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Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
Short Film Programme
SHORT FILM PROGRAMME If you’d like to see some of the incredible short films produced in Canada, please check out our description of the Short Film Programme on page 50, and contact us for advice and assistance. IM Indigenous-made films (written, directed or produced by Indigenous artists) Films produced by the National Film Board of Canada NFB CLASSIC ANIMATIONS BEGONE DULL CARE LA FAIM / HUNGER THE STREET Norman McLaren, Evelyn Lambart Peter Foldès 1973 11 min. Caroline Leaf 1976 10 min. 1949 8 min. Rapidly dissolving images form a An award-winning adaptation of a An innovative experimental film satire of self-indulgence in a world story by Canadian author Mordecai consisting of abstract shapes and plagued by hunger. This Oscar- Richler about how families deal with colours shifting in sync with jazz nominated film was among the first older relatives, and the emotions COSMIC ZOOM music performed by the Oscar to use computer animation. surrounding a grandmother’s death. Peterson Trio. THE LOG DRIVER’S WALTZ THE SWEATER THE BIG SNIT John Weldon 1979 3 min. Sheldon Cohen 1980 10 min. Richard Condie 1985 10 min. The McGarrigle sisters sing along to Iconic author Roch Carrier narrates A wonderfully wacky look at two the tale of a young girl who loves to a mortifying boyhood experience conflicts — global nuclear war and a dance and chooses to marry a log in this animated adaptation of his domestic quarrel — and how each is driver over more well-to-do suitors. beloved book The Hockey Sweater. resolved. Nominated for an Oscar. -
NATIONAL FILM BOARD of CANADA FEATURED at Moma
The Museum off Modern Art 50th Anniversary NO. 16 ID FOR IMMEDIATE RELEASE March 3, 1981 DOCUMENTARY FILMS FROM THE NATIONAL FILM BOARD OF CANADA FEATURED AT MoMA NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE is a three-part tribute presented by The Museum of Modern Art in recog nition of NFBC's 41 years Of exceptional filmmaking. PART TWO: DOCUMENTARY FILMS, running from March 26 through May 12 in the Museum's Roy and Niuta Titus Auditorium, will trace the develop ment of the documentary form at NFBC, and will be highlighted by a selection of some of the finest films directed by Donald Brittain, whose work has won wide acclaim and numerous awards. PART TWO: DOCUMENTARY will get off to an auspicious start with twelve of Donald Brittain's powerful and unconventional portraits of exceptional individuals. Best known in this country for "Volcano: An Inquiry Into The Life and Death of Malcolm Lowry" (1976), Brittain brings his personal stamp of creative interpretation to such subjects as America's love affair with the automobile in "Henry Ford's America" (1976) ; the flamboyant Lord Thompson of Fleet Street (the newspaper baron who just sold the cornerstone of his empire, The London Times) in "Never A Backward Step" (1966); Norman Bethune, the Canadian poet/ doctor/revolutionary who became a great hero in China when he marched with Mao ("Bethune" 1964); and the phenomenal media hysteria sur rounding the famous quintuplets in "The Diorme Years" (1979) . "Memo randum" (1965) accompanies a Jewish glazier from Tcronto when he takes his son back to the concentration camp where he was interned, an emotion al and historical pilgrimage of strong impact and sensitivity. -
Northern Conference Film and Video Guide on Native and Northern Justice Issues
DOCUMENT RESUME ED 287 653 RC 016 466 TITLE Northern Conference Film and Video Guide on Native and Northern Justice Issues. INSTITUTION Simon Fraser Univ., Burnaby (British Columbia). REPORT NO ISBN-0-86491-051-7 PUB DATE 85 NOTE 247p.; Prepared by the Northern Conference Resource Centre. AVAILABLE FROM Northern Conference Film Guide, Continuing Studies, Simon Fraser University, Burnaby, British Columbia, Canada V5A 1S6 ($25.00 Canadian, $18.00 U.S. Currency). PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Adolescent Development; *American Indians; *Canada Natives; Children; Civil Rights; Community Services; Correctional Rehabilitation; Cultural Differences; *Cultural Education; *Delinquency; Drug Abuse; Economic Development; Eskimo Aleut Languages; Family Life; Family Programs; *Films; French; Government Role; Juvenile Courts; Legal Aid; Minority Groups; Slides; Social Problems; Suicide; Tribal Sovereignty; Tribes; Videotape Recordings; Young Adults; Youth; *Youth Problems; Youth Programs IDENTIFIERS Canada ABSTRACT Intended for teacheLs and practitioners, this film and video guide contains 235 entries pertaining to the administration of justice, culture and lifestyle, am: education and services in northern Canada, it is divided into eight sections: Native lifestyle (97 items); economic development (28), rights and self-government (20); education and training (14); criminal justice system (26); family services (19); youth and children (10); and alcohol and drug abuse/suicide (21). Each entry includes: title, responsible person or organization, name and address of distributor, date (1960-1984), format (16mm film, videotape, slide-tape, etc.), presence of accompanying support materials, length, sound and color information, language (predominantly English, some also French and Inuit), rental/purchase fees and preview availability, suggested use, and a brief description. -
1 Citizenship and Participatory Video Marit Kathryn Corneil
1 Citizenship and Participatory Video Marit Kathryn Corneil In Screen Media Arts: An Introduction to Concepts and Practices (Cohen, Salazar, and Barkat, 2008) participatory video is defined broadly as “a tool for individual, group and community development” and as “an iter- ative process, whereby community members use video to document in- novations and ideas, or to focus on issues that affect their environment” (pp. 348–349). Most accounts of the origins of participatory video refer to the Fogo Process or the Fogo Method as the original inspiration for these techniques. The Fogo Method originated in the Fogo Island Com- munication Experiment, one of the initial projects under the umbrella of the experimental program in ethical documentary at the National Film Board of Canada, the Challenge for Change/Société Nouvelle program (CFC/SN). CFC/SN ran from 1967 to 1980, producing more than 200 films and videos, and, since 2000, has inspired renewed interest in academic re- search circles and among media practitioners after more than 30 years of considerable neglect in the archive. It was thought for many years that the films produced under the banner of CFC/SN were too local and too aesthetically uninteresting to merit attention. Only recently have some of these films been recuperated for documentary history; they have been shown to represent revolutionary thinking about documentary politics, ethics, and aesthetics (Waugh, Baker, and Winton, 2010). CFC/SN was one of a number of programs inspired by the civil rights movements of the 1960s with a mission to tackle the sources of poverty and exclusion; to “give voice” to marginalized segments of society; to facilitate communi- cation; and to keep minorities from becoming the victims and stereotypes 19 20 / Chapter 1 of media and government. -
A SALUTE to the NATIONAL FILM BOARD of CANADA Includes Sixteen Films Made Between
he Museum of Modern Art 1^ 111 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Mo, 38 FOR IMMEDIATE RELEASE Tuesday, April 25, 1967 On the occasion of The Canadian Centennial Week in New York, the Department of Film of The Museum of Modem Art will present A SALUTE TO THE NATIONAL FILM BOARD OF CANADA. Sixteen films produced by the National Film Board will be shown daily at the Museum from May U through May V->, except on Wednesdays. The program will be inaugu rated with a special screening for an invited audience on the evening of May 3j pre sented by The Consul General of Canada and The Canada Week Committee in association with the Museum. The National Film Board of Canada was established in 1939, with John Grierson, director of the British General Post Office film unit and leading documentary film producer, as Canada's first Government Film Commissioner, Its purpose is-to Jjiitdate and promote the production and distribution of films in the-uational int^rest^ \i\ par« ticular, films designed to interpret Canada to -Canadians and to other nations. Uniquely, each of its productions is available for showing in Canada as well as . abroad* Experimentation in all aspects of film-making has been actively continued and encouraged by the National Film Board. Funds are set aside for experiments, and all filmmakers are encouraged to attempt new techniques. Today the National Film Board of Canada produces more than 100 motion pictures each year with every film made in both English and French versions. -
Ing Lonely Boy
If the word documentary is synonymous with Canada, and the NFB is synonymous with Canadian documentary, it is impossible to consider the NFB, and particularly its fabled Unit B team, without one of its core members, Wolf Koenig. An integral part of the "dream team," he worked with, among others, Colin Low, Roman Kroitor, Terence Macartney-Filgate and unit head Tom Daly, as part of the NFB's most prolific and innovative ensemble. Koenig began his career as a splicer before moving on to animator, cameraman, director and producer, responsible for much of the output of the renowned Candid Eye series produced for CBC-TV between 1958 and 1961. Among Unit B's greatest achievements is Lonely Boy (1962), which bril- liantly captured the phenomenon of megastar mania before anyone else, and con- tinues to be screened worldwide. I had the opportunity to "speak" to Wolf Koenig in his first Internet interview, a fitting format for a self-professed tinkerer who made a career out of embracing the latest technologies. He reflects on his days as part of Unit B, what the term documentary means to him and the process of mak- ing Lonely Boy. What was your background before joining the NFB? One day, in early May 1948, my father got a call from a neighbour down the road — Mr. Merritt, the local agricultur- In 1937, my family fled Nazi Germany and came to Canada, al representative for the federal department of agriculture — just in the nick of time. After a couple of years of wonder- who asked if "the boy" could come over with the tractor to ing what he should do, my father decided that we should try out a new tree—planting machine. -
The Film Imagine an Angel Who Memorized All the Sights and Sounds of a City
The film Imagine an angel who memorized all the sights and sounds of a city. Imagine them coming to life: busy streets full of people and vehicles, activity at the port, children playing in yards and lanes, lovers kissing in leafy parks. Then recall the musical accompaniment of the past: Charles Trenet, Raymond Lévesque, Dominique Michel, Paul Anka, Willie Lamothe. Groove to an Oscar Peterson boogie. Dream to the Symphony of Psalms by Stravinsky. That city is Montreal. That angel guarding the sights and sounds is the National Film Board of Canada. The combined result is The Memories of Angels, Luc Bourdon’s virtuoso assembly of clips from 120 NFB films of the ’50s and ’60s. The Memories of Angels will charm audiences of all ages. It’s a journey in time, a visit to the varied corners of Montreal, a tribute to the vitality of the city and a wonderful cinematic adventure. It recalls Wim Wenders’ Wings of Desire in which angels flew over and watched the citizens of Berlin. It has the same sense of ubiquity, the same flexibility, the sense of dreamlike freedom allowing us to fly from Place Ville- Marie under construction to the workers in a textile factory or firemen at work. Underpinning the film is Stravinsky’s music, representing love, hope and faith. A firefighter has died. The funeral procession makes its way up St. Laurent Boulevard. The Laudate Dominum of the 20th century’s greatest composer pays tribute to him. Without commentary, didacticism or ostentation, the film is a history lesson of the last century: the red light district, the eloquent Jean Drapeau, the young Queen Elizabeth greeting the crowd and Tex Lecor shouting “Aux armes Québécois !” Here are kids dreaming of hockey glory, here’s the Jacques-Cartier market bursting with fresh produce, and the department stores downtown thronged with Christmas shoppers. -
Founded in 1939 Under the Aegis of Scotsman John Grierson, Pioneering Theorist and Practitioner of the Documentary Form, The
Founded in 1939 under the aegis of Scotsman John Grierson , pioneering theorist and practitioner of the documentary form, the National Film Board was initially put in the service of war propaganda. Two years later, the addition to its ranks of Grierson’s countryman Norman McLaren would instigate the NFB’s second elemental thrust: technically adventurous, audaciously whimsical animation. These two interwoven threads have permeated the Film Board’s productions ever since, giving us formally innovative works that nonetheless edify. NFB films are fun, entertaining, and favor the dramatic over the didactic. We present, drawn from the shelves of Oddball Archives, what can only pretend at a cross-section of NFB’s voluminous output: explorations from the subatomic to the outer reaches of space, with a dose of human-scale drama and sheer flights of fancy. Pas de deux (1968) B+W 13 min. by Norman McLaren Set against a black ground, two graceful dancers become pure embodiments of light. Using optical superimposition, McLaren multiplies the figures, transforming live action into his own brand of kinetics. Beautifully choreographed and shot, hauntingly scored (featuring the United Folk Orchestra of Romania ), hypnotic and unforgettable. Cosmic Zoom (1968) Color 8 min. by Eva Szasz A fantastic, “continuous” voyage from a rowboat on the Ottawa river, upward and outward to a grand view of galactic flotsam, then back inwards through a rivulet of blood in the tip of a mosquito’s proboscis, to examine an atomic nucleus. Remade a decade later by Charles and Ray Eames (Powers of Ten ) with narration (and its jumping-off point moved to Chicago), then again as an Imax movie ( Cosmic Voyage ) with Morgan Freeman , Cosmic Zoom is where it all began. -
A Study of Canada's Centennial Celebration Helen Davies a Thesis
The Politics of Participation: A Study of Canada's Centennial Celebration BY Helen Davies A Thesis Subrnitted to the Facuity of Graduate Studies in Partial Fultiiment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department of Histop University of Manitoba Winnipeg, Manitoba G Copyright September 1999 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Weilington Street 395. rue Wellington Ottawa ON KIA ON4 Cntawa ON Kf A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of ths thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be p~tedor otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES ***** COPYRIGHT PERMISSION PAGE The Poiitics of Participation: A Study of Camdi's Centennid Celebntion by Helen Davies A Thesis/Practicum submitted to the Facalty of Gnduate Studics of The University of Manitoba in partial fiilfillment of the requirements of the degree of Doctor of Pbüosophy Helen Davies O 1999 Permission bas been gnnted to the Librrry of The University of Manitoba to lend or seIl copies of this thesis/practicum, to the National Librrry of Canada to microfilm this thesis/practicum and to lend or seil copies of the film, and to Dissertations Abstracts International to publish an abstrrct of this thesidpracticum. -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
Unbridgeable Barriers: the Holocaust in Canadian Cinema by Jeremy
Unbridgeable Barriers: The Holocaust in Canadian Cinema by Jeremy Maron A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2011, Jeremy Maron Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de Pedition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre riterence ISBN: 978-0-494-83210-3 Our file Notre r6f6rence ISBN: 978-0-494-83210-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.