[{"data":1,"prerenderedAt":194},["ShallowReactive",2],{"article:reaching-through-the-smoke":3,"page:48":121,"page:321":157},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":14,"wordCount":17,"isBlack":18,"image":19,"contributors":26,"contentHtml":31,"finalContentHtml":32,"creditsHtml":33,"pdfUrl":34,"vimeo":34,"contributorBios":35,"seo":40},925,"reaching-through-the-smoke","Reaching through the smoke: Memory and belonging in Portraits From a Fire and Damascus Dreams","\u003Cp>Kara Stanton reviews two films screening at the Vancouver International Film Festival, opening up their shared interest in filmmaking as a form of collective remembrance and home-making.\u003C\u002Fp>\n","2021-10-04T17:52:20",2021,"Oct 2021",[12,13],6,9,[15,16],"Moving Image","Review",2715,false,{"src":20,"srcset":21,"width":22,"height":23,"alt":24,"lqip":25},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascus-Dreams-feature-image.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascus-Dreams-feature-image-768x420.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascus-Dreams-feature-image-1536x839.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascus-Dreams-feature-image.jpg 1920w",1920,1049,"Feature image for Damascus Dreams","data:image\u002Fwebp;base64,UklGRk4AAABXRUJQVlA4IEIAAAAQBACdASogABIAPu1kqU2ppaOiMAgBMB2JaQAAXAYdC+hCyWpg0mTAAAD+9CE64KJjsYEyNVYXy9Da9IWqiT26gAA=",[27],{"id":28,"name":29,"slug":30},924,"Kara Stanton","kara-stanton","\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 175'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRlgAAABXRUJQVlA4IEwAAAAQBACdASogABIAPu1kqU2ppaOiMAgBMB2JaQAAW+ssnhYJMyXtSha6AAD+9CNdAxyaX1TUZ0tEvy2+i2xW2ZMq\u002FnH+1D51U6sGMAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1049\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-8_X.jpg\" alt=\"\" class=\"lqip wp-image-926\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-8_X.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-8_X-768x420.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-8_X-1536x839.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-8_X-100x55.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Émilie Serri, \u003Cem>Damascus Dreams, \u003C\u002Fem>(2021, Portage Films inc), digital.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>There is a house you once lived in burning with all your memories in it. \u002F There is a house you never lived in, burning with all your memories in it.\u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">A young man holds a video camera in one hand — in the other, the hand of his partner, a young woman, he pulls along, eyes closed, to the edge of the place where the rivers meet. The woman beams. In the next shot, she rocks a baby in a cradle, brimming with joy. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Cut to —\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Another home video clip — 1986, by the time stamp. Cries of “Papa! Papa!” interrupt a father at a table teaching an older child. “\u003Cem>Je me souviens de tout\u003C\u002Fem>,”\u003Cspan id='easy-footnote-1-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-925' content='“I remember everything.”' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> a woman’s voice speaks in voiceover. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Thus begin the opening scene of \u003Cem>Portraits From a Fire \u003C\u002Fem>(dir. Trevor Mack, 2021) and an early scene of \u003Cem>Damascus Dreams \u003C\u002Fem>(dir. Émilie Serri, 2021). In both films, the figure of Dad-as-documentarian reveals himself in the mirror — one bouncing a baby in his arm, the next looking quietly into the mirror and turning away.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>Portraits From a Fire \u003C\u002Fem>is a narrative feature set in Tl’etinqox, a community on Tŝilhqot’in territory, about a teenage boy looking for connection with his wildfire firefighter dad — and answers about his mom. \u003Cem>Damascus Dreams \u003C\u002Fem>is a personal documentary through the lens of Émilie Serri, who is separated from her homeland of Syria by time, space, and language, but looking to connect to it through her relationship with her Syrian father and interviews with Syrian refugees (now in Montreal) about Damascus: what they remember, what they brought with them, and what they could not. Though formally different — \u003Cem>Portraits\u003C\u002Fem> a narrative film, and \u003Cem>Damascus \u003C\u002Fem>a documentary \u003Cem>—\u003C\u002Fem> both feature debuts look to interrogate the past: how to connect to a family and a home you’ve been severed from; how to recover a feeling of belonging in the face of immeasurable loss. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I watch both films in my living room midday in the midst of a year of losses that have induced the feeling that everyone and everything around me can at any time rise and be taken away by a great tide. Both films land at my feet bringing questions around culture and belonging I receive gratefully, as they have been at the forefront of my mind as I consider, amidst these losses, in what real ways I am connected to my ancestral cultures (Ukrainian, Irish, and Scottish), to a sense of home, and to my family.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In \u003Cem>Portraits\u003C\u002Fem>, Tyler (William Magnus Lulua) is a self-made director who produces his own sci-fi odysseys with cardboard cut-outs and practices his answers for an imaginary film festival Q&A while left alone long hours by his avoidant dad (Nathaniel Arcand). One day while his dad is at work, Tyler discovers a DV tape in a drawer in his dad’s dresser. Playing back the tape, he catches glimpses of the mother (Pauline Bob-King) he never got the chance to know — “\u003Cem>Mom\u003C\u002Fem>?” Thus begins a new ritual of connection, as he replays the precious clips and records himself talking back to her. It is heart-wrenching to witness Tyler’s loneliness as he stashes his interiority so carefully in his camera, desperate for his work to be seen, if not by an international film audience, then by his community, and to be known through it. Around him, the figures of his grandmother (Melanie Bobby) and grandfather (Sammy Stump) offer some grounding, sharing in physical practices of culture — fishing and smoking salmon, learning to use a rifle, crafting baby baskets. These scenes bring to the film an immense beauty and a sense of profound tenderness and care. But still, a great loss gnaws at Tyler: his father evades the invitation to a screening of his new film, and though Tyler is not privy to it, we watch as his father is haunted by the memory of a house on fire, a house whose smoke is consuming his waking life. Meanwhile, Tyler watches back the clips of his mother: “Why am I talking to a camera and not you?” \u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRpYAAABXRUJQVlA4IIoAAACQBACdASogABIAPu1mqk4ppaQiMAgBMB2JZwDGfCHW34XVNbpQ\u002Fk2FXGL49qAA\u002Fupw2b+Hg3llVYjrcNcVjZ8zm4suVzW2ZxrH8LNeerAtiJ9gM72XapnI2y+8QHQv9B\u002FGeqmAzHZs8CaJhdYqehZWm21bLZZgm14AN5lRUhDs0ElVTnwB8IGgAAA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1440\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraitsFromAFire-resize-scaled.jpg\" alt=\"Feature image for Portraits From a Fire\" class=\"lqip wp-image-931\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraitsFromAFire-resize-scaled.jpg 2560w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraitsFromAFire-resize-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraitsFromAFire-resize-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraitsFromAFire-resize-2048x1152.jpg 2048w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraitsFromAFire-resize-100x56.jpg 100w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Trevor Mack, \u003Cem>Portraits From a Fire\u003C\u002Fem>, (2021, Photon Films), digital.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Director Émilie Serri is herself the lens and subject of the hybrid documentary \u003Cem>Damascus Dreams\u003C\u002Fem>. Reviewing the home videos of her childhood in Montreal early on in the film, she talks to her father through voiceover, in French: “\u003Cem>Je me souviens de tout,\u003C\u002Fem>” she says. “I remember everything. I’ve seen it all, I’ve recorded everything. The walls, the patterns on the wallpaper, the golden light. In a few seconds, you will film your reflection in the mirror, lick your lips, open your right eye, and move your camera toward the door.” Through this refrain, “I remember everything,” we are introduced to the tension of a filmmaker, and a daughter, working to encapsulate a feeling of home and of sureness against the loss encroaching upon it on all sides, reaching through the smoke of time and war to uncover that other home behind it. “Here, nothing is lost,” she declares — a not disingenuous, but hopeful, entry into the story of memory, dreams, family, and loss crafted through the film’s assembly of personal archive, collective storytelling, and imaginative fabrication.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The fact that both stories open with the figure of video-Dad is perhaps simply emblematic of growing up in the ‘80s and ‘90s — a vivid memory, especially for the filmmaker-to-be whose first exposure to the medium came from being recorded by their own amateur director dads. In any case, the transfer of filmmaking from father to child in each film (a camcorder in \u003Cem>Portraits\u003C\u002Fem>, an old film camera in \u003Cem>Damascus\u003C\u002Fem>) tracks the process of taking up the storytelling and archiving tools of one’s parents as a way to reach towards the past, to understand its construction, and somehow, through reenacting it, to inhabit it. It points to what happens when dads put down their cameras until that time, maybe, their kids pick them up… (As I write this, I am staring down the big green case tucked into the corner of my apartment that holds my dad’s camcorder.)\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">While the loss in \u003Cem>Damascus Dreams\u003C\u002Fem> is the loss of Damascus itself (through war and diasporic migration), and the loss in \u003Cem>Portrait\u003C\u002Fem> is Tyler’s mom, both are channeled through the relationship of father and child: the way loss is felt, and the way it is lived by both protagonists, is as an unbridgeable gulf of experience between them and their fathers; a gulf that separates them from a place, somewhere in their past, where they were at peace; a gulf that is trauma. “Négar Djavadi wrote that to know a man is to swallow all of his lives, all his struggles, and all his ghosts,” Serri says over old black-and-white photos of her father as a young man in Syria. “But your struggles, your ghosts, your loves, and your sorrows have stayed behind a closed door, buried beneath the ruins of a country that no longer exists the way you have known it, where I cannot return.”\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Tyler, looking for answers about his mother’s death, asks questions of his ʔetsu (grandma); his grandfather, Sammy; and his dad. Each time, he is faced with a kind of silence… sometimes sorrowful and kind, from his grandparents, sometimes frustrated and dismissive, from his dad. In a recurring motif throughout the film, pixels break apart the screen and surface his mom’s image. They crackle in the river. Something wants to be known, but finds itself buffeted by silences and far-off looks from all sides. It’s an affect familiar to \u003Cem>Damascus Dreams\u003C\u002Fem>, which often seems to inhabit that state one enters (and many of the interview subjects do) when asked to recall a place or a time — a look into someplace deeply real and yet inhabitable only through memory. Over black-and-white film photography of her last trip to Damascus, Serri shares: “I take pictures not for pleasure, but out of necessity, to occupy my intruder’s hands. Here in Syria, I am a floating body. The camera is my only anchor.” In the gaps where family, home, or history have been evacuated, film steps in.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRtoAAABXRUJQVlA4IM4AAADQBQCdASogABIAPu1ur1IppiQiqAgBMB2JQBftXYkPAxYS\u002F11rCdeZjP2G9dW15u2tNw1loUQAAPz0dXxi6S8qnzHxPizztsWyG04hlNHwyBF\u002FmFqGxByPh213PiwLFIKTcgWRmJhPOwAsRPFp0t0yBs7MFt8rRfm8qMbTNE\u002FnSvrKmtRN2OLBF4yjzCJ1yB92s96Kp327F9x6yypAY+IUZH1HY5WTkJVPVCMoJVqYoulCCV3Xu8XLQyoGfE3x8E49woBJjUzcbLpbJEuYAA=='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1440\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraits_dad_secondary-scaled.jpg\" alt=\"\" class=\"lqip wp-image-938\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraits_dad_secondary-scaled.jpg 2560w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraits_dad_secondary-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraits_dad_secondary-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraits_dad_secondary-2048x1152.jpg 2048w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FPortraits_dad_secondary-100x56.jpg 100w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>\u003Cmeta charset=\"utf-8\">Trevor Mack, \u003Cem>Portraits From a Fire\u003C\u002Fem>, (2021, Photon Films), digital.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>Portraits \u003C\u002Fem>was filmed in director Trevor Mack’s home community of the Tl’etinqox First Nation in the summer of 2019, written by Manny Mahal from a story by Derek Vermillion and Trevor Mack. It features a mix of community members, emerging actors, and TV stars. The film was preceded by Mack’s 2017 short, \u003Cem>ʔEtsu\u003C\u002Fem>,\u003Cspan id='easy-footnote-2-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-925' content='Trevor Mack, \u003Cem>ʔEtsu\u003C\u002Fem>, (2017), \u003Ca rel=\"noreferrer noopener\" href=\"http:\u002F\u002Fwww.trevormack.ca\u002Fetsu\" target=\"_blank\">http:\u002F\u002Fwww.trevormack.ca\u002Fetsu\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan> which similarly tells the story of a boy who discovers videotapes of his grandmother and takes up filmmaking to try and reach her. Both films show the pain of loss that splinters a family apart; a pain not of one person, but of the community. “This film was made by the community for the community, 100 percent. This film could not have been made without my community and I’m so thankful for that,” Mack said in an interview with \u003Cem>The Williams Lake Tribune\u003C\u002Fem>.\u003Cspan id='easy-footnote-3-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-3-925' content='Patrick Davies, “Mack Wraps up shooting \u003Cem>Portraits From a Fire.\u003C\u002Fem>” \u003Cem>The Williams Lake Tribune\u003C\u002Fem>, Sep 4 2019, retrieved Sep 30 2021.\u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.wltribune.com\u002Fcommunity\u002Fmack-wraps-up-shooting-portraits-from-a-fire\u002F\" target=\"_blank\"> https:\u002F\u002Fwww.wltribune.com\u002Fcommunity\u002Fmack-wraps-up-shooting-portraits-from-a-fire\u002F\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>3\u003C\u002Fsup>\u003C\u002Fspan> In the same interview, Mack shares that \u003Cem>Portraits \u003C\u002Fem>is set in 2002. Despite the gap in time, the story has the same resonance today; in the film, Tyler’s dad is haunted by the memories of a fire that had devastating consequences. In 2017, Tŝilhqot’in territory was at the heart of BC’s raging wildfires, which that year took more than a million hectares of land across the province.\u003Cspan id='easy-footnote-4-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-4-925' content='Cole Schisler, “2021 BC’s 3rd worst fire season on record for total area burned.” \u003Cem>Vernon Morning Star\u003C\u002Fem>, Aug 20 2021, retrieved Sep 30 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.vernonmorningstar.com\u002Fnews\u002F2021-b-c-s-3rd-worst-fire-season-on-record-for-total-area-burned\u002F\" target=\"_blank\">https:\u002F\u002Fwww.vernonmorningstar.com\u002Fnews\u002F2021-b-c-s-3rd-worst-fire-season-on-record-for-total-area-burned\u002F\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>4\u003C\u002Fsup>\u003C\u002Fspan> (The government of BC website, somewhat hopefully, writes “The summer of 2017 will be remembered as one of the worst wildfire seasons in British Columbia’s history.”)\u003Cspan id='easy-footnote-5-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-5-925' content='“Wildfire Season Summary.” The Government of BC, retrieved Sep 30 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Fsafety\u002Fwildfire-status\u002Fabout-bcws\u002Fwildfire-history\u002Fwildfire-season-summary\" target=\"_blank\">https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Fsafety\u002Fwildfire-status\u002Fabout-bcws\u002Fwildfire-history\u002Fwildfire-season-summary\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>5\u003C\u002Fsup>\u003C\u002Fspan> As we progress further into a heat-afflicted world, it seems as though fire lives not only in the flickers of memory that haunt Tyler’s dad, but also in the future, reaching back as a reminder that destruction lies not only behind us, but also ahead.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The loss of one kind of future rolls in waves through \u003Cem>Damascus Dreams\u003C\u002Fem>, which moves poetically between interviews with Syrian refugees (in Arabic and French), personal photos, home videos, scenes shot on 16mm, drone footage of present-day Damascus, and staged scenes. Across each of these forms, it asks: \u003Cem>what do you remember? What do you dream of?\u003C\u002Fem> Many participants make it clear they do not want to remember, that they cannot or will not access the devastation of memory. One man says: “The war left nothing to remember.” A young girl says: “I try to forget.” Another man declares: “I did not bring a thing with me [except] fear.” Other participants recall things left behind: one young man recounts how Fridays used to be a day all the family would gather and spend time together, united in a weekly ritual of sharing food and company: “I haven’t had days like that since I left.” Whether the dreams are nostalgic or nightmarish, it seems they are all a form of either running towards or away from a loss too great to name, a house on fire burning with all one’s memories in it — the loss of a house not just of a home, but of a way of relating and being together.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Serri worked on the project that became \u003Cem>Damascus Dreams \u003C\u002Fem>for almost ten years, from the time of her first trip to Syria in 2010, a year before the Arab Spring and the civil uprising in Syria and one year after her grandmother died.\u003Cspan id='easy-footnote-6-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-6-925' content='Émilie Serri, “Afterthoughts,” interview by Robert Gray,\u003Cem> International Film Festival Rotterdam\u003C\u002Fem>, 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fiffr.com\u002Fen\u002Fiffr\u002F2021\u002Ffilms\u002Fdamascus-dreams\" target=\"_blank\">https:\u002F\u002Fiffr.com\u002Fen\u002Fiffr\u002F2021\u002Ffilms\u002Fdamascus-dreams\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>6\u003C\u002Fsup>\u003C\u002Fspan> In an interview, she shared that she had been working on the idea of “a post-diasporic identity” for her master’s thesis.\u003Cspan id='easy-footnote-7-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-7-925' content='Ibid.' v-tippy='{ allowHTML: true }'>7\u003C\u002Fsup>\u003C\u002Fspan> Originally, the project explored her own personal questions of identity, looking to her father for answers, but when Syrian refugees arrived in great numbers in Montreal in 2015, she says, “It was a shock — because Syria was here, all of a sudden. And I just couldn’t ignore it.” So she moved into working with the refugees and into a form of collective memory-gathering. “They brought everything,” Serri says of their contribution to the film, not only participating in interviews, but also as actors in scenes Serri envisioned. In one tableau at the edge of a river, a ferry sits empty, ice-bound, and the participants look on as snow falls on them, as it coats a table laden with food, crystallizes over a bowl of fresh dates. “This has nothing to do with Syria,” one participant comments. But it does have something to do with memory. \u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 173'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRl4AAABXRUJQVlA4IFIAAADwAwCdASogABEAPu1iqk2ppaQiMAgBMB2JZwDE2B4zaXQxf8EoCHnAAPxaSeZzmp3g\u002F5D0G79UV1zH1DkzXxx53sed+0We+JbDWRcT83AAAAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1038\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-5.jpg\" alt=\"Second feature image for Damascus Dreams\" class=\"lqip wp-image-929\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-5.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-5-768x415.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-5-1536x830.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F10\u002FDamascusDreams_still-5-100x54.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>\u003Cmeta charset=\"utf-8\">Émilie Serri, \u003Cem>Damascus Dreams, \u003C\u002Fem>(2021, Portage Films inc), digital.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Through the process of working with the community she has been displaced from, Serri shows us one way of recovering a connection lost to diaspora and to war: being and making together. In the finale of \u003Cem>Portraits, \u003C\u002Fem>too, there is a coming-together of family and community that restores Tyler, in some form, to spiritual wholeness after the trauma of his family splintering. Witnessing these films as community projects that result from communal labour, vision, and care, I feel a sense of hope about what is possible when communities bring together their constellated experiences of loss, grief, and culture to form stories that act both as personal narratives and as community remembrances, a past and a future both embodied in the communal act of creation.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">A final word from one of Serri’s participants: \u003C\u002Fp>\n\n\n\n\u003Cblockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\u003Cp>\u003Cem>I have a theory. Let me tell you about it. Countries are going to vanish. There will be no Syria or anything. […] Canada won’t exist as we know it. And what is now known as Syria will be one of the centres of this unified country. Before 200 years go by, I imagine. Syrians will vanish and so will Syria. And we will be humans, just people on this planet. That’s my vision, my wish and my prediction.\u003C\u002Fem>\u003C\u002Fp>\u003C\u002Fblockquote>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">With global conflict displacing millions of people and a rising climate crisis that has already shown us how it can extinguish a town in a matter of minutes,\u003Cspan id='easy-footnote-8-925'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-8-925' content='Bethany Lindsay, “Not just a ‘Lytton problem.’” CBC News, Aug 2 2021, retrieved Sep 30 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fnewsinteractives.cbc.ca\u002Flongform\u002Flytton-feature\" target=\"_blank\">https:\u002F\u002Fnewsinteractives.cbc.ca\u002Flongform\u002Flytton-feature\u003C\u002Fa>' v-tippy='{ allowHTML: true }'>8\u003C\u002Fsup>\u003C\u002Fspan> this take on the losses and transformations to come strikes something acutely present: the understanding that, whatever the future holds, things will not be as they are now. “Home” is becoming increasingly threatened — for Syrians and other refugees globally, for Palestinians, for Indigenous communities facing ongoing resource extraction and destruction of their territories, for those facing the harshest edge of the climate crisis, for those pushed to the streets from continued evictions… For those occupying Indigenous lands as settlers, meanwhile, home is being destabilized not only by the climate crisis but also by the growing awareness of personal histories and homelands obscured to many of us through the process of colonization (of which we have been and continue to be instruments). In the same three months that three members of my extended family have died, I have been handed two family histories: one from each side. I am only beginning to imagine what home might have been for my ancestors, what stories they told, and what web of relations they lived within. Through all of this uncertainty and devastation, a question arises: where will we keep our memories? How will we hold on to the things too painful to look at straight on, but too vital to leave behind? \u003Cem>Portraits From a Fire \u003C\u002Fem>and \u003Cem>Damascus Dreams \u003C\u002Fem>offer two answers: in film, and in each other.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:60px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>Portraits From a Fire \u003C\u002Fem>and \u003Cem>Damascus Dreams \u003C\u002Fem>are available to view in person and online through the \u003Ca href=\"https:\u002F\u002Fwww.viff.org\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">Vancouver International Film Festival\u003C\u002Fa>, which runs until October 11.\u003C\u002Fp>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>“I remember everything.”\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-925\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Trevor Mack, \u003Cem>ʔEtsu\u003C\u002Fem>, (2017), \u003Ca rel=\"noreferrer noopener\" href=\"http:\u002F\u002Fwww.trevormack.ca\u002Fetsu\" target=\"_blank\">http:\u002F\u002Fwww.trevormack.ca\u002Fetsu\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-925\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-3-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Patrick Davies, “Mack Wraps up shooting \u003Cem>Portraits From a Fire.\u003C\u002Fem>” \u003Cem>The Williams Lake Tribune\u003C\u002Fem>, Sep 4 2019, retrieved Sep 30 2021.\u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.wltribune.com\u002Fcommunity\u002Fmack-wraps-up-shooting-portraits-from-a-fire\u002F\" target=\"_blank\"> https:\u002F\u002Fwww.wltribune.com\u002Fcommunity\u002Fmack-wraps-up-shooting-portraits-from-a-fire\u002F\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-3-925\" aria-label=\"Back to note 3 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-4-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Cole Schisler, “2021 BC’s 3rd worst fire season on record for total area burned.” \u003Cem>Vernon Morning Star\u003C\u002Fem>, Aug 20 2021, retrieved Sep 30 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.vernonmorningstar.com\u002Fnews\u002F2021-b-c-s-3rd-worst-fire-season-on-record-for-total-area-burned\u002F\" target=\"_blank\">https:\u002F\u002Fwww.vernonmorningstar.com\u002Fnews\u002F2021-b-c-s-3rd-worst-fire-season-on-record-for-total-area-burned\u002F\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-4-925\" aria-label=\"Back to note 4 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-5-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>“Wildfire Season Summary.” The Government of BC, retrieved Sep 30 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Fsafety\u002Fwildfire-status\u002Fabout-bcws\u002Fwildfire-history\u002Fwildfire-season-summary\" target=\"_blank\">https:\u002F\u002Fwww2.gov.bc.ca\u002Fgov\u002Fcontent\u002Fsafety\u002Fwildfire-status\u002Fabout-bcws\u002Fwildfire-history\u002Fwildfire-season-summary\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-5-925\" aria-label=\"Back to note 5 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-6-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Émilie Serri, “Afterthoughts,” interview by Robert Gray,\u003Cem> International Film Festival Rotterdam\u003C\u002Fem>, 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fiffr.com\u002Fen\u002Fiffr\u002F2021\u002Ffilms\u002Fdamascus-dreams\" target=\"_blank\">https:\u002F\u002Fiffr.com\u002Fen\u002Fiffr\u002F2021\u002Ffilms\u002Fdamascus-dreams\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-6-925\" aria-label=\"Back to note 6 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-7-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Ibid.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-7-925\" aria-label=\"Back to note 7 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-8-925\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Bethany Lindsay, “Not just a ‘Lytton problem.’” CBC News, Aug 2 2021, retrieved Sep 30 2021. \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fnewsinteractives.cbc.ca\u002Flongform\u002Flytton-feature\" target=\"_blank\">https:\u002F\u002Fnewsinteractives.cbc.ca\u002Flongform\u002Flytton-feature\u003C\u002Fa>\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-8-925\" aria-label=\"Back to note 8 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images:\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>Émilie Serri, \u003Cem>Damascus Dreams, \u003C\u002Fem>(2021, Portage Films inc), digital.\u003C\u002Fli>\n\u003Cli>Trevor Mack, \u003Cem>Portraits From a Fire\u003C\u002Fem>, (2021, Photon Films), digital.\u003C\u002Fli>\n\u003Cli>Émilie Serri, \u003Cem>Damascus Dreams, \u003C\u002Fem>(2021, Portage Films inc), digital.\u003C\u002Fli>\n\u003C\u002Fol>\n","",null,[36],{"id":28,"slug":30,"name":29,"firstName":37,"lastName":38,"bioHtml":39},"Kara","Stanton","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Kara Stanton\u003C\u002Fstrong> is a poet, cultural worker, and editor based on Lekwungen and W̱SÁNEĆ\u003Cstrong> \u003C\u002Fstrong>territories. Their poetry has been published in \u003Cem>Poetry is Dead\u003C\u002Fem>, \u003Cem>Arc Poetry Magazine\u003C\u002Fem>, and \u003Cem>CV2\u003C\u002Fem>. They are assistant editor at ReIssue.\u003C\u002Fp>\n",{"title":41,"robots":42,"og_locale":48,"og_type":49,"og_title":41,"og_description":50,"og_url":51,"og_site_name":52,"article_publisher":53,"article_modified_time":54,"og_image":55,"twitter_card":58,"twitter_site":59,"twitter_misc":60,"schema":62},"Reaching through the smoke: Memory and belonging in Portraits From a Fire and Damascus Dreams - ReIssue",{"index":43,"follow":44,"max-snippet":45,"max-image-preview":46,"max-video-preview":47},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Kara Stanton reviews two films screening at the Vancouver International Film Festival, opening up their shared interest in filmmaking as a form of collective remembrance and home-making.","https:\u002F\u002Freissue.pub\u002Farticles\u002Freaching-through-the-smoke\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2021-10-06T19:24:47+00:00",[56],{"width":22,"height":23,"url":20,"type":57},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":61},"14 minutes",{"@context":63,"@graph":64},"https:\u002F\u002Fschema.org",[65,80,82,96,111],{"@type":66,"@id":51,"url":51,"name":41,"isPartOf":67,"primaryImageOfPage":69,"image":71,"thumbnailUrl":20,"datePublished":72,"dateModified":54,"breadcrumb":73,"inLanguage":75,"potentialAction":76},"WebPage",{"@id":68},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":70},"https:\u002F\u002Freissue.pub\u002Farticles\u002Freaching-through-the-smoke\u002F#primaryimage",{"@id":70},"2021-10-05T00:52:20+00:00",{"@id":74},"https:\u002F\u002Freissue.pub\u002Farticles\u002Freaching-through-the-smoke\u002F#breadcrumb","en-US",[77],{"@type":78,"target":79},"ReadAction",[51],{"@type":81,"inLanguage":75,"@id":70,"url":20,"contentUrl":20,"width":22,"height":23,"caption":24},"ImageObject",{"@type":83,"@id":74,"itemListElement":84},"BreadcrumbList",[85,90,94],{"@type":86,"position":87,"name":88,"item":89},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":86,"position":91,"name":92,"item":93},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":86,"position":95,"name":6},3,{"@type":97,"@id":68,"url":89,"name":52,"description":98,"publisher":99,"potentialAction":101,"inLanguage":75},"WebSite","critical discourse for experimental art practices",{"@id":100},"https:\u002F\u002Freissue.pub\u002F#organization",[102],{"@type":103,"target":104,"query-input":107},"SearchAction",{"@type":105,"urlTemplate":106},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":108,"valueRequired":109,"valueName":110},"PropertyValueSpecification",true,"search_term_string",{"@type":112,"@id":100,"name":52,"url":89,"logo":113,"image":117,"sameAs":118},"Organization",{"@type":81,"inLanguage":75,"@id":114,"url":115,"contentUrl":115,"width":22,"height":116,"caption":52},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":114},[53,119,120],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":122,"slug":123,"title":88,"contentHtml":33,"acf":124,"backgroundBlur":127,"seo":128},48,"home",{"background_image":125,"isBlack":18,"header_text":126},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":129,"robots":130,"og_locale":48,"og_type":49,"og_title":129,"og_url":131,"og_site_name":52,"article_publisher":53,"article_modified_time":132,"twitter_card":58,"twitter_site":59,"schema":133},"Home - ReIssue",{"index":43,"follow":44,"max-snippet":45,"max-image-preview":46,"max-video-preview":47},"https:\u002F\u002Freissue.pub\u002Fhome\u002F","2026-11-14T21:58:11+00:00",{"@context":63,"@graph":134},[135,143,147,153],{"@type":66,"@id":131,"url":131,"name":129,"isPartOf":136,"datePublished":137,"dateModified":132,"breadcrumb":138,"inLanguage":75,"potentialAction":140},{"@id":68},"2018-04-21T23:04:08+00:00",{"@id":139},"https:\u002F\u002Freissue.pub\u002Fhome\u002F#breadcrumb",[141],{"@type":78,"target":142},[131],{"@type":83,"@id":139,"itemListElement":144},[145,146],{"@type":86,"position":87,"name":88,"item":89},{"@type":86,"position":91,"name":88},{"@type":97,"@id":68,"url":89,"name":52,"description":98,"publisher":148,"potentialAction":149,"inLanguage":75},{"@id":100},[150],{"@type":103,"target":151,"query-input":152},{"@type":105,"urlTemplate":106},{"@type":108,"valueRequired":109,"valueName":110},{"@type":112,"@id":100,"name":52,"url":89,"logo":154,"image":155,"sameAs":156},{"@type":81,"inLanguage":75,"@id":114,"url":115,"contentUrl":115,"width":22,"height":116,"caption":52},{"@id":114},[53,119,120],{"id":158,"slug":159,"title":160,"contentHtml":161,"acf":18,"backgroundBlur":34,"seo":162},321,"subscription-banner","Subscription Banner","\n\u003Cp class=\"wp-block-paragraph\">ReIssue is unfunded, wild and free. 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To donate, contact: editor@reissue.pub Sign up for our email newsletter","https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F","2026-11-13T20:28:08+00:00",{"Est. reading time":169},"1 minute",{"@context":63,"@graph":171},[172,180,184,190],{"@type":66,"@id":166,"url":166,"name":163,"isPartOf":173,"datePublished":174,"dateModified":167,"breadcrumb":175,"inLanguage":75,"potentialAction":177},{"@id":68},"2020-12-15T23:44:21+00:00",{"@id":176},"https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F#breadcrumb",[178],{"@type":78,"target":179},[166],{"@type":83,"@id":176,"itemListElement":181},[182,183],{"@type":86,"position":87,"name":88,"item":89},{"@type":86,"position":91,"name":160},{"@type":97,"@id":68,"url":89,"name":52,"description":98,"publisher":185,"potentialAction":186,"inLanguage":75},{"@id":100},[187],{"@type":103,"target":188,"query-input":189},{"@type":105,"urlTemplate":106},{"@type":108,"valueRequired":109,"valueName":110},{"@type":112,"@id":100,"name":52,"url":89,"logo":191,"image":192,"sameAs":193},{"@type":81,"inLanguage":75,"@id":114,"url":115,"contentUrl":115,"width":22,"height":116,"caption":52},{"@id":114},[53,119,120],1794704116260]