by Renoir, Saiyijat 
Ray, Dc Sica, Gillian Armsiiong, 
Fred Schepisi or Jonaihon Demme. 
Even the work of a supposedly 
totally radical filmmaker like 
Jean-Luc Godard, at his best, has 
the same lucid quality (see Les 
Chinois ). These artists lake sides, 
but they don't contemptuously 
dismiss those who disagree with 
them. They're not provocative, 
controversial or radical in the same 
way that overtly political (ic., left 
wing) or fonnally radical works are; 



in other words, they're not 
schemauc or simplistic. 

However, we live in very 
hegemonic times. James JoU, 
Gramsci's biographer, defines 
hegemony: "(The] hegemony of a 
political class meant for Gramsci thai 
that class has succeeded in 
persuading the other classes of 
society to accept its cultural values." 
As Peter Brimelow points out, "by 
achieving ideological hegemony a 
social group can rule far longer and 
more effectively than the material 
basis of its power would suggest." 
Nowadays, liberal hegemony rules. 
The media consists almost entirely of 
knee-jerk, bone-headed liberals who 
are utterly incapable of assessing 
what's before them. Unfortunately, 
the media isn't the only member of 
this clique; practically every 
left-wing movement in North 
America toes the line 
enthusiastically. 

The current political climate is very 
similar to that in the McCarthy 
period. The only difference is that 
then, if you were branded a 
Communist, you were toast. Now, 
if you're branded racist, sexist or 
homophobic or accused of any of the 
other cardinal liberal sins, you're 
toast. In tlic McCarthy period, the 
historical roots for communism ~ 
the reasons why it was a 
long-standing political movement or 
perspective -- were never 
considered. History, politics and 
economics ixnayed with the 
bathwater, stage right. Pauline Kael 
noted that McCarthy and his 
supporters reduced politics to a 
reductio ad absurdum . It didn't 
matter whether people opposed 
communism; the person who 
screamed loudest against it was the 
most ethical, and politics 
detcrioriated into "are you for me or 
against me?". Presently, the 
historical, political and economic 
bases of sexism etc. have been lost . 
They ixnay stage left. It doesn't 
matter it you understand sexism, 
you just have to scream the loudest 
against it. Actual issues are obscured 
by this hysterical atmosphere. 

(Feminism is paradigmatic of the 
way liberalism is going (read 
declining). Feminist issues are 
invariably presented abstractly in the 
grand liberal tradition. All women 
are discriminated against in 
patriarchal society, right? However, 
what does a bored housewife in 
Beverly Hills have in common with 
a black, unwed mother in Detroit; 
what docs a single career woman 
share with a factory worker? If we 
assume their problems are the same 
or stem from the same source, aren't 
we ignoring whose situation is more 
urgent? Bourgeouis feminists have 
also relentlessly politicized 
everything. If everything is political, 
nothing is political. The political 
sphere-expanded infinitely turns into 
something so enormous real political 
change or even analysis becomes 
impossible since real issues - like 
poverty - are obscured. We end up 
saluting people for changing the title 
of ombudsman to ombudsperson. ) 

Liberal hegemony manifests itself 
as a hideous variation of Puritanism. 
Anything that doesn't blandly 
reassert liberal values is hoppwd on 
immediately and viciously. In diese 
times, a work that provokes is 
probably far braver and far more 
urgent than something that's 
balanced and lucid. Which brings us 
to the two finest movies of the 
summer. 

The best film I saw this summer 
(so far) was Irwin Kershncr's 
Robocop II . written by Walon 
Green and Frank Miller. Basically, 
the film is pure satire with no real 



plot. It just barges along from one 
target to the next. (It's the kind of 
movie that forces you to dredge up 
synonyms for pwmme/ .) Youeitlier 
gel Ihe jokes or you don't, but if you 
don't the filmmakers aren't going to 
wait for you. It of>ens sans credits 
with a parody of commercials 
featuring a gleeful John Glover. 
Advertising a car protection device 
that literally fries thieves, he ends his 
spiel rapturously by announcing, 
"and it doesn't wear down your 
battery!" 

By barreling from one juicy 
satirical piece to another, Kershner 
avoids the campy, 
self-congratulatory tone that marred 
the first Robocop . At Ihe same 
lime, there are some relatively subtle 
comic flourishes. The president of 
Omnicorp -- the evil corporation that 
plots to take over Detroit - has 
gleaming upper teeth, but his lower 
choppers are hideously yellow, like 
a diseased, vicious old dog's. 

The pace probably accounts for 
some of the negative press reaction, 
since liberal film critics like to be 
congratulated for getting the joke. 
However, I think the film was 
panned primarily for the targets it 
satirizes. It just hits a little too close 
to home. There's a concise, nasty 
jab at business women and liberal 
feminism through Dr. Faxx, the 
psychologist who reprogrammcs 
Robocop with a ridiculous new set 
of sensitive directives so that he'll be 
a more palatable role model. (One of 
die directives is always poll opinions 
before you act, a sound principle for 
a crime fighter.) Faxx recalls Glen 
Close's character in Dangerous 
Liasons . She has power and she's 
a great manipulator, but she's totally 
dehumanized because she has to be 
utterly ruthless in order to succeed in 
the corporaie world. 




The film was most frequently 
criticized because one of the most 
vicious drug-dealers. Hob, was a 
kid. In the Christian Science 
Monitor, M. S. Mason worried that 
impressionable children would look 
up to Hob as a role model; film critic 
Dave Kehr was appalled and insisted 
that trashing the innocence of 
childhood myth was unforgivcable 
and dangerous. I'm sure bodi critics 
are well-meaning and concerned and 
all that but maybe they should stop 
publishing until their respective 
shuttles land. I doubt if kids are 
running off lo sec Robocop II to 
find role models. They aren't that 
corny. Any kid that would sec Hob 
as a role model would have to be 
seriously corrupted, maybe even 
deranged, already. Besides, kids 
don't fetishize movies like diis one; 
it's a Utile too sophisticated and they 
tend to reject things when Uiey sense 
something's goin^ on ihat's above 
their heads. fMnatly, kids can 



sometimes separate fantasy Irom 
reality even if concerned journalists 
can't. 

Kehr's objection is insidious and 
hypocritical. He is not objecting to 
the fact that kids are corrupted or 
drawn into the drug trade. He's 
objecting to the fact tJiai the image of 
irmocent children is being trashed. 
Hob is included in the film partly 
because childhood innocence is a 
fantasy and partly lo illustrate how 
poverty corrupts. 

The film also implicitly criticizes 
the West's rampant anti-drug 
hysteria. The drug dealers aren't die 
real villains, the corporate executives 
are. The campaign to shut down tlie 
drug dealers is a smoke-screen to 
hide the really evil stuff: 
Omnicorp's attempt to take over the 
city. The film also has several great 
performances to recommend it. 
Wctler as Robocop, Allen as his 
partner, Dan O'Herlihy as the 
president of Omnicorp, and Gabriel 
Damon as Hob stand out. The real 
sensation though is Belinda Bauer. 
As Dr. Faxx, she manages to makes 
pomposity, fatuity and ruthlessncss 
sexy. 

For an even finer example of 
hegemony or hegemony in action 
though, you might want to check out 
the reaction to Renny Harlin's The 
Adventures of Ford Fairlane 
scripted by a group of writers 
including Daniel Waters (who wrote 
Heathers ). and starring Andrew 
Dice Clay. Virtually every review 
was identical and virtually every 
review completely missed the point. 
Bashed viciously by the press all 
summer long even before die film 
came out. Clay was called racist, 
homophobic and sexist. It was a 
hideous spectacle oddly reminiscent 
of a feeding frenzy. The liberal 
media (or rather media) must have 
seen him as God's gift, a nice fat 
one they could knock out of the 
park. After all. Clay is a very easy 
target: he's not exactly brilliant or 
erudite and his persona is clearly 
patterned (ludicrously) after working 
class Italian machismo and all good 
liberals know that they're 
undereducated, too muscular and, by 
definition, beat their wives, and 
since he's white and working class 
he's probably a member of the Klan 
too. (It's not too difficult to see how 
racist ihese assumptions are.) 

Always at the cutting edge of this 
sort of thing, the Village Voice hit 
a new peak in yellow liberal 
journalism by comparing Clay's 
concerts to the Nuremburg rallies. 
This is stupid and malicious since 
Clay is Jewish. I'm sure I haven't 
researched Clay's background as 
extensively as my esteemed 
colleague at the Voice but I'm pretty 
sure he's never been personally 
involved in any attempts at genocide. 

This virulent reaction is somewhat 
understandable however. Clay 
became notorious for his stand-up 
act and, though he can be amusing at 
limes, for the most part he's 
excrable. He attempts to send up 
machismo and shock the audience, 
but he's simply incapable of 
establishing any context for what he 
is doing. (Technically, he's a 
disaster; his timing is usually 
hideous.) He also tries to shock the 
audience but he lacks the 
inventiveness to be truly, 
entertainingly shocking and he 
simply ends up being crude. Worse, 
like all shock comics from Lenny 
Bruce on, he feeds on his audience; 
if ihey respond lo his 
outrageousness, he'll push on. 
Unfortunately, Clay deals in very 
crude stereotypes and when his 
audience eggs him on his art turns 
crass, stupid and unfunny. 



Clay's film persona is far more 
successful. He recalls a very early 
Sly Stallone, only with a strong 
sense of the absurdity of machismo. 
In Casual Sex? , Clay played Vinnic, 
a ludicrously macho weight lifter 
from New Jersey; the character was 
clearly intended to be pathetic 
although the portrait wasn't 
malicious or cruel. In Ford Fairlane, 
Clay plays the title character .who's 
supposed to be an ace detective and a 
major Casanova. However, Fairlane 
is a totally incompetent investigator. 
He's so inept that he doesn't know 
who the villain is until that person 
shoots someone right before his 
eyes. This incompetence infects your 
whole view of the character; if he's 
this crummy as a detective how can 
you take the rest of the stuff 
seriously? 

The Casanova stuff is sheer 
adolescent, rude little boy fanlasy 
and consciously intended as such. In 
one scene. Ford and the heavy metal 
groupie he is protecting hide out in a 
sorority house; ihe house is 
presented comically as an 
adolescent's paradise. At no point is 
it intended to reflect any reality other 
than die reality of Ford's juvenile 
fantasies. In fact, the music business 
setting — Ford is a rock and roll 
detective - and the visual style arc 
enough to separate the whole film 
from reality .(The movie looks like a 
video.) 

It helps that Harlin is almost 
perfectly suited to the material. 
Every clwacter makes an immediate 
impact and you look forward to 
seeing them again.(Ed O'Neill, 
Maddie Corman, Gilbert GotiJried. 
and Lauren Holly all do nice comic 
turns. ) Technically, it's easily the 
best directed movie this year. 

The Fairlane character is a 
traditional, vulgar comic figure. Like 
everyone he thinks crude thoughts; 
unlike everyone he's completely 
unable to censor himself. His 
crudeness is funny simply because 
it's so dumb and presented as such, 
but it also has a kick to it. Politics 
and public life have become so 
gentrified that any vulgarity carries a 
hell of a subversive wallop. And 
Clay can be truly vulgar, in an 
endearing way. 

The actual objections to the film 
have little to do with politics and 
everything to do with prudishness. 
In The Varsity's review, the 
writer had two basic objections: The 
film's "torrent of abuse directed 
towards women", and Clay's 
frequent references to his penis. TTie 
writer cannily left out any example 
of this abusive treatment odier than 
her claim that all the women were 
presented as bimbos. As I've 
pointed out, this is presented 
comically, as a fantasy. 

Besides, treatment of 
both sexes is pretty much equal; 
Ford's kind of a bimbo himself. 
What really got the writer worked up 
though were Clay's references to his 
penis. Once again these are comic 
because his obsession is infantile. 
However, if you're disgusted by all 
anatomical references you probably 
won't get the joke. Who would have 
thought that the fall-out from sixties 
liberalism would turn a 
foul-mouthed, working class 
descendeni of Lenny Bruce into a 
real political radical? It lakes a libera! 
to turn someone who makes farting 
noises with his armpits into the 
summer's one true cinematic hero. 



Heaven on 
their Minds 



Shedden Some Light 
on the Film Society 




Jenny Friedland 

The commercial for Jesus Christ 
Superstar was on TV awhile ago 
and so I remarked that Jesus looked 
more like Lorenzo Lamas than he 
does the Messiah. (Of course, he 
doesn't really look like Lorenzo 
Lamas but he looks like Lorenzo 
Lamas would if he were in that role.) 
Anyway, everybody laughed at my 
joke and some people suggested that 
Andrew Lloyd Webber sucked and 
thus it was no wonder that Jesus 
looked like Lorenzo Lamas. 

But one cannot judge a production 
by its advertisements alone and so I 
forked over a hundred thousand 
dollars and went lo the O'Keefe 
Centre to see the real thing. I have 
seen two other productions of y^us 
Christ Superstar as well as the 
movie and I am also the proud 
owner of the soundtrack. This, I 
verily believe, makes me an 
authority on the subject and I 
conclude as follows; Contrary to all 
popular beliefs that like to go 
contrary to everyone else's popular 
beliefs, Andrew Lloyd Webber 
doesn't always suck. Sure Cats 
was weak and sentimental but Jesus 
Christ Superstar , with lyrics by Tim 
Rice, can offer a funky alternative to 
Sunday school. However, your car 
stereo can often provide more 
enjoyment than the live production. 

At the O'Keefe Centre there seems 
to be a huge discrepancy between 
where the music is coming from and 
where the voices are heard. The 
voices are miked while the orchestra 
is playing out of sight down below 
and the two elements never manage 
to coalesce before reaching your 
ears. The resulting effect is that the 
production takes on a very high 
schoolish quality. It is weak and not 
suitably harmonized. I saw one 
production in London in which the 
music was played by a small rock 
band as opposed to a full orchestra 
and the band sal on the stage instead 
of in the bowels of the theatre. As I 
recall, the sound was most 
triiunphant. 

It is my opinion that in order for a 
person to have a following, like 
Jesus or the guys from New Kids on 
the Block, they must in some way be 
appealing. Jesus had brains, sure, 
but he couln't have gotten his 
message across if he wasn't kind of 
sexy as well. In this production 



Jesus, played by Stephen Lehcw, is 
about as appealing as Lorenzo 
Lamas' grandmother. His portrayal 
of Jesus lacks the charisma and 
presence that one likes to see in their 
Messiah and truly, Axl Rose would 
have been better suited to the role. 
Everyone in the cast wears the hippie 
type African/Latin American baggie 
pants and vests currently sold on 
Baldwin, except Jesus who wears 
white. For symbolic reasons this 
was clearly acceptable, however, 
Lchew seems to be wearing long 
underwear wrapped in a contour 
sheet. Couldn't he have worn 
shorts? The one redeeming aspect of 
Lehew's performance is that he has 
very nice pectorals which you get to 
see when Pilate whips him. 

Milton Craig Nealy as Judas, and 
Alex Santoriello as Pilate arc quite 
good. They manage to lend a little 
personality to their characters and 
came across with the pizazz that 
Lehew so dearly misses. But Bertilla 
Baker as Mary Magdalene is as 
much of a drag as this character 
always seems to be, supplying the 
two really boring songs of the show. 
The production's best performance 
is given by Lee Smilek as King 
Herod. He places his character in a 
very nineties context; surrounding 
himself with spandexed M.C 
Hammer type girls, singing into a 
visible microphone attached to 
headphones, and decked out in head 
to toe leather. He is a pimp-like 
prick, rapping out bits of his song, 
telling Jesus he's got 
"n-n-n-n-nothing to lose" and easily 
the most worthwhile part of the 
production. The rest of the cast 
members have a tendency to look 
like Gowan, which, as I need not 
explain, is very upsetting. 

The set seemed interesting but my 
hundred thousand dollars could only 
gel me upper balcony seats and so I 
couldn't really tell. Overall, I have lo 
say that the producdon wasn't too 
swell. The music and lyrics which 
make Jesus Christ Superstar 
interesting were not suitably 
presented and are better listened to in 
the comfort of your own home. The 
performances were weak, especially 
Jesus, of all people. And to indicate 
the full extent of my boredom allow 
me to mention that most of my time 
was spent musing over how much 
the O'Keefe Centre looks like Beth 
Tzedek synagogue. 



Environmental Studies 



Isobel Heathcote 

Innis College sponsors two 
environmental programs. 
Environmental Studies (B.A.) and 
Environmental Sciences (B.Sc), to 
provide students with the 
background necessary to understand 
and contribute lo current 
environmental issues. 

The programs emphasize the 
integrated nature of real-life 
environmental problems, and their 
historical and cultural roots, through 
the analysis of case studies. 
Students discuss what the problem 
was, the nature of the available data, 
who the "stake-holders" were, what 
steps were taken lo resolve the 
problem, whether available 
decision-making processes were 
effective in addressing the concerns 
of the various parties, and whether 
proposed remedial actions actually 
worked. 

All the Innis environmental 
courses stress a "hands-on" 
approach. In INI420Y 

(Environmental Research Seminar), 
for example, we place students in 
client groups where they conduct 



research under the joint dirccUon of 
program slaff and the client. 

Although the approach and 
structure of the courses remains 
consistent from year to year, 
emphasis and/or content (especially 
particular case studies) may change 
as the current environmental agenda 
changes. Recent projects and case 
studies have included uranium 
mining at Elliot Lake, lead polludon 
in Toronto, and the development of 
reguladons to control industrial and 
municipal pollution discharges. 

The programs are administered 
through a Program Committee and 
an Advisory Committee; five student 
members arc elected to each. 
Program staff rely heavily on the 
opinion of students in developing 
new courses, so program offerings 
have evolved in response to student 
need 

Ms. Heathcote is the Director of 
the Environmental Studies program 
at Innis. If you are interested in 
finding out more about the program 
consult the handbook or contact Prof 
Heathcote at her office in the college 
or on the phone at 978-4144. 



Jim Shedden 

The Innis Film Society is one of 
the key reasons the College is 
known "out there" in the real world. 
More than just home to the 
University's Cinema Studies 
Programme, the College also houses 
one of the city's most vibrant 
repertory film series, which offers 
weekly (at least) screenings of 
avant-garde films, European "art 
fihns", and other types of film you 
aren't likely to see anywhere else in 
Toronto. In fact, for several years 
now, the Innis Film Society has 
been the most active exhibitor of 
avant-garde film in the city. 

The Film Society's programming 
favours films made outside of the 
mainstream of Hollywood feature 
narratives. This isn't a hard and fast 
rule, of course — this fall's series 
opens on September 20 with an 
Orson Welles double bill, Touch of 
Evil and The Trial - but, on the 
whole, you are more likely to see 
films unrestrained by commercial 
imperatives, more personal in 
nature. Avant-garde films, while 
often narrative (or partially narrative) 
are more often motivated by the 
filmmaker's desire to explore 
philosophical, poetic or political 
concerns. 

Because of the non-commercial, 
independent nature of the majority of 
our screenings, we are often able to 
have the filnunakers present at the 



films 10 introduce them and to 
answer quesrions after. For 
instance, beginning in the second 
week of the fall series, the Film 
Society will present five guests in a 
row. On September 27 Klaus 
Telscher, one of the most important 
avant-garde filmmakers working in 
Gemiany right now, will be present 
to screen and discuss his work. 

Two weeks laler. Warren Sonbert, 
a legend of "underground" film, will 
show one of his sixties classics Hall 
of Mirrors as well as the more 
recently completed Friendly 
Witness, in which, as one New 
York critic puts it, he "losses off the 
three best music videos ever made 
by making everything - even a line 
of camels - boogie to die beat of 
three 1961 golden oldies." 

Sonbert's appearance will be 
followed on October 18 by Bill 
Gilliam, not a filmmaker but a 
composer, who will screen 
selections from films he has scored, 
including Bruce Elder's 
Lamentations (Monument to a Dead 
World) and Consolations (Love is 
an Art of Time). 

On October 25 we will present 
Florida filmmaker Sandra Davis in 
person with three of her films. 
Davis will be present the preceding 
evening at The Euclid Theatre 
(College and Euclid) to discuss the 
role of symbolism in woman's 
avant-garde cinema in the U.S., 
especially in the works of Marie 



Menken, Maya Deren and Gimvor 
Nelson. At Innis she will discuss 
how symbolism has continued to be 
an influence in her own films. 

While we mainly screen fihns in 
the Town Hall at Innis, this year will 
see the Film Society experimeni with 
other venues. On November 1. for 
example, we will present an evening 
of sixties "underground" films at the 
Rivoli on Queen Street West (just 
east of Spadina). The evening will 
focus on Andy Warhol and his 
entourage of Factory "Superstars". 
No films directed by Wartiol will be 
screened (since there will be a 
retrospective running at the 
Cinematheque Ontario ihis fall), but 
several films in which he appears 
will be shown. Perhaps the 
highlight of the evenings will be Ihe 
rarely screened Warhol's E.P.I. 
which stars, of course. The Velvet 
Underground. The film is mainly 
made from footage at a Velvet's 
concert in Chicago in 1967. Other 
films in the programme also feature 
■music by Blue Cheer. John Cale, 
Steve Reich and Uic Fugs. 

Our fall schedule for the Film 
Society can be found elsewhere in 
The Herald. We will have our 
first meeting of 1 990-9 1 on 
September 20, 5 pm in the Innis 
Town Hall (just before the Welles 
films) where we will discuss our 
schedule for January - April 1991 
and, believe it or not, also start 
planning for 1991-92. All are 
welcome. 




Waking Up the CSSU 



Mole 

I arrived at Joey Schwartz's 
apartment at seven a.m. Friday 
morning to ask him a few questions 
about the Cinema Studies Student 
Union. I had come directly from 
work as had Joey, who had been up 
for two days straight completing 
take-home exams and working at the 
CBC. It was a tired interview, but 
worthwhile. 

"Joey." I began. "Um, wake up 
Joey." 

"Okay, yeah, of course," he 
stammered. I prodded the Union's 
new President awake with my pen 
and asked him how the Union 
began. When was it started? 

"Um... last year," said Joey. I 
asked him who had the brainstorm 
for diis idea. Afterall, Cinema 
Studies has existed at the U of T for 
quite awhile. It seemed odd that - 
there hadn't been a union before. 

"Who started it? Um... last year's 
President, I think." 

A brief perusal of this year's 
President's Anti-Calendar gave me 
the answer I sought. As Joey dozed 
off. I noticed that the former 
President was Stephanie Savage. I 
was still interested if diere was any 
help provided by the Cinema 
professors at Innis in seidng up the 
Union. Was Kay Armitage 
involved? Cam Tolton perhaps? 



"No, not really. Bart Testa 
dropped by occasionally." 

When asked what Testa did for the 
Union, Joey replied that he was 
quite often the projecutaiist for their 
mini Film Festivals. I dien asked 
Joey if last year's Andy Warhol 
retrospect was a C.S.S.U event. 
According to Joey it wasn't. 
However, they did sponsor a 
retrospect on Jean-Luc Goddard and 
Douglas Sirk. The films were 
screened in the Innis auditorium 
(Town Hall) and were very well 
received. 

As a note of trivia, I asked Joey 
what was tlie first film that die 
Union showed in its infant year? 
Surprisingly, it was Joey Schwartz's 
own Stonehead, a short film dial 
was screened as a pre-feature to die 
Douglas Sirk Films. Since Bart 
Testa, a cinema enthusiast who 
leaches at Innis, was probably die 
projectionist, what did he think of 
Joey's film? 

"I'm not sure if he was the 
projectionist dial dme. but Bart saw 
Stonehead at the Hart House 
screening. He told me it was sleek 
but immature, I think. Mind you, 1 
don't think Bart likes student films 
much." 

We discussed student films for a 
moment and decided that Testa might 
be right in his opinion. We also 



expressed hope that he might like die 
film ihal we were planning to make 
togedier. (Send all donations lo 177 
College St, c/o Mole. We need 
about $2000 for our tittle 
maslerpiece. No, die fact that we're 
immature students doesn't worry 
us.) 

To get involved widi the Cinema 
Studies Student Union, simply raise 
your hand in class when your Prof 
asks if anyone would like lo be die 
Class Rep. Your dudes, according 
to the eternally tired Joey Schwartz, 
are to discuss things with your Prof 
(wake up Joey!) and complete info 
for die And-Calendar. As of die 
writing of diis column (Aug 13th), 
there arc no definite plans for special 
screenings or events. If you would 
like to get in touch widi Mr 
Schwartz, cross your fingers and 
call 966-0593. 

"Sorry I couldn't be more 
helpful," s^d Joey. He dozed off 
on lus couch, and I quietly left widi 
my notes. I was now determined to 
be a part of this young Union of 
celluloid intellectuals and scholars. 
University life is too short to ignore 
such an opportunity. So, dear 
readers, become a Class Rep for 
your cinema class. Judging from the 
interview, take as many ideas and as 
much inspiration as you can. The 
Union depends on YOU. 



SEPTEMBER 20 

Ita m Ttw*" (* Evi (d Otson Wetes} 

900 pm: TM Til»I (d Wwn Weles) 

SEPTEMBER 27 

KJiUS TMScntr (Weil Gsmiany) In person mim hii Wns. 
Piesenirt wild tw cooperation ol in- t-* 



le Goeihe hsUtuie TonmiD. 



OCTOBER 4 

Ramw't Ntpht w by Dlderoi rmani lo 0«nnli Ycuig) by 
Wtra Scmn lUcnaei Snow) 

OCTOBER 11 

WunnS&ibtnin person Mffi Nsfims. 
H«llolUrrwi(1366);Mn»yWMSs 
Presenied wiffi Uw assisianca ol tte HarokJ innis Foundaion. 



OCTOBER 16 

New Cinema wltti New Music Concectt 

Xanposmj Isf tlw Clnene: fill GlOlam In Pereon" 

wih eieerfxs Irom Bruca EkJers LaireiMlions and ConsoteBons, 

WEDNESDAY, OCTOBER 24 - EUCtID THEATRE, 8:00 pm 
Plusurt Dome Preuntj Amtrtcar) Avani-Girde Film w/ 
Sandra OavU. 

OCTOBER 25 

Sandra Davis in pe^ wilh her hims 

Mtend FHigrH .Maner or Clarity , A/chllKture ol Desin 

NOVEMBER 1 
Undefgroifid Alms ai the FBvolt. 

An ever^ng ol •umJeijisurK) (Urns' siarnng me ll^^es ol tnJfWiM. JacJt 
Srrtth and Gefa/d Mala rija Wtn music Dy The Vehel Undwuioind. Tt» 
Figs, JtfnC»le, Sieve Heicn,T«n> Riley art BlueChew, among oitiers. 
Fllms«^u6e.WafT»^5E^^*Jl)^lgl^lclnWtable:0^ Own Watermelons 
(Meisai); OxfitrHfiice]; Where Old Our Lw6Go7 iSonben|:and Kusttm 
KarKommandos (Anger] Pnw: orUy fcOO! 

NOVEMBER 8 

On»ManS>iOw<Compieie Sims ol Peier Kjpelka): MosallilmVeruauen, 
Adebar,Schw«raief,Amul1Ralnef, UnserAWkarelM, Pause! 

NOVEMBER 15 

Short nrmi by TwwilDHnimikera. [Ttus stw will concenlrale ol Urns no. 
ifi (fabitimionl. Film wakars may submilworVliemin preferred, bul we can 
acawiOdalB super 8) by flvnng 6560906 or 978-7790 DEADLINE FOH 
SUBMISSIONS: October?. 

NOVEMBER 22, 29 & FRIDAY, NOVEMBER 30 

■Re Art Gallery ol Oniano and ine inrus Film Sooety preseni: 
TM Films ol Pal O'Nell 

THUfiSD*Y,NOVEMS£H2I,7fl0pm.lnnlsT<»inHaU 

ByOwSei: Bumpcliy:73&2:FiiieQoQd; Easy Out: DoATi 

THUflSDAV, NOVEMBER 2i. T:00 pm, AGO Jaekman Hali 

Saugia Series: Sidewlriier's Delia: Sleec^ng Oo^t (Nev» 
Ue)' Ut'i Make a Sandwicfi ; Lasl ol the Pervlrrunoru. 

FRlOAV, NOVEMBER 30, TflO pm, AGO Jaekman Hall 
Watef and Power [1939. 60 mm., 3S mm) 



THE INNIS FILM SOCIETY 
FALL 1990 



Screenings taka place on Thursday evenngs ai 7O0 m ue Inns Tcwn Hall. 2 
Su5se< Avenue (ai Si. George), i^iessoVemrise noted (there are rriany 
exceptions). 



Admission (o ^e \ii 



re Dlherwlse no led 



A subsaiw-on tor the whole series (Seplember through Apni] may be 
purchased te< &35 DO. Tne subscriplion does nol anew adnMS»on to the Art 
GaUery ol Ontario scfeenmos. 

For more inkumalion. please can JTS'TTSO. 



The innls Rim Society appreaaies the as&stance ol Ihe loJowing; Ihe 
Onta/io Arts Couxi ine Toionio Ans Counol; ihe Inns College Sludeni { 
Socie:/: ine Assooaiion ol Pail-Time Undergiaauate Studenis, and our i. 
generous prrvaie donors. ( 




"(IHOOobCMODOM n ft i"cf 

((10^1 MOSlt LVflC^ 



euiOM 6A8£s . (5 v)i>! ) 

Wii£«C foil te0 itmn mmcinPm 
OF gy-LotfCfti AMD Ats(3 gifi of ir*ifJ6 

tACifrti. OF Nfu 6i!unwi« msceut'o 



51 mAsochist'5 oejctrnt 
ji- comPuwctiow 

(1 >JM ) 

31- wes/vriwf. PnffiX 

30. SlKD ASoor Uftli (1 WM') 



BOTTOM Of Mil>!0««a «n«r'> MfAM 31- WHAT- -(CJ H<^« To So To v-WcH 

LfflfllMftM 0/t A PENIS iMCrtATlJt 
(1 ^iV) 



SNiT<H 



31 Ve^ I" 




Welcome and welcome back. 

To the new students: You have 
joined a college where your ideas 
and views are respected and sought. 
Half the seats on college council and 
most of its committees are filled by 
students; the intramural sports teams 
cannot exist without you; the Herald 
writers and reporters. Don't hesitate 
- join in! 

To the old hands: This is the last 
year of my term as principal. Your 
participation in all aspects of the 
college has made the last six years 
challenging, rewarding and never 
dull. 

Many thanks! 

John Browne 




[SUBMIT 

YOUR FILMS 



16mm preferred 
deadline for submissions 
Oct. 7th 

for info 

call 978-7790/656-0906 

drop off films to room 131 
INNIS College 2 Sussex Ave 
mon-fri 9-1, 2 -5pm 



INNIS I 
FILM SOCIETY 




new J , 

undistributed avant-sanlc| 



screening Nov. 15 7pm 







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