My Winnipeg is an audio film before it’s a visual experience. Its skeleton is oral poetry, mythology, the voice of Guy Maddin that manifests the pictures around it. Animation is just one medium that this documentary-fantastic poetry evokes like an incantation, freely jumping from archival footage, new footage, reenactment, colour, black-and-white film, and the illusory images of the poem’s fantasies.
I want to highlight the way the poetry of the film and its visual manifestations conjure up a kind of philosophy of history. Namely: the film’s use of animation, its creation of a “critical cartography” of space (and, I’ll argue, time), demonstrates the power of history gone intimate and non-linear.
The narrator of the film describes a scene where, on a frigid night in Winnipeg, a squirrel electrocutes itself on a power line and starts a fire with its body that spreads to the stables of the nearby horse track. The horses dart into the river where their bodies are frozen, becoming grim statues that nevertheless become hot spots for perambulators and even passionate lovers who create a baby boom the following spring. These children were “born of horses.”
When inhabiting the bodies fashioned by animators, the horses move, escaping from the fire into the ice. Their journey, punctuated by jabs of huge text on the screen, carries them through the frame, which is itself covered by footage of fire. The horses plunge into the water, where their animated bodies become frozen in a way that preserves their frenzy.
And with a fade to black, the film shows, through a recording made by a camera, the grisly aftermath of the history that happened in animation. Animation makes the past move, while the camera records stasis, even if it is an erotically charged stasis. As the narrator calmly exposits, “the horse heads are always frozen in the same transports of animal panic, an abandonment reading unambiguously to the young lovers of Winnipeg.” Animation joins with the fire from which the horses are fleeing, the energy that animates their fear, which leaves the camera, live-action, as a frozen medium, one that signals and “records” the fear and terror but only in a cold retrospect.
Ian Robinson put it this way:
“Through the muddling of the dreamed city and the archived city, My Winnipeg defers the singularity of place to a configuration of stories. In this cartography, the textuality of Winnipeg emerges as a contested ground, a site where truth emerges through a dialogic event between spectator, film and the memory, archive and idea of the city.”(1)
And, as this sequence deftly shows, that “configuration of stories” is expressly nonlinear. It takes its form from layered, haunted wholes and double images. Animation, being expressly dreamlike and artificial, makes for an apt medium for summoning up the ghosts of old racehorses and communicating their fear and panic through graphic means.
My Winnipeg’s inclusion, and the esoteric and unreal nature of most of the “live” action footage often makes me mistake this for a fully animated film, since its textures and kaleidoscopic energy are so much more important than the medium used at any particular moment. Its actual animation and its live action scenes seem cut from the same mythological and memorialized cloth.
Even where there is no footage, no “documentary evidence” that can serve as visual confirmation of the horses’ plunge, animation can supply a flexible surrogate that has perhaps an even more powerful effect. And since much of the live action footage in My Winnipeg is fabricated/reenacted or modified anyway, animation fits seamlessly in the film’s narration.
While Robinson’s argument is primarily about the way that Maddin’s use of animation, multimedia montage, and poetry relates to place, my own argument is about how it productively disrupts the linearity of conventional histories. Although the narrator’s history does address events that have dates attached to them, sticking to something like conventional chronology (though not to empirical accuracy), its timeline winds, like the Red and Assiniboine Rivers, around and through countless places. Its timeline bends around memories, traumas, personal myths, and, as mentioned, the insistent flow of Maddin’s voiceover narration.
Nonlinear histories like those told by My Winnipeg are crucially important because they do not trend towards some final end or towards an inevitable present. Rather, they point out how the history haunts the present, and show how the past incarnates itself in the memories, bodies, and, yes, the art of people in the present. Once again quoting from Robinson, this animated segment evokes and brings to life “the event of place.”(2) The horses racing out of the fire and into the ice, freezing under the gaze of the animator and then the camera, show that history does not march evenly forward but rather surges, locks in place, winds absentmindedly, comes crashing down like Maddin’s favourite downtown buildings.
As a historian, I am inspired by this film to take history, even if not so far into the intimacy of mythology and memory as Maddin, at least to acknowledge that the histories I am writing are all, in some sense, animated. Whether through my writing, the images in my mind as I pore through archives, or in the spectres and landmarks they leave behind, history-making has always been a form of animation.
- Ian Robinson, “The Critical Cinematic Cartography of My Winnipeg,” Canadian Journal of Film Studies vol. 23, no. 2 (Fall 2014), 105.
- Ibid, 104.