CAROLINE MARTEL - BIOGRAPHY
photo: N. Corre
“Martel belongs to a vital artistic and critical tradition within Canada that actively engages with the history of technology and communications,
a lineage that includes Marshall McLuhan, Hugh Kenner, and Glenn Gould.”
Caroline Martel is an award-winning documentary filmmaker, artist and researcher whose work has been presented to critical acclaim internationally – in diverse venues such as at the Toronto International Film Festival, the International Documentary Film Festival Amsterdam (IDFA), , on SRC, NHK, and SVT, at the Museum of Modern Art in New York and at the Centre Georges Pompidou in Paris. Her first feature documentary, The Phantom of the Operator, showed in more than fifty international festival, and was reviewed as “... an enormously imaginative docu ... an hour of nonstop visual and intellectual stimulation.”(Variety). Martel was one of the featured guests at the 57th Robert Flaherty Seminar. Her first gallery show, the montage installation Industry/Cinema, was being presented at the Museum of the Moving Image in New York in 2012.
Martel has been synthesizing documentary theory and practice for over a decade, with a special interest in archives, invisible histories, and audio/visual technologies and heritage: her films include Hold the Line (National Film Bord of Canada, 52 mins., 2001), The Phantom of the Operator (artifact productions, 65 mins., 2004), and the cellphone movie FilmingMeFilmed (2mins., 2006). Martel also took part in the collective documentary À St-Henri, the 26th of August (Parabola Films, 2011) a theatrical box-office hit in Canada. She has just completed Wavemakers (97min, artifact productions/NFB, 2012), a feature documentary about one of the first electronic musical instruments, the Ondes Martenot.
Martel was the main researcher/writer of the Cinémathèque québécoise’s virtual exhibit From Nanook to Oumigmag, on the history of documentary in Canada (Boomerang Prize, 2001) and the lead designer of the interactive workshop Documentary Visions about documentary movements at the National Film Board of Canada since 1939. She holds a BA in Communications and an MA in Media Studies, and is a research-creation PhD candidate in the joint Communications Studies program at Concordia University in Montréal. She is currently starting to develop an experimental webdoc on the prehistory of telecommunications technologies.