DOCSLIB.ORG

KANATA Vol. 3 Winter 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KANATA Vol. 3 Winter 2010 KANATA VOLUME 3 UNDERGRADUATE JOURNAL OF THE INDIGENOUS STUDIES COMMUNITY OF MCGILL KANATA KANATA UNDERGRADUATE JOURNAL OF THE INDIGENOUS STUDIES COMMUNITY OF MCGILL VOLUME 3 WINTER 2010 McGILL UNIVERSITY MONTREAL, QUEBEC Acknowledgements Faculty, Administrative & Scholarly: Support and Advisors Kathryn Muller, Donna-Lee Smith, Michael Loft, Michael Doxtater, Like Moreau, Marianne Stenbaeck, Luke Moreau, Waneek Horn-Miller, Lynn Fletcher, Niigenwedom J. Sinclair, Karis Shearer, Keavy Martin, Lisa E. Stevenson, Morning Star, Rob Innes, Deanna Reder, Dean Jane Everett, Dean Christopher Manfredi, Jana Luker, Ronald Niezen Organisational Support McGill Institute for the Study of Canada (MISC); First Peoples House (FPH); Borderless Worlds Volunteers (BWV); McGill University Joint Senate Board Subcommittee on First peoples’ Equity (JSBC-FPE); Anthropology Students Association(ASA); Student Society of McGill University (SSMU); Arts Undergraduate Society (AUS); Quebec Public Interest Research Group McGill (QPIRG) KANATA EXECUTIVE PRESIDENT, EDITOR-IN-CHIEF PAMELA FILLION EXECUTIVE BOARD, EDITORIAL BOARD JAMES ROSS Paumalū CASSIDAY CHARLOTTE BURNS ALANNA BOCKUS SARA MARANDA-GAUVIN KRISTIN FILIATRAULT NICOLAS VAN BEEK SCOTT BAKER ROSALIE DION-PICARD CASSANDRA PORTER SOPHIA RASHID KAHN JOHN AYMES HOSSAI MAJID KEVIN WYLLIE DESIGN EDITORS JOHN AYMES PAUL COL For more information visit our website at: http://kanata.qpirgmcgill.org Submit content to KANATA, contact [email protected] Table of Contents Foreword- Editor’s Note 6 Pamela Fillion Guest Editorial- 20 ans après la crise d’Oka: Mon voyage vers la 9 réconciliation 20 Years After the Oka Crisis: My Journey to Reconciliation 16 Francine Lemay My boys 22 Michael Loft Quand survie égale crise : La crise d’Oka 23 Aude Leroux-Chartre Les relations politiques entre Amérindiens et Européens : des 37 conceptions divergentes Marie-France Barrette Membership Politics in Kahnawake: The Inter-Group & 42 Intra-Group Dynamics of Identity Eloise Ouellet-Décoste Education in Kahnawake: An Interview with Rose Anne Beauvais 61 Nicolas Moreau Various Artwork 70 Rebecca Tekatsitsahkhwa Robertson Apartheid on Turtle Island 74 Pamela Fillion Conflict and Co-operation in the Grand River Region 94 Christine Porterfield Band-Aid Solutions to Self-Destruction? :Development in 105 Canada and the Case of Grassy Narrows Catherine Duclos Monoculturalism: Negotiating the Place of Indigenous People 120 in Agriculture after the Green Revolution. A Look at the A ndean Experience. Marianna Daniels Portraits 135 Young Artist Warriors Indigenous Peoples’ and the Media 140 Xiomara Hurni-Cranston Research Paper: Indigeneity and the Internet 156 Alexandra Wilson Collection of Four Poems 163 Nogeeshik Isaac La représentation de la crise d’Oka par les médias 167 Aude Leroux-Chartre Partners and Resources 180 Forward- Editor’s Note Pamela Fillion Post-Oka Kinda Woman Here she comes strutting down your street. This Post-Oka woman don’t take no shit. She’s done with victimization, reparation, degradation, assimilation, devolution, coddled collusion, the ‘plight of the Native Peoples.’ Post-Oka woman, she’s o.k. She shashay into your suburbia. Mackenzie Way, Riel Crescent belong to her like software, microwave ovens, plastic Christmas trees and lawn chairs. Her daughter wears Reeboks and works out. Her sons cook and wash up. Her grandkids don’t sass their Kohkom! No way. She drives a Toyota, reads bestsellers, sweats on weekends, colors her hair, sings old songs, gathers herbs. Two step Tuesdays, Round dances on Wednesday, Twelve steps when she needs it. Post-Oka woman she’s struttin’ her stuff not walkin’ one step behind her man. She don’t take that shit Don’t need it! Don’t want it. You want her than treat her right. Talk to her of post-modern deconstructivism 6 She’ll say: ‘What took you so long?’ You wanna discuss Land Claims? She’ll tell ya she’d rather leave her kids with a struggle than a bad settlement. Indian Government? Show her cold hard cash. Tell her you’ve never talked to a real live ‘Indian’ She’ll say: ‘Isn’t that special.’ Post-Oka woman, she’s cheeky. She’s bold. She’s cold. And she don’t take no shit! No shit. Beth Cuthand in Anthology of Canadian Native Literature in English (ed. Daniel David Moses & Terry Goldie) KANATA is an annual publication by McGill’s Indigenous Studies Community also named KANATA. This third volume of KANATA highlights the 20th anniversary of the Oka Crisis. The Oka Crisis of 1990 had a deep impact on many levels in North America and even abroad. What began as a local dispute between the municipality of Oka, Quebec pushing for the expansion of a golf course at the expense of the burial grounds and sacred pines of the Kanien:keha’ka (Mohawks) of Kanesatake quickly and dangerously escalated into a stand- off between a community and the strong-hand of the State. Public response to the crisis demonstrated a disturbing lack of understanding by the general public and by the State about the First Peoples’ of North America. The many hate riots evidenced and thus triggered a demand for change to a deep- seated problem in Quebec and in North America. Indeed, the Oka Crisis was a watershed moment for change in native-newcomer relationships in North America. Twenty years after the events which began on July 11, 1990 and ended on September 26, 1990, so much has changed and yet so little has changed in terms of how the Indigenous Peoples’ of Canada are understood by the public and by the State. 7 The main focus of KANATA’s mandate is to create a community of support for the sharing, discovering, and discussion of knowledge relating to Indigenous Peoples’ of North America. KANATA creates the space for and networks for, as well as facilitates the learning opportunities for students and individuals who are interested in Indigenous Studies . Furthermore, KANATA aims to make the knowledge shared by, discovered by, and exchanged by students and individuals in the community readily available on- campus and off-campus through events and more importantly through publishing (thus promoting pride in) the productions of knowledge of its members and contributors. Lastly, the mandate of KANATA is to operate within academic institutions but to widen and reflect on the nature of what is considered “academic”. For KANATA, “academia” is defined more in terms of a search for knowledge and understanding rather than a claim to expertise. Ultimately, KANATA aims to strengthen and better Native and Non-Native relations in North America through the search for and advocacy of knowledge both in the academic setting and for the wider North American public. The cover art, Jolene, is part of an artwork submission by Young Artist Warriors and is painted by artist Jeska Slater. 8 20 ans après la crise d’Oka Mon voyage vers la réconciliation Francine Lemay Avant la crise d’Oka, je ne savais à peu près rien des Indiens. Les mots « autochtone » et « Premières nations » ne faisaient pas partie de mon vocabulaire, comme c’était le cas pour bien des Québécois. Mes connaissances se limitaient à ce que mon livre d’histoire du Canada m’avait enseigné : les Hurons étaient les bons Indiens et les amis des Français, et les Iroquois étaient les méchants Indiens, alliés des Anglais. Mon livre parlait aussi du massacre de Lachine et de Dollard des Ormeaux qui avait péri avec plusieurs autres fiers soldats au fort Long Sault, et présentait les images effroyables des pères jésuites Jogues, Lalemant, de Brébeuf et Goupil attachés à un poteau au milieu d’un feu dévorant. Tragédie dans la pinède Le 11 juillet 1990, un événement tragique et bouleversant vient renforcer ma perception négative des Iroquois. Un membre de ma famille me téléphone pour m’annoncer que mon jeune frère Marcel, alors caporal pour la Sûreté du Québec et membre du Groupe tactique d’intervention, vient d’être tué par balle à Oka lors d’un raid policier. Je n’en crois pas mes oreilles; je suis atterrée. J’ignorais tout de ce qui se passait à Kanehsatake depuis quelques mois, ou plutôt depuis quelques siècles. Tout ce que je savais, c’est que j’avais perdu mon frère dans un échange de coups de feu à cause de barricades dressées par les Mohawks, que la police avait reçu l’ordre de démanteler. Jeune homme téméraire de 31 ans, Marcel, le seul à avoir perdu la vie dans cet affrontement, laisse dans le deuil sa femme enceinte de leur deuxième enfant, sa mère, trois frères et deux sœurs. Pendant des mois, les médias ne parlent que des événements entourant la crise qui durera 78 jours. Des images saisissantes dans les journaux ne font qu’empirer la situation, ainsi que la perception que la population a des Indiens, la mienne y comprise. Des cauchemars d’Indiens ravageant des maisons et tuant des Blancs viennent perturber mes nuits. Mais en bonne chrétienne, j’étouffe toutes les pensées négatives qui m’assaillent pour « pardonner » à celui qui a tué mon frère. J’ignore tout de la nature des revendications à l’origine de la crise, soit un terrain de golf que 9 le maire d’Oka veut agrandir en empiétant sur le cimetière et la pinède des Mohawks. Cependant, mon pardon n’est qu’intellectuel, superficiel. Certes, il repose sur un principe chrétien fondamental, mais il n’est pas profond; je ne le ressens pas vraiment. En outre, toutes sortes de propagandes racistes et d’informations tendancieuses réussissent à implanter fermement en moi des préjugés que je me garde bien de révéler. Découverte d’un nouveau monde Quatorze années s’écoulent quand un jour deux étudiants, qui travaillent pour la radio communautaire de l’Université McGill, me téléphonent et désirent me rencontrer pour m’interviewer sur la crise d’Oka. Hésitante et le cœur battant, je leur demande de m’accorder trois jours pour y réfléchir.
Load more

Recommended publications
  • 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]
  • Discursividade E Historicidade Nos Documentários De Alanis Obomsawin
    DISCURSIVIDADE E HISTORICIDADE NOS DOCUMENTÁRIOS DE ALANIS OBOMSAWIN. ∗ Luiz Alexandre Pinheiro Kosteczka Introdução. Este texto é fruto das reflexões iniciais do desenvolvimento da dissertação de mestrado intitulada Imagem e a Escrita Da História: Os filmes do Conflito de Oka de Alanis Obomsawin , pesquisa que analisa quatro documentários da extensa produção de Alanis Obomsawin, que, em dias atuais, supera o número de trinta documentos audiovisuais. Kanehsatake: 270 Years of Resistance , My Name is Kahentiiosta , Spudwrench: Kahnawake Man e Rocks at Whiskey Trench integram um grupo de filmes conhecido como “Oka Series”. Essa coleção de documentários originou-se de um conflito entre indígenas e o Estado canadense ocorrido no verão de 1990, no qual as populações dos territórios de Kanehsatake e Kahnawake enfrentaram as autoridades estatais para barrar um projeto de construção civil que adentraria nas reservas das Primeiras-Nações. O primeiro embate iniciou-se quando os indígenas fecharam o acesso ao local designado para o empreendimento imobiliário e turístico. A situação recrudesceu e tornou-se violenta: um tiroteio entre a Sûreté du Québec (Polícia Provincial) e os habitantes de Kanehsatake vitimou fatalmente o agente Marcel Lemay. Em seguida, membros do território vizinho de Kahnawake fecharam a Mercier Bridge. Foi nesse momento que os confrontos ganharam projeção nacional, principalmente pela intervenção militar do exército canadense e pelo início da cobertura jornalística. Nesses desdobramentos, Obomsawin ultrapassou o cerco militar e começou a documentar do lado indígena do conflito, lá permanecendo durante os 78 dias de duração do impasse. As filmagens da realizadora e da sua equipe da L’office National du Film/National Film Board (ONF/NFB), agência canadense de fomento e produção ∗ Mestrando no Programa História e Sociedade da Universidade Estadual Paulista – UNESP – Campus Assis, orientado pela Prof.
    [Show full text]
  • Renegotiating Identities, Cultures and Histories
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2012 Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land" Jennifer Danielle Mccall University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons, and the History of Art, Architecture, and Archaeology Commons Scholar Commons Citation Mccall, Jennifer Danielle, "Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land"" (2012). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4149 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro’s This Land is Mime Land By Jennifer McCall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts School of Art and Art History College of the Arts University of South Florida Major Professor: Riccardo Marchi, Ph.D. Elisabeth Fraser, Ph.D. Sara Crawley, Ph.D. Date of Approval: February 28, 2012 Keywords: Contemporary art, Canada, photography, feminist, Native American Copyright © 2012, Jennifer McCall ACKNOWLEDGEMENTS I would like to thank Dr. Riccardo Marchi, Dr. Elisabeth Fraser and Dr. Sara Crawley for all of their support and guidance over the past few years. Their knowledge inspired this project and their encouragement enabled me to carry it out.
    [Show full text]
  • Descarga Custodiada De Las Obras Hasta La Inauguración, En Lo Que Las Transformaciones Que El Turismo Provoca En Un País Que Está De Las Tierras Del Mundo
    Madrinazgo de Honor / Honorary Patroness S.A.R. la Princesa de Asturias / H.R.H. the Princess of Asturias En un tiempo tan complejo y cambiante como el que vivimos, el documental se ha El festival también dedicará una retrospectiva a Hanns Eisler, uno de los convertido en un instrumento esencial para descubrir y analizar las múltiples aristas compositores más importantes de la Alemania de entreguerras. Con la llegada del y los insalvables obstáculos a los que nos enfrenta, con toda crudeza, una realidad nazismo dio el salto a Nueva York, donde puso música a películas de directores tan caprichosa e incierta. afamados como Joris Ivens, Joseph Losey, Alain Resnais. El director catalán Gonzalo Enterarse, estar al tanto, de cuanto sucede, cerca y lejos; sopesar necesidades Herralde y el realizador italiano Tommaso Cotronei recibirán especial atención en e inconvenientes; apoyar o rechazar desde logros espléndidos a abusos intolerables. Documenta Madrid 2010, además de Joseph Strick y Ben Russell, quienes sorprenderán 8 Todas estas acciones resumen la labor de un documentalista. Pero, al mismo tiempo, por su temática y modernidad. 9 estos también nos entretienen, nos hacen sonreír, o quizá llorar, con la belleza de También se abordará el trabajo del estadounidense Peter Hutton, deudor de historias ferozmente humanas. Porque el cine documental nos reta a observar la un documentalismo experimental, que filma en blanco y negro. Esta retrospectiva es realidad, imponiéndose como única meta la sinceridad del propio relato. Por ello, la más amplia dedicada a su obra en Europa. Por ello contaremos con la presencia del despierta adhesiones, siembra solidaridades y, en definitiva, ayuda a construir nuestro propio autor, que desgranará en una clase magistral las claves de su trabajo.
    [Show full text]
  • Indian Art in the 1990S Ryan Rice
    Document generated on 09/25/2021 9:32 p.m. RACAR : Revue d'art canadienne Canadian Art Review Presence and Absence Redux: Indian Art in the 1990s Ryan Rice Continuities Between Eras: Indigenous Art Histories Article abstract Continuité entre les époques : histoires des arts autochtones Les années 1990 sont une décennie cruciale pour l’avancement et le Volume 42, Number 2, 2017 positionnement de l’art et de l’autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l’exposé des URI: https://id.erudit.org/iderudit/1042945ar faits de cette période avec des détails fort nécessaires. Pensé comme une DOI: https://doi.org/10.7202/1042945ar historiographie, il propose d’explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu’elles ont See table of contents suscitées du point de vue politique, artistique, muséologique et du commissariat d’expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la Publisher(s) communication originale au colloque, Mondialisation et postcolonialisme : Définitions de la culture visuelle , du Musée d’art contemporain de Montréal, il UAAC-AAUC (University Art Association of Canada | Association d'art des V reste urgent de faire une analyse critique des préoccupations contemporaines universités du Canada) plus vastes, relatives à la mise en contexte et à la réconciliation de l’histoire de l’art autochtone sous-représentée. ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Rice, R.
    [Show full text]
  • Tutti Maria Lucia Martins
    Dionne Brand and Alanis Obomsawin... 151 DIONNE BRAND AND ALANIS OBOMSAWIN: POLYPHONY IN THE POETICS OF RESISTANCE Maria Lúcia Milléo Martins Universidade Federal de Santa Catarina Abstract Activist artists Dionne Brand and Alanis Obomsawin have much in common in their poetics of resistance. Brand’s writings and documentaries explore issues of displacement, race, gender, and colonialism, revealing a constant determination in giving voice to what was silenced or marginalized by the dominant culture. Similarly, Obomsawin’s documentaries show a long commitment to the history of aboriginal people, reclaiming their sovereignty of voice. Making use of polyphony, these two artists contest hegemonic discourses and a nationalist aesthetic that either ignores or appropriates difference. This study discusses the implications of polyphony in Brand’s poetry and two documentaries, Sisters in the Struggle and Long Time Comin’, and in Obomsawin’s documentaries, Kanehsatake: 270 Years of Resistance and Rocks at Whiskey Trench. All evidences demonstrate fine specimens of applied poetics, faithful to their ethics of resistance. KeywordsKeywords: Dionne Brand, Alanis Obomsawin, poetics of resistance, polyphony. Dionne Brand, Caribbean-Canadian writer and film-maker, and Alanis Obomsawin, Aboriginal-Canadian filmmaker and musician, Ilha do Desterro Florianópolis nº 56 p. 151-164 jan./jun. 2009 152 Maria Lúcia Milléo Martins have a long repertoire in the poetics of resistance. Since the beginning of her career, Brand has been an activist in various fronts against discriminations of race, gender, and alien cultures of immigrants and aboriginals. She resists the myth of origin of Canada and all other forms of perpetuating colonialism and hegemony in the present.
    [Show full text]
  • Reference Guide This List Is for Your Reference Only
    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 ACT OF THE HEART BLACKBIRD 1970 / Director-Writer: Paul Almond / 103 min / 2012 / Director-Writer: Jason Buxton / 103 min / English / PG English / 14A A deeply religious woman’s piety is tested when a Sean (Connor Jessup), a socially isolated and bullied teenage charismatic Augustinian monk becomes the guest conductor goth, is falsely accused of plotting a school shooting and in her church choir. Starring Geneviève Bujold and Donald struggles against a justice system that is stacked against him. Sutherland. BLACK COP ADORATION ADORATION 2017 / Director-Writer: Cory Bowles / 91 min / English / 14A 2008 / Director-Writer: Atom Egoyan / 100 min / English / 14A A black police officer is pushed to the edge, taking his For his French assignment, a high school student weaves frustrations out on the privileged community he’s sworn to his family history into a news story involving terrorism and protect. The film won 10 awards at film festivals around the invites an Internet audience in on the resulting controversy. world, and the John Dunning Discovery Award at the CSAs. With Scott Speedman, Arsinée Khanjian and Rachel Blanchard. CAST NO SHADOW 2014 / Director: Christian Sparkes / Writer: Joel Thomas ANGELIQUE’S ISLE Hynes / 85 min / English / PG 2018 / Directors: Michelle Derosier (Anishinaabe), Marie- In rural Newfoundland, 13-year-old Jude Traynor (Percy BEEBA BOYS Hélène Cousineau / Writer: James R.
    [Show full text]
  • North American Indigenous Cinema and Its Audiences
    _________________________________________________________________________Swansea University E-Theses North American indigenous cinema and its audiences. De Ruiter, Brian How to cite: _________________________________________________________________________ De Ruiter, Brian (2013) North American indigenous cinema and its audiences.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42866 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ North American Indigenous Cinema and its Audiences Brian de Ruiter Submitted to Swansea University in fulfilment of the requirements for the Degree of Doctor of Philosophy Swansea University 2013 ProQuest Number: 10821256 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • NFB Annual Report 2001
    2000-2001 ANNUAL 2000-2001 ANNUAL REPORT NATIONAL FILM BOARD OF CANADA NATIONAL FILM BOARD OF CANADA OFFICE NATIONAL DU FILM DU CANADA Ottawa, July 2001 The Honourable Sheila Copps Minister of Canadian Heritage Ottawa, Ontario Minister: I have the honour of submitting to you, in accordance with the provisions of sec- tion 20(1) of the National Film Act, the Annual Report of the National Film Board of Canada for the period ended March 31, 2001. The report also provides highlights of noteworthy events which occurred during this fiscal year. Yours respectfully, Jacques Bensimon Government Film Commissioner and Chairperson 3 4 T ABLE OF CONTENTS NFB PROFILE 6 BOARD OF TRUSTEES 7 CHAIRPERSON’S MESSAGE 8 FULFILLING OUR MANDATE... AND MORE! 12 OTHER HIGHLIGHTS 16 AWARDS 18 PRODUCTIONS 25 VERSIONS AND ADAPTATIONS 36 SUMMARY OF ACTIVITIES • PRODUCTION 42 SUMMARY OF ACTIVITIES • CANADIAN DISTRIBUTION 43 SUMMARY OF ACTIVITIES • INTERNATIONAL DISTRIBUTION 44 SUMMARY OF ACTIVITIES • TECHNICAL SERVICES 45 FINANCIAL STATEMENTS 47 NFB OFFICES AND PARTNERS 59 The National Film Board of Canada is a unique centre Board for the creation of audiovisual materials. Its mandate of Trustees (chaired by remains to produce and distribute films and other the Government film audiovisual works intended for Canadian audiences Commissioner) NFB PROFILE and foreign markets, in order to increase viewers’ knowledge and understanding of the social and cultural Sandra Macdonald Geneviève Cousineau realities of Canada. Government Film Board of Trustees Commissioner Secretariat and and Chairperson Legal Affairs NFB films are produced in both official languages through its English and French Programs, by in-house and independent filmmakers across the country.
    [Show full text]
  • Additional Resources Toolkit
    introduction01 a word on words04 fears & phobias06 your sexual self12 the transgender journey16 coming out20 our inner circle26 the body image brainwash32 find a health care professional36 coping with fears and challenges38 reach out: resources42 AAgainstgainst HHomophobia,omophobia, BBiphobia,iphobia, ttransphobiaransphobia aandnd hheterosexismeterosexism Knowing and accepting yourself as gay, lesbian, bisexual, transgender, two-spirit or just plain queer can be a freeing experience. It is also something that you should feelproud about! Acknowledging and accepting your sexual orientation and gender identity can be a unique and amazing journey. It may also present challenges at times. This awesome journeyACKNOWLEDGEMENTS will happen over a lifetime and will be different for every person. The Rainbow Resource Centre would like to acknowledge the contributions Itof will the following almost individuals, always organizations, include and the businesses: process of coming out to ourselves and others; discoveringAuthor: theReece uniqueness Lagartera of the queer community; and working through some diffiIllustrations: cult personal Leticia Spenceand social attitudes. It may infl uence some of your current Design: Blindside Creative friendships,Photography: andDaryl Malone lead Photography to new friendships and relationships that will last a lifetime. Editor: Oya Creative TheA big purposethank you to theof Rainbow this bookletResource Centre’s is to Youth share Group informationand about some of the challenges, providePeer Project resources 4 Youth. Without to your help input, youthis booklet cope, would and not be let possible. you know loud and clear: It is our hope that we were able to refl ect your experiences. you are not alone! Thank you to Shelly Smith for supervisory support, and to all the editors, contributors, and models for taking the time to participate in the development of this booklet.
    [Show full text]
  • 2008-2009 ANNUAL REPORT the World Changes Our Stories Live On
    The World Changes Our Stories Live On 2008-2009 ANNUAL REPORT The World Changes Our Stories Live On © 2010 National Film Board of Canada PUBLISHED BY PHONE 514-283-9246 Communications Service FAX 514-283-8971 PO Box 6100, Station Centre-ville INTERNET onf-nfb.gc.ca Montreal, Quebec H3C 3H5 ISBN 0-7722-1265-1 1st quarter 2010 DESIGN Folio et Garetti Printed in Canada / Recycled paper Table of contents 1. Message from the Government Film Commissioner ............................ 05 2. About the National Film Board of Canada .............................................. 11 3. Highlights of the Year .............................................................................. 15 4. Progress Toward Our Strategic Goals .................................................... 21 5. Awards Highlights .................................................................................. 49 6. Governance .............................................................................................. 54 7. Senior Management ................................................................................ 55 8. Summary of Activities.............................................................................. 56 9. Financial Statements .............................................................................. 59 | 1 ANNEX I: NFB across Canada ANNEX II: Partner libraries in Canada ANNEX III: Awards ANNEX IV: Productions ANNEX V: Independent Film Projects supported by ACIC (Aide au cinéma indépendant – Canada) Independent Film Projects supported by FAP (Filmmaker
    [Show full text]
  • Terror – Terrorism?: Land, Colonization, and Protest 293 TERRA – TERROR – TERRORISM?: LAND, COLONIZATION, and PROTEST in CANADIAN ABORIGINAL LITERATURE
    Terra – Terror – Terrorism?: Land, Colonization, and Protest 293 TERRA – TERROR – TERRORISM?: LAND, COLONIZATION, AND PROTEST IN CANADIAN ABORIGINAL LITERATURE Kerstin Knopf University of Greifswald Institute of British and North American Studies Steinbeckerstr. 15 17487 Greifswald, Germany [email protected] Abstract / Résumé This paper takes the 25th anniversary of the Canadian Constitution of 1982 as a starting point to discuss its meaning and consequences for Aboriginal people in Canada. This discussion leads to a review of the land claim settlement process, encouraged by the Constitution Act, pend- ing land claims, and Aboriginal protest against appropriation of con- tested lands. The paper furthermore looks at the media coverage of this protest that was often biased and created and/or reinforced the image of the ‘terrorist warrior.’ In a second part, the paper examines how these issues are contextualized in four texts by Canadian Aboriginal writers: Jeannette Armstrong’s Slash, Lee Maracle’s Sundogs, Jordan Wheel- er’s “Red Waves,” and Richard Wagamese’s A Quality of Light. These texts make clear that Aboriginal protest is related to the issue of the dispossession of Aboriginal land, and ensuing violence to the state’s reaction to such protest which became slandered as (terrorist) violence. L’article utilise le 25e anniversaire de la Constitution canadienne de 1982 comme prétexte d’une discussion de sa signification et de ses conséquences pour les peuples autochtones au Canada. La discussion mène à un examen du processus de règlement des revendications territoriales, qui a été favorisé par la Loi constitutionnelle de 1982, des revendications territoriales à régler et des protestations autochtones contre l’appropriation des terres contestées.
    [Show full text]