DOCSLIB.ORG

National Screen Institute–Canada ANNUAL REPORT 04| 05

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Screen Institute–Canada ANNUAL REPORT 04| 05 National Screen Institute – Canada ANNUAL REPORT 04| 05 measuringsuccessframebyframe! THE NATIONAL SCREEN INSTITUTE – CANADA (NSI) is pleased to present a record year of success in our 2004-2005 Annual Report. Our market-driven programs have led to employment for emerging talent by providing a competitive edge – over 80% of NSI graduates work in the industry! How do we do it? NSI seeks emerging and mid-career content creators with ideas and dreams that can be realized as award-winning and commercially successful fi lms and television productions. NSI delivers hands-on experience in developing and producing productions March 2 to 5, 2005 Winnipeg Tickets start at $7* For tickets, call 780-3333 or visit www.ticketmaster.ca Full Festival information at www.nsi-canada.ca or call 956-7800. *agency fee applies Event Partners Offi cial Media Sponsors that get noticed. NSI provides access to leading industry professionals who know what sells. NSI Table of Contents transforms career potential into a vibrant life in the 3 Profi le industry. This winning approach makes NSI the ideal 4 Message from the Chair choice for the most promising Canadian talent across 5 Message from the CEO the country. 7 NSI ZeD Drama Prize 9 NSI Aboriginal Youth Pilot Project For nearly 20 years, NSI has been delivering results by 11 NSI Features First offering professional development programs in close 15 NSI Totally Television consultation with the industry, and with an eye on 17 Spark Plug Program - Telefi lm Canada future trends. As one of four federally recognized and 19 NSI Global Marketing supported National Training Schools for emerging and 21 NSI Aboriginal Cultural Trade Initiative 23 NSI FilmExchange mid-career writers, directors and producers, NSI plays a 26 Filmmakers of Tomorrow leading role in preparing Canadian content creators for 29 Trendsetters viable and sustainable careers, without their having to 31 Globetrotters relocate to Toronto, Montreal or Vancouver for training. 35 NSI Board of Directors 36 Professional Leadership 38 Staff and Faculty 40 Partners and Sponsors 43 2004-2005 Audited Financial Statements 52 2005-2006 Operating Budget 1 ideasdreamsexperienceaccesslife PROFILE industry’s desire to refl ect Canada’s diversity on their screens. What is NSI? Founded in 1986, the National Screen Institute – Canada NSI is a leader in fostering excellence and developing (NSI) is the oldest Canadian training school for writers, talent for Canadian fi lm and television. With over 80% producers and directors working in fi lm and television. of NSI graduates working in the industry, participants It is one of four federally recognized and supported don’t just learn about the process – they live it. National Training Schools for professional development What is the NSI mission? in fi lm and television. NSI supplies innovative, focused, applied professional NSI provides market-driven training through four core training, leading participants to successful careers as programs: NSI FEATURES FIRST, NSI TOTALLY TELEVISION, writers, directors and producers in Canada’s fi lm and NSI ZeD DRAMA PRIZE, and NSI GLOBAL MARKETING. television industry. Each is designed to meet the needs of individuals with How is NSI structured? various levels of experience. Every program is centred An up to a 20-member Board of Directors, chaired by around the philosophy that the best way to Laura Michalchyshyn, oversees the operations of the learn is by doing. National Screen Institute – Canada. The Chief Executive Offi cer is Susan Millican, who reports directly to the NSI is a “SCHOOL WITHOUT WALLS.” Instead Board of Directors. of bringing students to a single facility, NSI takes its programs on the road, training participants in various How is NSI funded? Canadian centres and providing mentors in their Corporate Sponsorship communities, so they don’t have to move. This results in Government* 32% 65% a greater pool of talent from all regions in Canada. NSI delivers innovative programs that reach underserved communities. Programs such as NSI ABORIGINAL CULTURAL TRADE INITIATIVE (ACTI), Earned NSI ABORIGINAL YOUTH PILOT PROJECT (AYPP) and Revenue 3% TELEFILM CANADA SPARK PLUG PROGRAM recognize the * various federal, provincial and municipal government and agency sources, including National Training School support from the Department of Canadian Heritage, as administered through Telefi lm Canada l to r: past NSI fi lm projects: Leaving Metropolis (NSI Features First), Flower & Garnet (NSI Features First), My Original Sin (NSI ZeD Drama Prize) 3 dedictedworkandvision MESSAGE FROM THE CHAIR this opportunity to welcome Directors Jean LaRose of APTN, Peter Moss of Corus Entertainment, Brad I am pleased to present another year of success as Pelman of Lions Gate Films, and Paul Gratton of captured in the 2004-2005 NSI Annual Report. This past CHUM. I would also like to welcome Liz Janzen as our year marks a signifi cant milestone – the fi nal year of new Director of Programming and NSI FilmExchange implementation of our fi ve-year Strategic Business Plan. Canadian Film Festival. Finally, congratulations to the Thanks to the tireless efforts and dedication of NSI Staff staff and new and returning program managers for and Board members, past and present, I am proud to initiating and leading new curriculums, and growing report that NSI has surpassed identifi ed goals. and strengthening our core programs. This combined As we approach our 20th Anniversary, it is inevitable expertise will ensure NSI has continued success as a that we refl ect on the past and the collective efforts leader in fi lm and television training. made to build NSI to what it is today – the ideal Our investment in research and development has choice for professional fi lm and provided the foundation for the improvements and television training in Canada. successes recorded in this Annual Report. Studies and The dedicated work strategic plans, such as the National Marketing Plan, and vision of current Economic Impact Study, Environmental Scan of Film and outgoing staff and Television Training Schools and annual participant and Board members Evaluation Reports, based on performance measures are noted with identifi ed by Telefi lm Canada, have served as invaluable tools for ensuring the stable growth of the organization. great appreciation. The organization is I am pleased to report that measures adopted in the last three fi scal years, including strong fi scal stronger than ever. management, improved marketing and responsive I would like to acknowledge the work, dedication program evaluation, have resulted in substantial and commitment of Susan Millican - CEO, Alex Raffé achievements for NSI graduates as evidenced in this - Vice Chair, and Committee Chairs Louise Clark Annual Report. (Programming), Marlene Kendall (Finance), and Carole Vivier (Corporate Development), as well as all of the Board who participate on committees and provide valuable insight, wisdom and advice. Fiscal year 2004-2005 proved to be a year of transition as we prepare to embark on the next 20 years. To ensure the stable growth of the organization, NSI expanded the number of Directors on the Board of Laura Michalchyshyn Directors from 15 to 20 members. I would like to take Chair, NSI Board of Directors 4 buildingfromsuccesstosuccess MESSAGE FROM THE CEO for mid to advanced level visible minority and Aboriginal producers in March 2005. I believe this request, and Over 80% of NSI graduates are our ability to respond quickly, demonstrates NSI’s employed in the fi lm and television leadership in creating diversity initiatives that work! industry – this is the measure of We have now added Spark Plug to the mix and we are our success! not stopping there. In the coming year we hope to extend ACTI, roll AYPP into a national program, and This fact does not come close to defi ning the quality of introduce a Northern Training Program, to provide that success. In this year’s Annual Report you will see access to underserved remote communities. With 50% that the personal accomplishments of NSI graduates of the Aboriginal population being under the age of have been inspirational. 25 and barriers to meaningful career development in For the last three years, we have made diversity creative fi elds being formidable, training a priority. The NSI Aboriginal Cultural Trade NSI recognized an important need Initiative (ACTI) was introduced in 2003-2004 under and tackled it. the NSI Global Marketing Program. This unique We also recognize that the future professional development opportunity for Canadian strength of the Canadian fi lm and Aboriginal producers culminated with a trade mission to television industry lies with the Australia and New Zealand. In 2004-2005, a new round talent of our youth. New directions began with Aborigine and Maori producers traveling include introducing “Electronic to Winnipeg to continue building relationships with Gaming” development programs the aim of creating co-productions between Canada and other new media initiatives and Australia, and Canada and New Zealand. The NSI that appeal to a technically savvy Aboriginal Youth Pilot Project (AYPP) was launched in generation. We also hope to reach January 2005. It was developed to expose Aboriginal new participants with our youth outreach initiatives youth to the fi lm and television industry through and have grouped them together under one umbrella, experience and training. The 16-week program provided “Filmmakers of Tomorrow”. participants with a wage throughout and was divided into two phases: four weeks of workshops
Load more

Recommended publications
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Cuidados Paliativos E Terminalidade No Cinema
    SESSÃO AVERROES Cinema e Reflexão 2009 CINEMATECA BRASILEIRA Largo Senador Raul Cardoso, 207 Próximo ao metrô Vila Mariana, DETRAN e Instituto Biológico Informações: 11. 3512.6111 r 215 www.cinemateca.gov.br www.spinternacoes.com.br www.obore.com “O sofrimento somente é intolerável quando ninguém cuida”. Cicely Saunders 2 CUIDADOS PALIATIVOS E TERMINALIDADE NO CINEMA Esta é uma seleção de filmes que apresentam em seu enredo uma série de situações ligadas ao sofrimento das pessoas quando acometidas por doenças terminais, como o câncer, que é a mais comum, ou quando se encontram em condições de dependência total ou parcial dos cuidados da família ou de outros. Neles são relatados desde o diagnóstico e a comunicação da doença, as reações e mudanças provocadas na estrutura familiar, nos parentes e no próprio paciente, a evolução do tratamento, o sofrimento do paciente, o meio hospitalar, as despedidas e o fim. Nada melhor do que a arte - neste caso, o cinema - para provocar a reflexão e os estudos necessários para se humanizar situação tão sofrida e difícil de lidar, tanto pelos profissionais quanto pelos familiares e pelo paciente. Cada vez mais as artes vêm sendo utilizadas no ensino e no aprendizado das áreas do comportamento humano, nas escolas. Da mesma forma tem sido muito utilizada na terapêutica do sofrimento psíquico. Há muitos outros filmes, documentários, curtas que falam do assunto, esta é apenas uma pequena amostra do que pode ser encontrado nas vídeolocadoras e, portanto, fáceis de serem utilizados. Façam bom proveito! Kleber
    [Show full text]
  • Concevoir Et Animer Pour L'acceptation De Robots
    Concevoir et animer pour l’acceptation de robots zoomorphiques Adrien Gomez To cite this version: Adrien Gomez. Concevoir et animer pour l’acceptation de robots zoomorphiques. Art et histoire de l’art. Université Toulouse le Mirail - Toulouse II, 2018. Français. NNT : 2018TOU20048. tel- 02466318 HAL Id: tel-02466318 https://tel.archives-ouvertes.fr/tel-02466318 Submitted on 4 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Délivré par Université Toulouse – Jean Jaurès Adrien Gomez Le 30 Août 2018 Concevoir et Animer pour l’Acceptation de Robots Zoomorphiques École doctorale et discipline ou spécialité ED ALLPH@: Études audiovisuelles Unité de recherche LARA (Université Toulouse Jean Jaurès) – LIRMM (Université Montpellier) Directeur(s) de Thèse M. Gilles METHEL M. René Zapata Co-encadrant de Thèse M. Sébastien Druon Jury Chu-Yin Chen, Professeure, université Paris 8 Sylvie Lelandais, Professeure, Université Evry-Val d’Essonnes Gilles Methel, Professeur, Université Toulouse2-Jean Jaurès René Zapata, Professeur, LIRMM Montpellier Sébastien
    [Show full text]
  • BABEL and the GLOBAL HOLLYWOOD GAZE Deborah Shaw
    02_shaw:SITUATIONS 10/16/11 12:40 PM Page 11 BABEL AND THE GLOBAL HOLLYWOOD GAZE Deborah Shaw BABEL AND THE GLOBAL HOLLYWOOD GAZE n popular imaginaries, “world cinema” and Hollywood commercial cinema appear to be two opposing forms of filmic production obeying Idiverse political and aesthetic laws. However, definitions of world cin- ema have been vague and often contradictory, while some leftist discourses have a simplistic take on the evils of reactionary Hollywood, seeing it in rather monolithic terms. In this article, I examine some of the ways in which the term “world cinema” has been used, and I explore the film Babel (2006), the last of the three films of the collaboration between the Mexicans Alejandro González Iñárritu and screenwriter Guillermo Arriaga.1 Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I exam- ine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cul- tures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios?2 I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways.
    [Show full text]
  • Download the Production Notes
    THIS MATERIAL IS ALSO AVAILABLE ONLINE AT http://www.bvpublicity.com © 2007 Buena Vista Pictures Marketing and Walden Media, LLC. All Rights Reserved. Disney.com/Terabithia BRIDGE TO TERABITHIA PRODUCTION NOTES “Just close your eyes and keep your mind wide open.” PRODUCTION NOTES —Leslie Deep in the woods, far beyond the road, across a stream, lies a secret world only two people on Earth know about—a world brimming with fantastical creatures, glittering palaces and magical forests. This is Terabithia, where two young friends will discover how to rule their own kingdom, fight the forces of darkness and change their lives forever through the power of the imagination. From Walt Disney Pictures and Walden Media, the producers of “The Chronicles of Narnia,” and based on one of the most beloved novels of all time, comes an adventurous and moving tale that explores the wonders of friendship, family and fantasy: BRIDGE TO TERABITHIA. The story begins with Jess Aarons (JOSH HUTCHERSON), a young outsider on a quest to become the fastest kid in his school. But when the new girl in town, Leslie Burke (ANNASOPHIA ROBB), leaves Jess and everyone else in her dust, Jess’s frustration with her ultimately leads to them becoming fast friends. At first, it seems Jess and Leslie couldn’t be more different—she’s rich, he’s poor, she’s from the city, he’s from the country—but when Leslie begins to open up the world of imagination to Jess, they find they have something amazing to share: the kingdom of Terabithia, a realm of giants, ogres and other enchanted beings that can only be accessed by boldly swinging across a stream in the woods on a strand of rope.
    [Show full text]
  • October 14 - 18, 2009
    Presenting Sponsor: October 14 - 18, 2009 www.imagineNATIVE.org Staff 5 Venues & Box Office 6 Schedule 8 Special Events 10 A Decade at a Glance 11 Sponsors 12 Acknowledgments 14 In Memory of Ellen Monague 15 A Message from imagineNATIVE 16 Greetings 19 Mediatheque 25 New Media Installation 26 New Media Works 28 Radio Works 29 Special Program at the AGO 31 Welcome Reception 34 Opening Night Screening 35 Film & Video Screenings Thursday, Oct. 15 36 Friday, Oct. 16 51 Saturday, Oct. 17 64 Sunday, Oct. 18 78 New Media Mash-Up 48 The Beat 77 Closing Night Screening 83 10th Anniversary Awards 84 Workshops & Panels 86 Index 90 2 3 imagineNATIVE Film + Media Arts Festival 401 Richmond Street West, Suite 349 Toronto, Ontario M5V 3A8 Canada Tel: +1.416.585.2333 Fax: +1.416.585.2313 Left to Right: Violet Chum, Michelle Latimer, Daniel Northway-Frank, [email protected] Kerry Swanson, Sage Paul, Stephanie McArthur www.imaginenative.org Missing from Photo: Kerry Potts Staff Executive Director: Kerry Swanson Director of Development: Kerry Potts Artistic Director (on maternity leave): Danis Goulet Programming Manager: Michelle Latimer Events & Communications Manager: Sage Paul Associate Programmer: Terril Calder Left to Right: Denise Bolduc, Eileen Arandiga, Programming Coordinator: Daniel Northway-Frank Charlotte Engel, Kathleen Meek, Julie Wente, Gail Maurice, Gisèle Gordon Festival Coordinator: Stephanie McArthur Administrative Assistant: Violet Chum Volunteer & Front of House Coordinator: Amy Rouillard Board of Directors Print Traffic Coordinator:
    [Show full text]
  • Annual Impact Report Year 2 - 2018 CONTENT
    Annual Impact Report Year 2 - 2018 CONTENT 3 Letter from our Founders 4 Our Mission 5 About Us 6 Our Reach | 2018 At a Glance 7 We Matter Campaign 8 Activities • Toolkits • Workshops & Presentations • National #HopeForum • Hope Council • Ontario Support Network 19 Facebook Partnership 20 Moving forward 20 Media Features & Highlights 21 Team & Acknowledgments I Matter. You Matter. We Matter. 2 Letter from our Founders 2018 was a year of growth, creation, sures that we are doing all that we can to get our and capacity building for We Matter. message and resources to those who truly need it. We Matter Toolkits have proven a unique and Year 1 showed us the challenges, strengths, engaging means of being able to start conver- and power of Indigenous youth, so year 2 was sations on hardship, hope, and healing within all about harnessing this knowledge from our youth and community contexts. successful We Matter workshops, and translating it into accessible and empowering new projects We hope this report gives insight into the pow- for years to come. We slowed down our number erful and much needed work that We Matter of workshops and presentations in schools and has committed to in only its second full year of communities across the country in order to bring operations. Sharing, spreading, and encouraging Indigenous youth together and create resources HOPE, CULTURE & STRENGTH is how we remind to build capacity at the youth and community Indigenous youth across the country that they level. matter, and that anything is possible with the right supports and resources. We want to thank everyone who has continued to support our work, and who believes in a world We want to thank everyone who has where Indigenous youth know they matter.
    [Show full text]
  • 2 Spirits Bio's and Workshop Information 2018-Final 2
    Conference Overview Thursday, February 15th, 2018 8:15am – 8:45am – Registration Opens 9:15am – Opening Prayer Traditional Welcome-Skip Dick Traditional Drum Song- ANSWER Welcome-MLA Randall Garrison Housing keeping Items 9:45am – Keynote Speaker-Jack Saddleback 10:30am- Nutrition Break/Information Sessions 11:15am- Speaker Kelvin Redvers- WE MATTER 12:00pm- Lunch at VNFC 12:30pm- Information Booths 1:00-2:30pm- Workshops Session A 2:30-3:00pm- Nutrition Break/Information Booths 3:00-4:30pm- Workshops Session B 4:30pm – End of the Day- Door prize draw Friday, February 16th, 2018 9:15am – Youth Panel Presentation 10:00am- Nutrition Break/Information Booths 10:30am- Workshops Session C 12:00pm- Lunch at VNFC 12:30pm- Information Booths-Grand Prize Draw 1:00-2:30pm- Workshop Session D 2:30-3:00pm-Conference Wrap Up Speakers and Workshop Presenters Jack Saddleback– Keynote Speaker Jack Saddleback is an award-winning artist who delves into many art mediums that cover such topics as gender, sexuality and race. Jack is a Cree two-spirit transgender gay man from the Samson Cree Nation in Maskwacis, Alberta. Growing up as a genderqueer child, he faced bullying and discrimination at school and in his community. He was diagnosed with severe depression. With the help of conventional therapy in conjunction with traditional Cree ceremonies that place a holistic lens on recovery, he was able to overcome his depression. As president of the University of Saskatchewan Students’ Union for the 2014-15 academic year, Jack worked to promote mental health among undergraduate students. Along with mental health activism, he advocates for gender and sexual diversity issues, two-spirit issues, and HIV/AIDS.
    [Show full text]
  • Teaching Indigenous Literatures
    Teaching Indigenous Literatures “Indigenous literatures have dramatically changed the literary, cultural, and theoretical landscape of English studies in Canada” – Emma LaRocque (Cree-Métis) Thanks to the prodigious output and brilliant creativity of Indigenous writers and scholars, there has been increased academic attention to, and interest in, Indigenous literary works . Indigenous artists not only have garnered much attention through major Canadian literary awards, they also have been at the forefront of literary innovation. For scholars less familiar with Indigenous literatures, these works offer an exciting new foray into literary study.. The experience, however, can also be challenging, especially for non-Indigenous scholars who aspire to engage with, and to teach, Indigenous literature in a culturally-sensitive manner. For those who aspire toward such an ethical approach, this list is an excellent starting point. Though far from exhaustive, it provides an overview of Indigenous writings from Turtle Island (North America), thus acting as a gateway into the complex network of Indigenous literatures in its various styles, genres, and subject-matters. In addition to well-known works, new works from emerging Indigenous writers are also identified. This annotated bibliography thus attempts to offer a diverse glimpse of the historic, thematic, and cultural breadth of Indigenous literatures emerging from centuries-long traditions of story, song, and performance – something representative of hundreds of different nations and tribes on Turtle Island. Since it is impossible to name works from all of these multinational voices, this list aspires merely to identify a broad range of writers from various Indigenous nations, albeit with a strong local focus on Anishinaabe, Cree, and Métis authors, upon whose territories and homelands the University of Manitoba is located.
    [Show full text]
  • Changing the Narrative from the Inside: a Look at How Strength and Narrative Based Service Delivery Can Function As a Space of Resistance for Indigenous Women
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-13-2021 2:00 PM Changing the narrative from the inside: A look at how strength and narrative based service delivery can function as a space of resistance for Indigenous women Jennifer Elgie, The University of Western Ontario Supervisor: Shuey, K., The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in Sociology © Jennifer Elgie 2021 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Elgie, Jennifer, "Changing the narrative from the inside: A look at how strength and narrative based service delivery can function as a space of resistance for Indigenous women" (2021). Electronic Thesis and Dissertation Repository. 7752. https://ir.lib.uwo.ca/etd/7752 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This research focuses on the narrative surrounding Indigenous women by examining different knowledge sources – news stories and life stories, as they transpire within different knowledge spaces – non-Indigenous newspapers, the London Free Press and the Globe and Mail, and an Indigenous service delivery organization called Positive Voice. Drawing on an Indigenous aligned feminist mixed-methodological approach, this research had three main objectives: 1) to document and critically analyze the current mainstream narrative surrounding Indigenous women; 2) to understand the narratives Indigenous women share themselves in order to bring meaning to their experiences, from their own voices; and 3) to understand how service delivery might act as a thread between these diverging sources of representation.
    [Show full text]
  • Comprehensive School Community Health Better Health = Better Learners January 2017
    Comprehensive School Community Health Better Health = Better Learners January 2017 In Saskatchewan, the Ministries of Education and Health are committed to using a Comprehensive School Community Health (CSCH) approach to help guide and coordinate government actions and encourage strong family, school and community partnerships to improve student success and well-being. Aligning with Saskatchewan’s priorities, the CSCH approach promotes collaborative action for the enhancement of student learning, skill development, academic achievement and reduced absenteeism. While contributing to better health of the population, CSCH supports children and youth to become physically, mentally, spiritually and emotionally healthy. This approach focuses on creating opportunities for children and youth to experience healthy, supportive, and equitable learning environments where all students feel safe, cared for and respected. What’s Inside? • Welcome to 2017 • Share a CSCH Story • Local Story – Palliser Heights Elementary School • 2016-17 Student First Anti-Bullying Forum • Joint Consortium for School Health Stories Map • Halifax elementary school students celebrate harvest with lunch • Opaskwayak Cree Nation students hunt, trap for grades • Canadian high schools getting creative in push to raise graduation rates A Message from your CSCH Coordinators Welcome to 2017! Not only is 2017 the beginning of a new year, it also marks Canada’s 150th birthday! Many activities and events are scheduled to celebrate our amazing country. Please visit the Canada 150 website to learn more. For ways to celebrate in the classroom, visit the Canada Games Activity Challenge webpage. The challenge begins February 13, 2017. Be sure to register by January 27, 2017 to join thousands of classrooms across Canada to become more active and to celebrate Canada’s 150th and the Canada Games’ 50th birthdays.
    [Show full text]
  • Film + Media Arts Festival October 16 – 20
    14th Annual PRESENTING SPONSOR film + media arts festival OCTOBER www.imagineNATIVE.org 16 – 20 Download the imagineNATIVE A iPhone app B 1 2 3 Presenting Sponsor: Platinum: Gold: HEX 333092 PANTONE 182-2U PANTONE VIOLET Silver: UNCOATED PAPER COATED PAPER Bronze: Media: 4 Public Funders: Community Partners: No'kmaq Village Festival Hotel: Festival Restaurant: Hospitality: Friends: Foundations: DHL (www.dhl.com) Inspirit Foundation Niagara Custom Lab (www.niagaracustomlab.com) The J.W. McConnell Family Foundation SABAR (www.sabar.ca) Ontario Trillium Foundation Technicolor (www.technicolor.com) 5 6 14th Annual film + media arts festival www.imagineNATIVE.org About imagineNATIVE 8 Festival Board + Staff 9 Festival Village Venues + Map 10 Special Events 12 Box Office Info 13 Festival Workshop & Screening Schedule 14 Acknowledgements 18 In Memoriam: August Schellenberg 19 Festival Greetings 20 Special Programming 29 The Uncanny Art Crawl 29 Lovesick Child 30 Trade Marks 34 in Pursuit of Venus 34 In the Similkameen / Similkameen Crossroads 35 Ghost Dance / Time Traveller 35 International Spotlight on the Maori Nation 36 indigiTALKS Video Essay Project 38 COYOTE X 39 iN the Sky: Indigenous Canadian Shorts with Air Canada! 39 New Media Works 40 Commissioned Works 42 Radio Works 43 Opening Gala Celebration 45 Thursday, October 17 46 Friday, October 18 56 Saturday, October 19 65 Awards Jury 76 Awards Show 77 Sunday, October 20 81 Closing Gala Screening 87 Industry Series Workshops & Panels 91 Mediatheque 95 Print Source Index 96 Artist Index 101 Country/Province Index 102 7 The five-day imagineNATIVE Film + Media Arts Festival and imagineNATIVE’s year-round initiatives – including the imagineNATIVE Film + Video Tour and the indigiFLIX Community Screening Series – fill a void in the artistic and cultural landscapes of Toronto in which Indigenous filmmakers and media artists are often underrepresented imagineNATIVE or misrepresented.
    [Show full text]