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Ontario Producer Constraints and Opportunities James Warrack a Thesis Submitted to the Facu
BUSINESS MODELS FOR FILM PRODUCTION: ONTARIO PRODUCER CONSTRAINTS AND OPPORTUNITIES JAMES WARRACK A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGAM IN INTERDISCIPLINARY STUDIES YORK UNIVERSITY, TORONTO, ONTARIO January 2012 © James Warrack, 2012 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90026-0 Our file Notre reference ISBN: 978-0-494-90026-0 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Cornelius Cardew's Music for Moving Images
Cornelius Cardew’s Music for Moving Images: Some Preliminary Observations Clemens Gresser Some initial thoughts Whereas Cardew’s autonomous music (especially within a modernist or more experimental framework) has received some attention, his music for moving images and for radio has been little discussed to date.1 Such applied music seems to fit none of what could be seen as the four core areas of Cardew’s musical activity: 1. his modernist and avant-garde music (all his works before starting his early experiments with the Scratch Orchestra),2 2. his experimental and improvisational music (Scratch Orchestra, AMM), 3. his overtly political and tonal music (mainly songs, and often performed by PLM3 or the Songs for Our Society Group), or 4. his programmatic, indirectly political music (mostly piano music, such as Thälmann Variations).4 However, film and radio music might also feature (or can have traces of) any of the approaches found in other areas of his oeuvre. This research was supported by a three-month British Library Research Break (an annual scheme for BL staff). I am extremely grateful to my former colleagues in Music Collections, and particularly to Nicolas Bell and Sandra Tuppen, for allowing me to have access to uncatalogued material and generally answering all my questions; to Trish Hayes (BBC Written Archives), for helping me with BBC archival materials; and to Susan Reed for not interrupting my research work with queries relating to my previous library position. 1 John Tilbury, Cornelius Cardew (1936-1981): A Life Unfinished (Matching Tye, Essex, 2008), and Eddie Prévost (ed.), Cornelius Cardew: A Reader. -
MOTION PICTURE PRODUCTION in BRITISH COLUMBIA, 1941-1965 by Dennis J
MOTION PICTURE PRODUCTION IN BRITISH COLUMBIA, 1941-1965 by Dennis J. Duffy Present-day film production in British Columbia has attracted a lot of attention. Local filmmaking is not a new phenomenon, however, but the continuation of an activity which has gone on in the province since the early part of this century. The west coast has had an eventful filmmaking heritage -- perhaps more so than any other English-speaking region in Canada. This heritage has been largely ignored until recent years, when the revitalization of the Canadian film industry has sparked interest in our new cinema and in its historical precedents. The early development of filmmaking in British Columbia took place largely in isolation from the rest of Canada. Cameramen first came to film the province for the sake of its novel and photogenic landscapes, and to promote immigration and tourism.1 The first incursion of Hollywood film crews, in the 1920s, was also drawn primarily by the varied scenery available for outdoor adventure pictures. In the 1930s, they set up a branch plant here and made features of dubious quality, taking advantage of Canada's membership in the British Empire to exploit the British quota restriction on imported films. Meanwhile, domestic film production developed separately, usually growing from existing photographic or advertising concerns. British Columbia's first locally- based commercial cinematographer was A.D. "Cowboy" Kean, who got his start in movies filming the Vancouver Exhibition and the departure of troops for Europe during Copyright © 1986 by Dennis J. Duffy. This essay originally appeared in Camera West: British Columbia on Film, 1941-1965 (Victoria: Provincial Archives of British Columbia, 1986). -
THE 60Th CSC AWARDS GALA
PRESENTS THE 60th CSC AWARDS GALA SATURDAY APRIL 1, 2017 Arcadian Court 401 Bay Street, 8th Floor Toronto • Ontario • Canada Technicolor proudly supports the CSC Awards. 60th CSC AWARDS d CONTENTS 2 .............. CSC Executive 6 .............. President’s Message 8 .............. Program 10 .............. CSC Awards Sponsors 12 .............. Jury Selected Nominees Congratulations to 19 .............. Past Recipients all of the 2017 21 ............. Remarks from the Awards Chair nominees and winners. 26 .............. CSC Sponsors 28 .............. 2017 Jurors www.csc.ca @csc_CDN Facebook: canadian society of cinematographers CSC Instagram: canadiancinematographer #cscawards2017 Live Stream Link: https://livestream.com/inspiredimagepicturecompany/60thCSCAwardsGala MONTREAL TORONTO VANCOUVER 1 CANADIAN SOCIETY OF CINEMATOGRAPHERS CSC BOARD OF DIRECTORS Carlos Esteves csc | Joan Hutton csc | Alwyn Kumst csc | Antonin Lhotsky csc Bruno Philip csc | Joseph Sunday PhD | George Willis csc, sasc CSC EXECUTIVE President George Willis csc, sasc Past President Joan Hutton csc Vice Presidents Carlos Esteves csc, Toronto Alwyn Kumst csc, Vancouver Bruno Philip csc, Montreal Membership Chairs Arthur Cooper csc Phil Earnshaw csc Education Chairs Carlos Esteves csc George Willis csc, sasc Awards Chair Alwyn Kumst csc Public Relations Chair Bruce Marshall AWARDS COMMITTEE Chair Alwyn Kumst csc Committee Members Peter Benison csc Albert Dunk csc, asc Joan Hutton csc André Pienaar csc, sasc George Willis csc, sasc CSC Executive Officer Susan Saranchuk -
Moma PRESENTS ALLAN KING FILM RETROSPECTIVE Filmmaker to Introduce Three-Week Series of Fiction and Nonfiction Work, Which Inclu
MoMA PRESENTS ALLAN KING FILM RETROSPECTIVE Filmmaker to Introduce Three-Week Series of Fiction and NonFiction Work, Which Includes Warrendale, A Married Couple, and a Week-Long Run of Dying at Grace Allan King May 9–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, April 24, 2007—The Museum of Modern Art presents a comprehensive retrospective of Canadian filmmaker Allan King in a 22-film, 50-year survey of his fiction and nonfiction work. Allan King, presented May 9 through May 31, 2007, in The Roy and Niuta Titus Theaters, includes such seminal work as Warrendale (1966) and A Married Couple (1969). The series culminates with Dying at Grace (2003), King’s quiet observation about the end of life, which is presented for a weeklong run, May 23 to 28. The filmmaker will be in attendance to introduce the opening night screening of Warrendale on Wednesday, May 9. Allan King is organized by Laurence Kardish, Senior Curator, Department of Film, The Museum of Modern Art, with the support of Telefilm Canada and the Canadian Consulate General in New York. Allan King (Canadian, b.1930) has made some of cinema’s most moving and humane documentaries—including Warrendale, which looked at the then-experimental treatment of emotionally disturbed children, and A Married Couple, which focuses on the collapse of a marriage—and he has been a major influence on nonfiction filmmaking. King studied philosophy at the University of British Columbia. After working with the Canadian Broadcasting Corporation in Vancouver in the mid-1950s, where he was involved in Skidrow (1957), he pioneered a documentary style in which subjects spoke directly to the camera. -
Csc Awards Gala
PRESENTS THE CSC AWARDS GALA SATURDAY APRIL 2, 2016 The Arcadian Court 401 Bay Street, 8th Floor Toronto • Ontario • Canada 59th CSC AWARDS d CONTENTS 2 .............. CSC Executive 4 .............. President’s Message 6 .............. Program 8 .............. CSC Awards Sponsors 10 .............. Jury Selected Nominees 17 .............. Past Recipients 19 ............. Remarks from the Awards Chair 22 .............. CSC Sponsors 24 .............. 2016 Jurors 1 CANADIAN SOCIETY OF CINEMATOGRAPHERS CURRENT EXECUTIVE President George Willis csc, sasc Co-Vice-President Ron Stannett csc Carlos Esteves csc Secretary Antonin Lhotsky csc Treasurer Joseph Sunday phd Membership Co-Chair Philip Earnshaw csc Arthur Cooper csc Education co-chair Alwyn Kumst csc Luc Montpellier csc Board Managers Carolyn Wong Bruno Philip csc Jeremy Benning csc Dylan Macleod csc ADVISORY BOARD Robert Bocking csc Joan Hutton csc, past president AWARDS COMMITTEE Chair Alwyn Kumst csc Committee Members Albert Dunk csc, asc George Hosek csc Joan Hutton csc Ron Stannett csc George Willis csc, sasc CSC Executive Officer Susan Saranchuk AWARDS PRODUCTION Director Ian McLaren Stage Manager Sydney Kondruss TONIGHT’S HOST Asst. Stage Manager Hannah Jane Coulter Rick Roberts Writer Guido Kondruss Camera Operators Richard Ruffolo, Richard Bacsa & Calvin D’Souza Gala cinematographer Alistair Sinclair Portrait Photographer John Narvali Roaming Photographer Ray Harripaul Engineer Oliver Weedon Audio/Visual Freeman Audio Visual Switcher Dave Solomon Lighting Craig Steele Lights courtesy of Steam Punk Pictures. Show Reel, courtesy of David Oliver, Editor, REDLAB digital. Special thanks to Lowell Schrieder for his assistance with the Red Carpet Event and so much more. Volunteers: Nancy Angevine-Sands, Lukas Guyader, Guido Kondruss, Graeme Kondruss, Linsay McIsaac and Sylvia Richmond. -
Autumn Congregation
THE UNIVERSITY OF BRITISH COLUMBIA AUTUMN CONGREGATION FOR THE CONFERRING OF DEGREES THURSDAY, OCTOBER TWENTY-SIXTH NINETEEN HUNDRED AND SIXTY-ONE PROGRAMME OF CEREMONY 0 CANADA 0 CANADA INVOCATION by The Reverend W. S. Taylor 0 Canada! Our Home and Native Land! REMARKS True patriot-love in all thy sons command. by NORMAN A. M. MacKENZIE With glowing hearts we see thee rise, Acting Chancellor of the University of British Columbia The True North, strong and free, CONFERRING OF HONORARY DEGREES And stand on guard, O Canada, by the Acting Chancellor We stand on guard for thee. THE DEGREE OF DOCTOR OF LAWS Edward A. Corbett 0 Canada, glorious and free! James R. Kidd 0 Canada, we stand on guard for thee! THE DEGREE OF DOCTOR OF SCIENCE 0 Canada, we stand on guard for thee! Gregoire F. Amyot Albert F. Frey-Wyssling Patrick D. McTaggart-Cowan Myron M. Weaver INTRODUCTION OF THE CONGREGATION SPEAKER by MUSICAL PROGRAMME Dean Geoffrey C. Andrew by CONGREGATION ADDRESS by Dr. Edward A. Corbett THE UNIVERSITY OF BRITISH COLUMBIA CONCERT BAND CONFERRING OF DEGREES IN COURSE by the Acting Chancellor CONFERRING OF DIPLOMAS PROFESSOR LESLIE G. CROUCH by the Acting Chancellor ORGANIST GOD SAVE THE QUEEN Reception in the Brock Hall t 2 Klavins, Marta, B.A. (Toronto), Ontario Psychology THE DEGREE OF DOCTOR OF PHILOSOPHY Thesis: "An Exploratory Study of the Adjustment to Hospitalization of Tuber culosis Indians." Beg, Mirza Arshad Ali, B.Sc, M.Sc. (Karachi), Pakistan Chemistry Thesis: "The Chemistry of Some Trif luoromethyl-Phosphines'. Kuechler, Hans Albert, B.A. (Brit. -
Allan King Bibliography
Allan King Bibliography Compiled by Philip Svoboda, 1999. Author Title Source Volume Number Page Date Publisher Location Editor Annotation Describes the involvement of Universal Studios in Universal Joins September Silence of the North and Others in Fall Cinemag 21 6 1, 1979 the Toronto film scene. It is Production the studio s first Canadian project. Saskatchewan commits to Saskatchewan That s Show March 24, a $300,000 investment puts up $$ for 7 Business 1976 towards King s Who Has Feature Films Seen the Wind. Article about a panel set CAMPP Gathers up with King as chairman All Star Cast for lobbying the neccesity of Cinema Canada 83 7 April 1982 Debate on government regulations to National Policy stimulate a voice within the Canadian Film Industry. Production note that Silence of the North has Toronto Cinema Canada 76 16 April 1981 been retitled Comes A Time. Synopsis of Warrendale with critiques from December Warrendale Filmfacts 11 22 375-77 Saturday Review, New 15, 1968 York TImes, Time, Variety, and New Yorker. Allan King Bibliography Compiled by Philip Svoboda, 1999. King receives the Grand Paris Prize for December Prize at the Paris Film Quill and Quire 43 17 20 Mitchell Film 1972 Festival for Who Has Seen the Wind. Who Has Seen the Wind Wind Wins in November Globe and Mail Insert 12 wins Grand Prize at the Paris 9, 1977 Paris Film Festival. Who Has Seen November Review of Who Has Seen Montreal Star D12 the Wind? 12, 1977 the Wind?. Small blurb announcing the end of operations for Allan King Associates. -
In the Family Pect Evident in the Crew Is Demonstrated in the Willingness and Speed with Which They Execute His Shots
TH "the Big Fellar". "He never raises his Mother Lode voice or has a mean word for anyone," says first assistant director Don Gran- bery, who is himself an actor. The res All in the family pect evident in the crew is demonstrated in the willingness and speed with which they execute his shots. And when Heston steps in front of the camera there isn't an eye in the place that is not on him. On our November visit on the set of DOP Richard Leiterman, who has put Mother Lode in British Columbia, the his inimitable images on the screen in crew is in its fifth week of shooting, afid such films as Who Has Seen the Wind, their last location, an enormous un Silence of the North and Surfacing has healed warehouse on the outskirts of faced one of the most challenging pho Vancouver. At first sight the set seems to tographic tasks of his career with this be nothing but a confusing forest of one. With the exception of some re lumbei" draped in black plastic, spread portedly superb aerial sequences over out over an acre of concrete floor. But it B.C. coastal and mountain scenery, the reveals itself to be a remarkable recons exteriors were mostly in rain, and more truction of a mine, designed by produc than 70% of the picture takes place tion designer Doug Higgins, and executed either in a dim lamp-lit cabin or in a by art directors Mike Bolton and Jimmy pitch-black mine. Fraser Heston points Chow and their crew. -
Richard Leiterman
RICHARD LEITERMAN edited by George Csaba Koller COULD YOU GIVE A BRIEF SYNOPSIS OF YOUR BACKGROUND? I'll be very brief. I was born in northern Ontario. About five hundred miles north of Toronto. A mining town, in 1936. In 1945 my family moved to the west coast. I grew up in Van couver. I went to university for a couple of years, but I didn't like it. Had a hard time getting through first year engineering. In fact I went three years. Engineering wasn't what I wanted to do, I quit university in '55. Went to Europe, where I worked and travelled for eighteen months. Came back to Canada to see if I liked it any better. I didn't. A year later I went back to Europe. I lived in Spain for a year, worked at various things. Met Allan King,whom I had known previously through a marriage to my sister. Told him I wanted to get into the film business. He said he couldn't handle it, unless I had some experience. I came back to Canada, went back to Vancouver. Went to a film course taugbt by Stan ley Fox, the first one at the Univers ity of British Columbia. It was very elementary, "be your own film director in six week-ends" sort of course. Learned the rudi mentaries of film, camera, lighting. Sold my car, bought a Bell and Howell wind-up camera, shot news in Vancouver. In 1960 I had correspondence with Allan. He was working out of London then, London, England. -
Conversations with Gerald Pratley (3)
Conversations with Gerald Pratley (3) By Allan King Spring 2002 Issue of KINEMA FIVE FILMMAKERS IN CONVERSATION WITH GERALD PRATLEY (Part 3) The NFB’s 60th Anniversary has been celebrated leaving behind little of its contemporary production to raise the spirits and create enthusiasm among the Board’s many long-time admirers and supporters. Founded in 1939 by the accomplished John Grierson, it has now, like its crown sister, The Canadian Broadcasting Corporation (CBC), drifted far from where it was once anchored and away from what it was as a public service, lost on a sea of indifference and mediocrity. Kinema asked four filmmakers long associated withthe NFB, documentary film, and CBC, to look back over what has been taking place during past years leading to today’s disappointing and empty era. They are Gerald Graham, Grant McLean, Terence Macartney-Filgate, Donald Haig and Allan King. They talked to our associate editor and film historian, Gerald Pratley. In this issue, we publish the last of the five conversations, with Allan King who, as one of Canada’s leading documentary filmmakers looks back over his career and takes an overall view of our world of documentary, features and television, past and present. (5) ALLAN KING My beginnings in filmmaking really came out of high school. One of my chums was Stanley Fox, whowent on to film school at Simon Fraser. He was the head of the film department in Vancouver, and aneditorthere. Later on he taught at York University. Finally, he was program director at TV Ontario. Stanley and I went to school together.