James and Margaret Beveridge Fonds (F0099)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Canadian Masculinity in the NFB's Second World War Series
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence Faculty Books School of Communication and Literary Studies 10-2011 Who’s on the Home Front? Canadian Masculinity in the NFB’s Second World War Series “Canada Carries On” Michael Brendan Baker Sheridan College, [email protected] Follow this and additional works at: https://source.sheridancollege.ca/fhass_comm_book Part of the Film and Media Studies Commons SOURCE Citation Baker, Michael Brendan, "Who’s on the Home Front? Canadian Masculinity in the NFB’s Second World War Series “Canada Carries On”" (2011). Faculty Books. 1. https://source.sheridancollege.ca/fhass_comm_book/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book Chapter is brought to you for free and open access by the School of Communication and Literary Studies at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in Faculty Books by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. ramsay (d)_x 13/06/11 9:18 AM Page 39 CHAPTER 3 Who’s on the Home Front? Canadian Masculinity in the NFB’s Second World War Series “Canada Carries On” MICHAEL BRENDAN BAKER It is widely accepted, and rightfully so, that the prestige of Canada’s docu- mentary tradition is wedded to the success of its Second World War–era film series, Canada Carries On. John Grierson, founding commissioner of the National Film Board of Canada, and Stuart Legg, the executive producer of the series (and a British documentarian who had worked with Grierson at the General Post Office Film Unit during the 1930s), shaped Canada Carries On in such a way that it became the signpost for Canadian documentaries of the war and immediate postwar eras. -
Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. -
The Politics of Propaganda
john grierson the politics of propaganda by gary evans Stuart Legg and J o hn Grierson were playing for high stakes again st Naz i propaganda chief Goebbels If Johll Griersun and th e documentary film are nearly svnony operating "in the quiet light of ordinary humanism." mous in th e lexicon of film, few people realize how complex He bel,ieved the task of propaganda was to speak intimately and totalitarian were th e politics of propaganda which were and quietly about real things and real people. For the rest of intertwined in his philosophl'. In this article we shall examine his life he reiterated dogmatically the theme of propaganda, some major aspects of his thought and try to demonstrate how service and community: "We can, by propaganda, widen the his philosoph1' was applied in th e wartime context at the National Film Board of Canada. horizons of the schoolroom and give to every individual, each in his place and work, a living conception of the community When Grierson was a graduate student at the University of which he has the privilege to serve." Grierson's propaganda Chicago from 1924-27, the core of his philosophy crystallized crusade though secular, had its roots at least partly in his as he rejected Walter Lippmann's pessimistic belief that in this Calvinist upbringing. " [ derive my authority from Moses" century the few had to do the thinking for the many. he would say late in life . This attitude also allowed him to Lippmann's pessimism stemmed from a belief that there was avoid partisan politics and to protect the documentary move neither time nor adequate information for the citizens to make ment from partisan attack. -
Chronicle .Cion ^ .V /L British Columbia VOL
The G ?\X Chronicle .cion ^ .V /L British Columbia VOL. I., No. 1 .VER, B.C., DECEMBER 15, 1938 8 Pages THE ALUMNI TWO NEW BUILDINGS MAY ELECT BE CONSTRUCTED KEN BECKETT ON UNIVERSITY CAMPUS PREVENTATIVE MEDICINE AND BROCK MEM OVER 200 ATTENDED ORIAL UNION STRUCTURES THE ANNUAL ARE PLANNED MEETING SURPLUS $277 COST IS OVER $425,000 ENTATIVE plans for construction of two new buildings on ENNETH M. BECKETT, retiring T the University campus were announced last week. If, as is K secretary, was elected president hoped, they are built within the next year, the acute overcrowding of the Alumni Association to suc ceed Milton Owen at the annual which has gravely hampered the institution will be considerably meeting in Hudson's Bay (jo. dining relieved. room on October 21. There was an First, Hon. John Hart introduced and the Legislature passed attendance of more than 200 mem KENNETH M. BECKETT a bill authorizing a building loan of $350,000, if and when the bers. At the annual meeting of the Alumni Associatoin in October, Ken Lieutenant-Goernor-in-Couneil decides to proceed with it. Hon. Other members of the executive in (T. M. Weir, in an earlier statement, announced the money woitld clude: Miss Ardy Beaumont, vice- Beckett, the retiring »secretary, was president \ Miss Alice Daniels of New elected president to succeed Milton be devoted to construction of the first unit of a department of Westminster, secretary; Fred Bol- Owen. preventative medicine. > ton,»treasurer.;;>Edjrar-N. Brown-, edi Second, construction of a,-.$75,000 Brock Memorial Union Building was tor of ^ublicaUonssfJBerjt^sStntthj.re^; ', regarded its; assured when thte'Board:,bf. -
Becoming Ideal Canadians: the Cultural Adjustment and Citizenship Trials of British War Brides
BECOMING IDEAL CANADIANS: THE CULTURAL ADJUSTMENT AND CITIZENSHIP TRIALS OF BRITISH WAR BRIDES BECOMING IDEAL CANADIANS: THE CULTURAL ADJUSTMENT AND CITIZENSHIP TRIALS OF BRITISH WAR BRIDES By CHELSEA V. BARRANGER, B.A. (Hons), M.A. A thesis submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy McMaster University © by Chelsea V. Barranger, 2019 TITLE: Becoming Ideal Canadians: The Cultural Adjustment and Citizenship Trials of British War Brides AUTHOR: Chelsea V. Barranger, B.A. Hons (University of Western Ontario), M.A. (McMaster University) SUPERVSIOR: Dr. Ruth Frager NUMBER OF PAGES: 390 ii LAY ABSTRACT Most historical work about British war brides has been overly nostalgic and focussed on the collection and creation of interview anthologies; often created by these women and their children. Discussions of life in Canada and negative experiences are only briefly mentioned. This dissertation argues that this nostalgic view of war brides in the historical literature hides the immigration, settlement, and citizenship challenges faced by these women in Canada during and after the Second World War. The different experiences of these women reveal biases towards their background and gender, relationships damaged by the trauma of war, bureaucratic incompetence in the immigration and citizenship process, and raises important questions about national belonging and the nature of Canadian citizenship, from the post-war period to the present. iii ABSTRACT Historical work on British war brides has been limited to the creation and collection of nostalgic interview anthologies; often by the women themselves or their children. These anthologies focus on the meeting of Canadian servicemen and British women and the women’s journey to and reunion with their husbands in Canada. -
The Film-Work of Norman Mclaren in the Context of His Objectives
The Film-Work Norman McLaren Terence Dobson A thesis submitted in accordance with the requirements for the Degree of Doctor of Philosophy in the University of Canterbury University of Canterbury 1994 Contents page Abstract iii List of Illustrations iv Preface v Introduction vii Part One Chapter One An Informative Drawing 1 Chapter Two The Early Years 23 Chapter Three McLaren at the G PO Film Unit 57 Part Two Chapter Four New York Interlude 103 Chapter Five Canada 128 Part Three Chapter Six Technical Processes 170 Chapter Seven Confluence and Conflict in Synchromy 197 Chapter Eight Venus and Mars 218 Conclusion 237 Chronology 248 Bibliography 249 Interviews, Films and Recordings 281 ill Abstract This thesis examines the film-work of Norman Mclaren in the context of his objectives. The thesis is divided into three parts, based on chronological divisions in McLaren's life. The first part deals with McLaren's formative years in Scotland and England and examines his early exposure to the social, artistic and institutional influences that were to shape his filmic output. The second part deals with Mclaren's maturation in the USA and Canada. His reaction to the contrasting working environment he found in each of the two countries is examined. In order to show McLaren's development more clearly, both parts one and two are based on a chronological sequencing. The third part of the thesis examines specific issues in relation to Mclaren and his work and as such is concerned principally with his mature output. McLaren's films contain incongruities, conflicts and apparent inconsistencies. -
John Weinzweig and the Canadian Mediascape, 1941-1948
John Weinzweig and the Canadian Mediascape, 1941-1948 by Erin Elizabeth Scheffer A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Erin Elizabeth Scheffer 2019 John Weinzweig and the Canadian Mediascape Erin Elizabeth Scheffer Doctor of Philosophy Graduate Department of Music University of Toronto 2019 Abstract This dissertation explores John Weinzweig’s incidental music for radio and film and its context in Canadian cultural life. Between 1941 and 1948, Weinzweig composed music for nearly one hundred CBC radio docudrama episodes and for four National Film Board documentaries. Weinzweig’s time at the CBC and NFB was his first large scale success as a working composer, following his graduate studies at the Eastman School of Music. Weinzweig’s incidental music was publicly broadcast across Canada, and can be interpreted in light of how it represents Canada during an anxious and difficult yet significant time in the nation’s history through the Second World War and the immediate post-war era. These works, featuring new music broadcast by organizations in their infancy, helped to shape audience perceptions of a rapidly changing country. I begin by situating Weinzweig’s documentary music both temporally and philosophically. The opening chapter explores his biography, the musical context of the 1940s in Canada, and the creation of the CBC and NFB, and it closes by discussing significant themes in the works: indigeneity, northernness, dominion over the landscape, and nation and national affect. The subsequent three chapters divide Weinzweig’s docudramas and documentaries by topic: World War Two propaganda and postwar reconstruction, Canada’s north, and finally a discussion of Weinzweig’s only radio drama The Great Flood , which premiered on CBC’s ii cultural program Wednesday Night in 1948. -
Translation Quality Assessment
Voices and Silences: Exploring English and French Versions at the National Film Board of Canada, 1939-1974 Christine York Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate of Philosophy degree in Translation Studies School of Translation and Interpretation University of Ottawa © Christine York, Ottawa, Canada, 2014 Table of Contents Chapter One: Understanding NFB versions as a site of competing voices ................................................... 1 1.1 Interwoven threads of English and French production ........................................................................ 3 1.2 Defining a corpus ................................................................................................................................ 6 1.3 Defining concepts: Beyond source and target text ............................................................................ 11 1.4 Literature review: NFB ..................................................................................................................... 19 1.5 Literature review: Translation studies ............................................................................................... 25 1.6 Considering multiple voices .............................................................................................................. 32 1.6.1 Voice-over in film studies and audiovisual translation .................................................................. 33 1.6.2 Voice of the text ............................................................................................................................ -
Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. -
A Case Study at the Pacific Cinematheque Archive
MORE PRODUCT, LESS PROCESS IN FILM COLLECTIONS: A CASE STUDY AT THE PACIFIC CINEMATHEQUE ARCHIVE by Analiese Oetting Bachelor of Arts, Dominican University, 2016 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the program of Film + Photography Preservation and Collections Management Toronto, Ontario, Canada © Analiese Oetting 2019 AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. ii Abstract More Product, Less Process in Film Collections: A case study at the Pacific Cinematheque Archive Master of Arts, 2019 Analiese Oetting Film + Photography Preservation and Collections Management Ryerson University This thesis is an applied case study, wherein a donation of materials was assessed at the Pacific Cinematheque Archive between January – June 2019. The archive has struggled to process their backlog due to a strain on resources—an issue that is prevalent in the archival profession, and particularly in small institutions. The objective was to apply broad principles from Mark A. Greene and Dennis Meissner’s 2005 paper “More Product, Less Process: Revamping Traditional Archival Processing,” aimed at large paper and manuscript collections, to managing backlog at the Pacific Cinematheque Archive in order to help establish a minimal processing workflow that would allow for faster access to materials in the future. -
The Second World War As a National Experience
THE SECOND WORLD WAR AS A NATIONAL EXPERIENCE Editor: Sidney Aster THE CANADIAN COMMITTEE FOR THE HISTORY OF THE SECOND WORLD WAR THE SECOND WORLD WAR AS A NATIONAL EXPERIENCE Editor: Sidney Aster The Canadian Committee for the History of the Second World War, Ottawa, 1981 “War is strong life; it is life in extremis.” Williams James, The Moral Equivalent of War ACKNOWLEDGEMENTS The contributors wish to express jointly their gratitude to copyright holders for permission to use copyright materials, and in some cases to various institutions for assistance, which made research possible. The editor and contributors are very grateful to the Department of National Defence, which arranged a meeting of the Canadian Committee for the History of the Second World War on November 14-16, 1979 where these essays were first discussed. The Translation Section, Department of the Secretary of State kindly offered translation facilities. THE SECOND WORLD WAR AS A NATIONAL EXPERIENCE CONTENTS Acknowledgements CHAP NO. PAGE NO. Introduction SIDNEY ASTER 1 1 War as a National Experience THEODORE ROPP 5 2 The Second World War as a National Experience: Canada C.P. STACEY 17 3 A curious Lack of Proportion: Canadian Business and the War ROBERT BOTHWELL 25 4 Britain and the Politics of Social Patriotism PAUL ADDISON 39 5 Politics and the War: Aspects of the Canadian National Experience JOHN ENGLISH 53 6 The Yugoslav National Experience PHYLLIS AUTY 67 7 Politics and Culture: The French Canadians and the Second World War RICHARD JONES 81 8 Solidarity at Home and Abroad: The Norwegian Experience of World War Two OLAV RISTE 91 9 Coping With a War: The Experience of the Canadian Department of External Affairs DON PAGE 105 10 The Limits of Tradition: American Leadership in World War Two Reconsidered MAURICE MATLOFF 125 CHAP NO. -
Influence, and Its Uniqueness Lies in Its Administrative Structure and Its Place in the Other Countries Have Succumbed to Politi
DOCUMENT RESUME ED 029 488 24 EM 005 352 By-James. C. Rodney The National Film Board of Canada and Its Task of Communication. Final Report. Ohio State Univ.. Columbus. Spons Agency-Office of Education (DHEW). Washington. D.C. Bureau of Research. Bureau No-BR-6-8795 Pub Date 29 Feb 68 Contract- OEC-3-7-068795-2724 Note-24p. EDRS Price MF-S0.25 HC-S1.30 Descriptors- Film.Production. Films. *Government Role. *Guidelines. *History Identifiers-Canada. National Film Board of Canada The National Film Board of Canada has. through its films, achieved a world-wide influence, and its uniqueness lies in its administrative structure and its place in the Canadian Government which has enabled it to survive while similar organizations in other countries have succumbed to political and film industry pressures. This study offers a critical assessment of the reasons for the Board's success. with a view to formulating very general principleS as to how a film board might be run successfully. The success of a film board is related to the formal structure of the board. National predisOosition, though unmeasurable. is important. It is essential that the government be a social democracy. and that the commercial film industry not be too powerful. A more detailed comparative studyof film boards all over the world which have similar aims is recommended. so as to determine what strengths. weaknessei, and problems they all have in common. (GO) FINAL REPORT Project No. 68795 Contract No. OEC-3-7-068795-2724 !A THE NATIONAL FILM BOARD OF CANADA AND ITS TASK OF COMMUNICATION C.