ACTRA#1048 Spring'02/2.2Rm

Total Page:16

File Type:pdf, Size:1020Kb

ACTRA#1048 Spring'02/2.2Rm Spring 2002 The Alliance of Canadian Cinema, Television and Radio Artists Clockwise from centre: Thor Bishopric (National President, ACTRA), Kent McCord (National Treasurer, SAG), Arne Gundersen (Eastern Region Vice-President, Actors Equity – U.S.), Sandy Winsby (Vice-President External, Going global: Canadian Actors’ Equity Association), Freddie Pyne (National President, Equity – U.K.), John Connolly (National President, AFTRA), Allison Enright (National Organiser, ACTRA hosts Global Protection of Performers New Zealand Actors’ Equity), Susan Lyons (National President, Media, Entertainment and Arts Alliance – Australia). international meeting P 6 A new home for ACTRA’s Women in the Director’s Chair ACTRA organizer turns another John Drainie Award at the Workshop: three actors share non-union commercial into a Banff Television Festival p 5 their experiences p 12 union shoot p 17 Going global to protect performers Thor Bishopric Dear Fellow Members, Online as some of the best tools we’ve put This issue of InterACTRA focuses on into the hands of our members in many these topics. Read about our successes, In January, your newly elected National years. such as ACTRA Performers’ Rights Council met to review ACTRA’s Our unity, focus and discipline have Society and ACTRA’s John Drainie accomplishments and plan the direction made us the most powerful organization in Award. Find out more about our ACTRA for our union in 2002. Reviewing what the film and television industry in Canada. community: Face to Face Online, the we’ve done is not an unpleasant task, as In my opinion, we are the most dynamic Women in the Director’s Chair Workshop, our organization has accomplished a great and forward-thinking performers’ union in and the inspiring diversity initiatives deal recently. A year-and-a-half ago, the world. happening in our branches. ACTRA’s National Council took a bold And we’ll need to be dynamic and You’ll also find out more about step and adopted the ACTRA Plan, a five- forward-thinking. There are decisions ACTRA’s role in public policy. We know year plan that commits us to stay focused being made that will affect our that our industry has become a global on our three key areas of activity – organization, and more importantly, affect industry, and in response to that reality bargaining, organizing and member the ability of our members to make a and the continued hyperbole around so- services. We’ve stuck to our plan and living in the entertainment industry: called ‘runaway production,’ ACTRA achieved some great results. threats of countervailing tariffs, SAG’s initiated an international meeting of In the area of bargaining, we successfully Global Rule One, Revenue Canada’s performers’ unions to discuss our rights on renegotiated the IPA despite difficult consideration of changing the status of the the global stage – GPOP – the Global economic times, achieving reasonable self-employed artist, Canadian content Protection of Performers. Read about general increases and expanded rules, co-production treaties, and GPOP in this issue. recognition in the important area of digital immigration guidelines governing the It’s clear that there are many challenges media. In organizing, our National entry of foreign workers. and opportunities ahead. ACTRA looks organizers are defending our turf and To face these challenges, we’ll need to forward to facing them – your union is actively seeking new jurisdiction for consolidate our gains, continue to build on better prepared than ever before. ACTRA, creating work opportunities for the pride and solidarity of our community our membership. In the area of services, and engage as never before in the public we count our new website and Face to Face policy areas that affect performers. ACTRA National Council 2002 (British Columbia), Seán Mulcahy (Toronto), Austin Schatz (National President), Maria Bircher (Montreal), Jennifer (Names in bold are members of ACTRA National Executive) (Toronto), Kate Robbins (alt. for John Juliani, British Wigmore (Toronto), Michael Miranda (Toronto), Brian Back row: Christie MacFadyen (Toronto), Barry Blake Columbia), Jefferson Mappin (National Vice-President), Gromoff (Calgary), Aidan Devine (Toronto), Howard Storey (Ottawa), Ferne Downey (Toronto), Mike Burns Bob Collins (alt. for John Evans, Toronto), Mack Furlong (alt. (British Columbia). Front row: Jamie Bradley (National (Saskatchewan), David Macniven (Toronto), Jon Baggaley for Glenn Downey, Newfoundland and Labrador). Treasurer), Richard Hardacre (Toronto) Absent: Wayne (alternate for Colin MacLean, Edmonton), Peter Partridge Middle Row: Susie Almgren (Montreal), Thor Bishopric Nicklas (Manitoba), Anne Marie Scheffler (Toronto). 2 InterACTRA SPRING 2002 In this issue of InterACTRA... AFTRA thanks ACTRA for Bargaining Commercial Agreement Negotiations; IPA and CBC agreements ratified; support during Network ACTRA Performer Rate Card for IPA 2002-2003 .................................... 4 Television Code negotiations ACTRA’s John Drainie Award Dear Stephen, moves to the Banff Television Festival in 2002. Past recipients were honoured We would like to take this opportunity to thank you for at a reception announcing the move.... 5 taking time out of your schedule to observe our recent Network Television Code negotiations. Our efforts, along with your and President Bishopric’s participation, proved a Cover story: ACTRA hosts GPOP, great success, and ACTRA’s presence at these talks was an a meeting of performers’ unions from extraordinary show of solidarity. around the world: a kickstart to ‘bigger- picture’ thinking on the international On behalf of the 75,000 members of AFTRA, thank you rights of performers again for being a part of this important process. by Jamie Bradley................................... 6 Fraternally, Branch News ................................................................................... 9 John P. Connolly Shelby Scott National President Co-Chair, Negotiating Committee Women in the Director’s Chair Workshop 2002 Greg Hessinger Tom Wiggin from the actor perspective National Executive Director Co-Chair, Negotiating Committee by Kerry Segal and Shaker Paleja with photos by Gail Maurice ........... 12 ACTRA member profiles Vik Sahay and Jennifer Overton........... 15 Write to InterACTRA Who’s Who at ACTRA .................................................................. 16 Have a story idea? Want to get involved? Send us an email at interactra@actra.ca or write to us c/o ACTRA’s National Office, Organizing 625 Church Street, Suite 300, Toronto, ON M4Y 2G1 Updates from ACTRA’s national and digital media organizers.............. 17 Applause ACTRA Members named to Order of Canada; Kiefer Sutherland wins Golden Globe; Genie Awards .......................... 19 Spring 2002 Volume 8, Issue 1 Farewell Goodbye to Frank Shuster and Peter Gzowski................... 20 InterACTRA is an official quarterly Editorial Advisory Committee: publication of ACTRA (Alliance of Thor Bishopric, Stephen Waddell, Canadian Cinema, Television and Radio Brian Gromoff, David Macniven, Artists), a Canadian union of performers Kim Hume Policy Issues Canadian content production in decline ................... 21 affiliated to the Canadian Labour Contributors Congress and the International Lorraine Ansell, Maria Bircher, Barry Federation of Actors. Behind-the-scenes Blake, Jamie Bradley, Mike Burns, ACTRA’s role in selecting Canadian InterACTRA is free of charge to all Marlene Cahill, Laurie Cook, Sharon ACTRA Members. Davidson, Don Dudar, Mack Furlong, films for the foreign-language All contents are copyright © 2002 ACTRA. Richard Hardacre, Matt Holland, Tom Oscar race .................................. 22 All rights are reserved and contents, in Jackson, John Juliani, Sharon Killey, whole or in part, may not be reprinted Terrence La Brosse Ross, Christie without permission. The points of view MacFadyen, Dan Mackenzie, Rob ACTRA PRS expressed do not necessarily represent Macklin, Gail Maurice, Garry Neil, The ‘collection agency’ that works for performers............................... 23 those of ACTRA. Wayne Nicklas, Shaker Paleja, Gary Saxe, Anne Marie Scheffler, Kerry Please return any undelivered mail to: Segal, Bill Siggins, Howard Swinson, ACTRA Thom Tapley, Gary Vermeir, Mercedes 625 Church Street, Suite 300, Watson, Carol Whiteman A starry night at Toronto, Ontario M4Y 2G1 Cover photo: Carol Racicot PHONE 1-800-387-3516 or (416) 489-1311 the Genie Awards Design: Joss Maclennan Design, Toronto FAX (416) 489-8076 Printed in Canada by: Thistle Printing by Anne Marie Scheffler ..... 24 www.actra.ca interactra@actra.ca Publications Mail Agreement #40069134 C SPRING 2002 InterACTRA 3 Photo by André Leduc Commercials Negotiations a Challenge Stephen Waddell National Executive Director n mid-January 2002, ACTRA formally commenced re-negotiation of the INational Commercials Agreement with ACTRA Members ratify IPA and management represented by the Institute of Communications and Advertising (ICA) and CBC Agreements by over 97% the Association of Canadian Advertisers (ACA). Following an extensive membership In December 2001, ACTRA members ratified a renewed Independent Production consultation process, your ACTRA National Agreement (IPA) by an overwhelming majority of 97%. The renewed IPA will ensure Negotiating Committee developed a stability in the Canadian film and television marketplace and enhance employment streamlined package of proposals that the opportunities for Canadian performers. ACTRA Committee proudly presented
Recommended publications
  • Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse De Tilly Millette Entretien Avec Jean-Louis Millette Solange Lévesque
    Document generated on 09/29/2021 7:49 p.m. Jeu Revue de théâtre Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse de Tilly Millette Entretien avec Jean-Louis Millette Solange Lévesque Portraits Number 71, 1994 URI: https://id.erudit.org/iderudit/28873ac See table of contents Publisher(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (print) 1923-2578 (digital) Explore this journal Cite this document Lévesque, S. (1994). Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse de Tilly Millette : entretien avec Jean-Louis Millette. Jeu, (71), 8–35. Tous droits réservés © Cahiers de théâtre Jeu inc., 1994 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Solange Lévesque Jean-Louis Paillasson Clov Philippe Oscar Césaréo Odilon Louka Comtesse de Tilly Millette Entretien avec Jean-Louis Millette Débuts Êtes-vous devenu comédien par hasard, ou si c'est une profession dont vous aviez toujours rêvé ? Jean-Louis Millette — Il y a cerrainemenr une sorre de hasard qui a joué, à tout le moins un concours de circonstances. J'étudiais au Collège Sainte-Marie, et je me dirigeais vers le droir. Au collège, on me faisait parfois lire des choses en public, et j'avais joué dans des pièces d'étudiants, mais sans penser sérieusement à devenir comédien.
    [Show full text]
  • Celluloid Death: Cinematic Depictions of Capital Punishment
    University of Kentucky UKnowledge Law Faculty Scholarly Articles Law Faculty Publications Summer 1996 Celluloid Death: Cinematic Depictions of Capital Punishment Roberta M. Harding University of Kentucky College of Law, rharding@uky.edu Follow this and additional works at: https://uknowledge.uky.edu/law_facpub Part of the Criminal Law Commons, and the Film and Media Studies Commons Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Repository Citation Harding, Roberta M., "Celluloid Death: Cinematic Depictions of Capital Punishment" (1996). Law Faculty Scholarly Articles. 563. https://uknowledge.uky.edu/law_facpub/563 This Article is brought to you for free and open access by the Law Faculty Publications at UKnowledge. It has been accepted for inclusion in Law Faculty Scholarly Articles by an authorized administrator of UKnowledge. For more information, please contact UKnowledge@lsv.uky.edu. Celluloid Death: Cinematic Depictions of Capital Punishment Notes/Citation Information Robert M. Harding, Celluloid Death: Cinematic Depictions of Capital Punishment, 30 U.S.F. L. Rev. 1167 (1996). This article is available at UKnowledge: https://uknowledge.uky.edu/law_facpub/563 Celluloid Death: Cinematic Depictions of Capital Punishment By ROBERTA M. HARDING* FILMMAKING HAS EXISTED since the late 1890s. 1 Capital punish- ment has existed even longer.2 With more than 3,000 individuals lan- guishing on the nation's death rows3 and more than 300 executions occurring since the reinstatement of the death penalty in 1976,4 capital pun- ishment has become one of modem society's most controversial issues. The cinematic world has not been immune from this debate.
    [Show full text]
  • F5833 FLATLINERS (USA, 1990) (Other Titles: Egyenesen At; Experience Interdite; Linea Mortale)
    F5833 FLATLINERS (USA, 1990) (Other titles: Egyenesen at; Experience interdite; Linea mortale) Credits: director, Joel Schumacher ; writer, Peter Filardi. Cast: Kiefer Sutherland, Julia Roberts, Kevin Bacon, William Baldwin. Summary: Horror film set in the contemporary U.S. An ambitious, charismatic medical student (Sutherland) persuades two classmates (Roberts and Bacon) to take part in an experiment to determine if there is life after death. When the Julia Roberts character crosses over to the other side, she is greeted as a little girl by images of her father returning home from Vietnam. She sees what she has suppressed since childhood: her father mainlining dope and killing himself with a .45 pistol. Blair, Iain, “Chicago quickens pulse of ‘Flatliners’: Sci-fi thriller mixes local sets, Sutherland and Roberts with macabre experiments seeking life after death” Chicago tribune (Aug 8, 1990), Tempo, p. 1. Boesch, Xavier (see under Outarquin, Laurent) Brown, Joe. “‘Flatliners’ lacks intensive scare” Washington post (Aug 10, 1990), Weekend, p. 49. Brudny, Wolfgang. “Jenseits - hin und zurueck” Medien 35/1 (1991), p. 40-41. Buehrer, Beverly Bare. “Flatliners” Magill’s cinema annual Englewood Cliffs, N.J. : Salem Press, 1982- (1991, p. 109-112) Busby, Scott. “Do or die” Millimeter 18 (Jun 1990), p. 205. Carr, Jay. “Dark ‘Flatliners’ takes idealism to heart” Boston globe (Aug 10, 1990), Arts and film, p. 31. Cosford, Bill. “Flatliners: A blip on the silver screen” Miami herald (Aug 10, 1990), p. 10G. Dawes, Amy. “Flatliners” Variety 340 (Aug 1, 1990), p. 67. Dwyer, V. [Flatliners] Maclean’s 103 (Aug 13, 1990), p. 58. Edelstein, David.
    [Show full text]
  • Il Mio Amico NANUK Pb. Definitivo
    in collaborazione con MEDUSA FILM Presenta IL MIO AMICO NANUK (Midnight Sun) in associazione con HYDE PARK INTERNATIONAL IMAGE NATION MERCED MEDIA PARTNERS MEDIABIZ CAPITAL MEDUSA FILM MEDIASET PREMIUM SEVILLE PICTURES REGIA ROGER SPOTTISWOODE sequenze artiche REGIA BRANDO QUILICI Una produzione MEDIA-MAX / BQ PRODUCTIONS / ORIGINAL PICTURES / ROB HEYDON PRODUCTIONS Con la partecipazione di Telefilm Canada Northern Ontario Heritage Fund Corporation Manitoba Film & Music Shaw Rocket Fund Ontario Media Development Corporation Film riconosciuto di interesse culturale con contributo del Ministero dei beni e delle attività culturali e del Turismo – Direzione Generale per il Cinema – MIBACT Il libro che ha ispirato questo film è edito in Italia da Sperling & Kupfer Con DAKOTA GOYO GORAN VISNJIC BRIDGET MOYNAHAN Ed il cucciolo NANUK Distribuzione www.medusa.it 2014 · CANADA/ITALIA · 98 MINUTI· 1.85 · COLOUR - USCITA: 13 NOVEMBRE 2014 GLI ATTORI Dakota Goyo: Luke Mercier Goran Visnjic: Muktuk Bridget Moynahan: Madison Mercier Peter MacNeill: Albert Speck Kendra Leigh Timmins: Abbie Mercier Linda Kash: Zia Rita Michelle Thrush: Eta Imajyn Cardinal: Nuvua Nanuk:Pezoo I REALIZZATORI Regia Roger Spottiswoode Sequenze artiche Regia Brando Quilici Sceneggiatura Hugh Hudson e Bart Gavigan Soggetto Brando Quilici Riprese naturalistiche Doug Allan Produttori Karine Martin Brando Quilici Rob Heydon Kim Todd Produttori esecutivi Ashok Amritraj Mark Slone Raj Brinder Singh Kevin Frakes Stuart Brown Jean-Francois Doray Elyse Boulet Marc Charette Iohann Martin Direttore della Fotografia Peter Wunstorf Addetto al Montaggio Pia Di Ciaula Musiche Lawrence Schragge Scenografia Eric Fraser Costumi Nicoletta Massone IL MIO AMICO NANUK (Midnight Sun) SINOSSI BREVE “Il mio amico Nanuk” è unʼappassionante avventura nelle sconfinate, bellissime ma ostili terre dellʼArtico Canadese.
    [Show full text]
  • Annual Report 2019/20 Qikiqtaaluk Corporation | Annual Report 2019/2020 Qikiqtaaluk Corporation | Annual Report 2019/2020
    ᕿᑭᖅᑖᓗᒃ ᑯᐊᐳᕆᓴᓐ ᓇᒻᒥᓂᕐᑯᑎᖕᒋᓪᓗ QIKIQTAALUK CORPORATION & Group of Companies Annual Report 2019/20 Qikiqtaaluk Corporation | Annual Report 2019/2020 Qikiqtaaluk Corporation | Annual Report 2019/2020 Chairman’s Message 1 President’s Message 2 Ludy Pudluk 3 About Qikiqtaaluk Corporation 4 Company Profile 4 Qikiqtani Region 5 Company Chart 6 Board of Directors 7 2019-2020 Highlights 8 PanArctic Communications 8 QC Fisheries Research Vessel 9 Inuit Employment and Capacity Building 10 Community Investment and Sponsorships 11 Scholarships 11 QIA Dividend 12 Community Investment Program 12 Event Sponsorship 13 Wholly Owned Subsidiary Activity Reports 15 Fisheries Division Activity Report 15 Qikiqtaaluk Fisheries Corporation 18 Qikiqtani Retail Services Limited 20 Qikiqtaaluk Business Development Corporation 22 Qikiqtaaluk Properties Inc. 24 Nunavut Nukkiksautiit Corporation 26 Qikiqtani Industry Ltd. 28 Aqsarniit Hotel and Conference Centre Inc. 31 Akiuq Corporation 33 Qikiqtaaluk Corporation Group of Companies 34 Other Wholly Owned Subsidiaries 34 Majority Owned Joint Ventures 34 Joint Venture Partnerships 35 Affiliations 36 Qikiqtaaluk Corporation | Annual Report 2019/2020 | Chairman’s Message Welcome to the 2019-2020 Qikiqtaaluk Corporation Annual Report. This past year was a time of focus and dedication to ensuring Qikiqtaaluk Corporation’s (QC) ongoing initiatives were progressed and delivered successfully. In overseeing the Corporation and its eleven wholly owned companies, we worked diligently to ensure every decision is in the best interest of Qikiqtani Inuit and promotes the growth of the Corporation. On behalf of the Board, we would like to share our sadness and express our condolences on the passing of longstanding QC Board member and friend, Ludy Pudluk. Ludy was a Director on QC’s Board for over two decades.
    [Show full text]
  • Radio Drama Produced by Andrew Allan
    234 ARCHIVARIA 29 as stem reminders of the author's insistence that art historians be familiar with sev- eral languages. Because of this, a bibliography of the epigraphs would have been very welcome. Eva Major-Marothy National Archives of Canada Living the Part: John Drainie and the Dilemma of Canadian Stardom. BRONWYN DRAINIE. Toronto: Macmillan of Canada, 1988. xii, 340 p. ISBN 0-7715-9918-8. All the Bright Company: Radio Drama Produced By Andrew Allan. HOWARD FINK and JOHN JACKSON, eds. Kingston: Quarry Press and CBC Enterprises, 1987. xvi, 336 p. ISBN 0-9 19627-47-1 (bound) ISBN 0-919627-49-8 (pbk). Image in the Mind: CBC Radio Drama 1944 to 1954. N. ALICE FRICK. Toronto: Canadian State and Arts Publications Ltd., 1987. x, 176 p. ISBN 0-9 19952-34-8 (pbk). Turn up the Contrast: CBC Television Drama Since 1952. MARY JANE MILLER. Vancouver: University of British Columbia Press and CBC Enterprises, 1987. ix, 429 p. ISBN 0-7748-0278-2. Given the number of publications about the organization and regulation of twentieth- century broadcast media in Canada, why have there been comparatively few studies which examine the actual content of the thousands of hours of programming which have been heard and seen in this country? Everyone acknowledges that broadcasting has a significant effect on our thinking, yet this very popularity seems sufficient cause to dismiss it from serious historical consideration. One would have difficulty naming any contemporary activity other than broad- casting in which substantial creativelimaginative effort results in so little archival documentation. Preoccupied with filling tomorrow's airtime, broadcasters can rarely afford the luxury of documenting their efforts.
    [Show full text]
  • Bchn 1990 Summer.Pdf
    MEMBER***** ********SOCIETIES Member Societies and their secretaries are responsible for seeing that the correct address for their society is up-to-date. Please send any change to both the Treasurer and the Editor at the addresses inside the back cover. The Annual Return as at October 31st should include telephone numbers for contact. Members dues for the year 1988/89 were paid by the following Members Societies: Alberni District Historical Society, Box 284, Port Alberni, B.C. V9Y 7M7 Atlin Historical Society, PC. Box 111, Atlin, B.C. VOW lAO BCHF - Gulf Island Branch, c/o Marian Worrall, Mayne Island, VON 2JO Burnaby Historical Society, 4521 Watling Street, Burnaby, B.C. V5J 1V7 Chemainus Valley Historical Society, P0. Box 172, Chemainus, B.C. VOR 1KO Cowichan Historical Society, P0. Box 1014, Duncan, B.C. V9L 3Y2 District 69 Historical Society, PC. Box 3014, Parksville, B.C. VOR 2SO East Kootenay Historical Association, P0. Box 74, Cranbrook, B.C. V1C 4H6 Golden & District Historical Society, Box 992, Golden, B.C. VOA 1 HO Kootenay Lake Historical Society, Box 537, Kaslo, B.C. VOG 1 MO Kootenay Museum & Historical Society, 402 Anderson Street, Nelson, B.C. Vi L 3Y3 Ladysmith Historical Society, Box 11, Ladysmith, B.C. VOR 2EO Lantzville Historical Society, Box 501, Lantzville, B.C. VOR 2HO M.S.A. Museum Society, 2313 Ware Street, Abbotsford, B.C. V2S 3C6 Nanaimo Historical Society, P0. Box 933, Station A, Nanaimo, B.C. V9R 5N2 North Shore Historical Society, 623 East 10th Street, North Vancouver, B.C. V7L 2E9 North Shuswap Historical Society, P0.
    [Show full text]
  • Atanarjuat Als Werk Indigenen Filmschaffens in Kanada – Eine Analyse Der Filmischen Gestaltung“
    DIPLOMARBEIT Titel der Diplomarbeit „From Inuit Point of View: Zacharias Kunuks Spielfilm Atanarjuat als Werk indigenen Filmschaffens in Kanada – eine Analyse der filmischen Gestaltung“ Verfasser Christoph Johannes Jahn angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, November 2012 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof. Dr. Elisabeth Büttner, M.A. Danksagung: Mein Dank gilt meiner Betreuerin Univ.-Prof. Dr. Elisabeth Büttner, Prof. Thomas Waugh, der meine Recherchearbeiten in Kanada betreut hat, Dr. Britta Hartmann, Chris Crilly, Marion Delaronde und Marie-Hélène Cousineau, meinen Eltern, die mich in allen Phasen meines Studiums unterstützt haben, und den indigenen Filmschaffenden, welchen diese Arbeit gewidmet ist. Inhaltsverzeichnis Seite: 1. Einleitung 3 2. Indigenes Filmschaffen in Kanada 6 3. Das Medium Film im Bezug zum kulturellen Hintergrund der Inuit 15 3.1. Von der Erzähltradition zum Erzählkino 15 3.2. Autonome indigene Filmproduktion im Norden Kanadas 20 3.2.1. Igloolik Isuma Productions 20 3.2.2. Zacharias Kunuk 22 3.2.3. Kunuks frühe Videoproduktionen 23 4. Die filmische Gestaltung des Werkes ATANARJUAT 31 4.1. Filmhandlung und Entstehungsprozess 31 4.2. Erinnerungsbilder: Verschmelzung von Vergangenheit und Gegenwart 36 4.3. Visualisierung einer Legende: Zu den filmischen Gestaltungsmitteln 38 4.3.1. „Frozen but always in motion“: Kameraführung und Bildgestaltung 38 4.3.2. „Long takes, slow pace“: Montage 48 4.3.3. „Natural light and real locations“: Erzählräume und Lichtgebung 53 4.3.4. „Music of the south for a film of the north“: Zur Tonebene 56 4.4. Einzigartigkeit und Konventionalität 59 4.5.
    [Show full text]
  • Arpa 2012 Awards Recipients
    FOR IMMEDIATE RELEASE ARPA INTERNATIONAL FILM FESTIVAL TO FETE FRANCES FISHER, THE USC SHOAH FOUNDATION, LUSINE SAHAKYAN and HRACH TITIZIAN AT AWARDS GALA ON SUNDAY, DECEMBER 2 2012 JURORS ANNOUNCED “AWAKENING WORLD” AND “ZENNE DANCER” ADDED AS CENTERPIECE PROGRAMS LOS ANGELES, CA (November 8, 2012) - The 15th Annual Arpa International Film Festival (http://affma.org) announced today it will honor stage and film actress Frances Fisher with their Career Achievement Award, the USC Shoah Foundation – The Institute for Visual History and Education with the Festival's Foundation Award, and Lusine Sahakyan with their prestigious Armin T. Wegner Award at its Awards Gala at the Sheraton Universal in Universal City, CA on Sunday, December 2, 2012. It was announced today by Festival topper Alex Kalognomos. The Awards are the final event of the 2012 Arpa International Film Festival which will screen over 32 films, documentaries and shorts from throughout the world November 29-December 2 at the Egyptian Theatre in Hollywood. The event’s Master of Ceremonies will be actress and television personality, Marla Maples. Award winning actress Frances Fisher (UNFORGIVEN, TITANIC, HOUSE OF SAND AND FOG) will receive Arpa’s 2012 Career Achievement Award. Fisher receives this honor for her past commitment to the Festival and to honor her expansive body of work. Fisher appears in the Festival’s Centerpiece documentary film, the North American premiere of AWAKENING WORLD, directed by Sebastian Siegel. Lusine Sahakyan will receive the Festival's ARMIN T. WEGNER HUMANITARIAN AWARD, for the documentary HAMSHEN AT THE CROSSROADS OF PAST AND PRESENT. The film will be recognized in honor of the German author and human rights activist Armin Theophil Wegner (October 16, 1886 – May 17, 1978), whose life and human rights activism reflects the spirit in which the award was founded on in 2002.
    [Show full text]
  • Film Reference Guide
    REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
    [Show full text]
  • Paterson Erika Phd 1997.Pdf
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road. Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Ordering Chaos: The Canadian Fringe Theatre Phenomenon by Erika Paterson BJ.A., University of Victoria, 1989 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Dr.
    [Show full text]
  • The Cbc Radio Drama Project and Its Background
    THE CBC RADIO DRAMA PROJECT AND ITS BACKGROUND by Howard Fink Radio drama for me, as for many people who were growing up just after the War, was, quite simply, my introduction to theatre: the classics, Renaissance drama, and modern and contemporary plays, including European and Canadian. It is rare that one gets the opportunity to re-examine a major formative influence later in one's life, rarer still to find that in this objective light its value holds up. I have had that happy experience with CBC radio drama. I have also had an experience of a completely different kind, in attempting to trace the materials of this influ- ential phenomenon: one which, as regards the history of Canadian theatre in general, has been shared in some measure by many: it was almost impossible to study the achievement of CBC radio drama as a whole, or even at first to locate the vast majority of the plays created and produced. Of course this is partly owing to the particular nature of theatre, the original form of which, unlike a novel or a book of verse, is a live performance, which remains rather in the memories than in the bookcases of its audience. More particularly, the CBC has always considered itself a production organization rather than a repository of culture, and quite rightly so. It has, in fact, been discouraged from archival activities by the government, which considers the Public Archives of Canada as a more appropriate institution for that role. 3f course such well-known figures as Robertson Davies, George Ryga and James Reaney are well represented in print.
    [Show full text]