DOCSLIB.ORG

Canada Du Canada

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Canada Du Canada National Library Bibliothèque nalionale 1+1 of Canada du Canada Acguisition~ and Direction des acquisitions Cl Bibliographie Se'Viccs Branch de~ services bibliographiques 395 Well"llion Siroci 395. rue Wellinglon Onawa.Onlano Ollawa (Onlmio) K1AON4 K1AON4 NOTICE AVIS The quality of this microform is La qualité de cette microforme heavily dependent upon the dépend grandement de la qualité quality of the original thesis de la thèse soumise au submitted for microfilming. microfilmage. Nous avons tout Every effort has been made to fait pour assurer une qualité ensure the highest quality of supérieure de reproduction. reproduction possible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the communiquer avec l'université degree. qui a conféré le grade. Some pages may have indistinct La qualité d'impression de print especially if the original certaines pages peut laisser à pages were typed with a poor désirer, surtout si les pages typewriter ribbon or if the originales ont été university sent us an inferior dactylographiées à l'aide d'un photocopy. ruban usé ou si l'université nous a fait parvenir une photocopie de qualité inférieure. Reproduction in full or in part of La reproduction, même partielle, this microform is governed by de cette microforme est soumise the Canadian Copyright Act, à la Loi canadienne sur le droit R.S.C. 1970, c. C-30, and d'auteur, SRC 1970, c. C-30, et subsequent amendments. ses amendements subséquents. Canada • The Progressive Philosophy of Studio D of the National Film Board of ::anada -A Case Study of Ta a Safer Place (1987) - Aiko Ryohashi Graduatc Program in Communications McGiII Univcrsity Montrcal. Canada. August 1995 A thcsis submillcd to th~ Faculty of Graduatc Studies and Research in panial fulfilment of the requirements of thc degrec of Master of Ans • ll> Aiko Ryohashi 1995 National Library Bibl:othèque nationale of Canada du Canada ••• Acquisitions and Direction des acquisitions et Bibliographie Services Branch des services bilJliographiques 395 Wellington SI,eet 395. ruo Wellington Ottawa, Ontario Ollo....a (Onta'io) K1A DN4 K1ADN4 The author has granted an L'auteur a accordé une licence irr':wocable non-exclusive licence:. irrévocable et non exclusive allc.wing the National Library of permettant à la Bibliothèque Canada to reproduce, loan, nationale du Canada de distribute or seli copies of reproduire, prêter, distribuer ou his/her thesis by any means and vendre des copies de sa thèse in any form or format, making de quelque manière et sous this thesis available to interested quelque forme que ce soit pour persons. mettre des exemplaires de cette thèse à la disposition des personnes intéressées. The author retains ownership of L'auteur conserve la propriété du the copyright in his/her thesis. droit d'auteur qui protège sa Neither the thesis nor substantial thèse. Ni la thèse ni des extraits extracts from it may be printed or substantiels de celle-ci ne otherwise ieproduced without doivent être imprimés ou his/her permission. autrement reproduits sans son autorisation. ISBN 0-612-12089-9 Canada • Abstracts This thesis explores the re1ationship between the National Film Board and its audienct.'s, with particular attention to the ways in which the NFB has tried to respond to the needs ofCanadians for media representations ofthemselves,through the Challenge for Change program (1967 - 1978) and Studio D (1974 - ). The focus of this work will be on the progressive aspects ofNFB productions, which have frequently taken controversial stands against official government policy. In the process, the place of the NFB within a politics of representation will be discussed, and its critical contribution to the constitution ofa Canadian "national identity" will be cxamined. Finally, this study is part of an attempt to investigate characteristics of Canadian society, with respect both to the functioning of government and to the democratic use of film as a medium enabling culturally marginalized people to find their own voices. Cette thèse explore la relation entre l'Office national du film et son public et ac.::orde une attention particulière aux façons dont l'ONF a tenté de répondre aux besoins des Canadiens sur le plan de leur propre représentation médiatique, grâce au programme Société nouvelle (1967 - 1978) et au Studio D (1974 -.) Cet ouvrage porte principalement sur les aspects progressistes des productions de l'ONF, qui ont souvent été l'objet de controverses allant à l'encontre de la politique gouvernementale officielle. Au cours de l'ouvrage, la place qu'occupe l'ONF au sein d'une politique de représentation y sera démontrée, et l'apport crucial de l'ONF à la composition d'une "identité nationale" canadienne y sera examinée. Finalement, cette étude constitue en partie l'effort d'un examen de ce qui caractérise la société canadienne, selon le fonctionnnement du gouvernement et de l'utilisation démocratique du cinéma en tant qu'outil permettant aux personnes culturellement marginalisées de découvrir leur propre voix. • • Acknowl~dgcmcnts 1would like to express my sincere appreciation to many individuals without whol11 this piece of writing would not have been possible. Dr. Will Straw provided me with encouragement and supervision through constructive, detailed, and critical advice. As weil, the professors and my fellow students at the Graduate Program in Communications gave me intellectual challenge and cditorial assi~tance. Futhermore, directors, producers, and distributors at the National Film Board shared their precious time to answer my many questions. My special thanks 10 Ms. Beverly Shaffer whose work incited me with the idea for my thesis. and who continued to provide me with insightful perspectives and friendly support. 1 cannot forgel Mr. Anthony Kent, a Manager ofInternational Program, and the Librarians at the NFB library and Archives, including Mr. Bernard Lutz. Financial support was provided by External Affairs and International Trade Canada in the form of the Government of Canada Awards. Finally, 1 wish to thank my friends, my parents and my sister, for their unconditional love and understanding. • Tl/bic of Content • Introduction . Chapter 1 The History of the National Film Board of Canada and the Roots of the "Progressive Philosophy" 6 1. Background 6 2. The Challenge for Change program (1967-1978) 13 3. The "progressive philosophy" at the National Film Board 20 Chapter 2 Studio 0 of the National Film Board 27 1. The success of Studio 0 27 2. Studio 0 films 33 3. The NFB's Response to the Second Wave of Feminism 41 Chapter 3 Ta a Safer Place (1987) 52 1. Film idea 52 2. The audience response to the film 62 2-1. Methodological problems in audience research 62 2-2. Ta a Safer Place 66 Conclusion 73 References 81 Appendix 1 90 Appendix 2 99 • 1 • Introrluction The National Film Board (NFB) is the world's unique government institution whosc mandate includes film production, film distribution, and the training offilmmakers. Becausc ofits existence over half a century, many filmmakers and institutions abroad are interested in the Board's activities in the areas of documeJ'ltary film, feature drama. animation, and advanced technology. Just as the number ofco-productions in which the Board is involvcd is increasing, so the political and economic boundaries that divide those who work for/with the Film Board are disappearing. ln Canada, on the contrary, the NFB seems to be less well-known. In this respect. it is revealing that Canadian viewers watching the sixty-seventh Academy Awards show on CTY missed the appearance ofAlison Snowden and David Fine, who won the NFB's tenth Oscar for Bob's Birthday. Ironically. the relative smallness ofthe Board's audience at home is related to the broader problem ofCanadian film and film criticism; only a few scholars have been interested in the indigenous film industry, and most Canadian filmgoers prefer to see movies from the south. However, the NFB has developed a grass-root production and distribution system in order to reach audiences in Canada and abroad. T1ûs study examines the relationship between the NFB and its audiences, with particular emphasis on how and why the NFB has attempted to empower people on the margins ofCanadian society. The first chapter focusses on the Challenge for Change program (1967-1978), through which the idea ofusing film as a tool • to "democratize" the media and as a catalyst to articulate problems from the viewpoint of"the 2 • people" was implemented. Second, Studio D of the NFB will be discussed in an attempt to understand how feminist ideology has been integrated into the national institution. ln Chupter Three, audience reaction to Beverly Shaffei's To a Safer Place (1987) will be analyzeu as a case study. The choice of this film is justifiable on a number ofgrounds. Firstly, the film gave rise to the public discussion of incest and domestic violence against women and children; and secondly, the feminist filmmakers' intention to use film as catalyst for cOllsciousness-raising was realized in the process. Furthermore, this film provides an opportunity to examine the use ofdocumentary filmmaking to "publicize the personal". As a whole, this case study will be an attempt to see ifthere is a Iink between the NFB's strategy to help marginalized people give voice to their concerns and the actual response from audiences. Finally, 1hope that this study here can be part ofre-evaluation ofthe Board, at a time when a drastic re-organization ofthis cultural institution is made necessary by economic and industrial imperatives. This study presented here uses govemment reports as a key source ofinformation. In addition, interviews conducted by the author were verified through consultation ofarchivai material at the Board's Iibrary and other written documents. As primary source material, many NFB films were screened, including sorne archivai footage.
Load more

Recommended publications
  • The National Film Board's Studio D: Feminists Making Films for Peace
    DOCUMENT RESUME ED 292 141 CS 506 056 AUTHOR Taylor, Anita TITLE The National Film Board's Studio D: Feminists Making Films for Peace. PUB DATE Nov 87 NOTE 31p.; Paler presented at the Annual Meeting of the Speech Communication Association (73rd, Boston, MA, November 5-8, 1987). PUB TYPE Speeches/Conference Papers (150) -- Book/Product Reviews (072) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Disarmament; Documentaries; Females; *Feminism; *Film Criticism; Film Production; Films; *Film Study; *Nuclear Warfare; *Peace; Womens Studies IDENTIFIERS Feminist Criticism; *National Film Board of Canada; Nuclear Freeze; *Peace Studies ABSTRACT Studio D of the National Film Board of Canada, a women's film making unit established to make films by, for, and about women, has created a group of five films that effectively develop the argument that women can and must join the effort to bring peace to a nuclear world. The first of these peace films, "If You Love This Planet," consists of words and images from a speech by Dr. Helen Caldicott, author and spokesperson for Physicians for Social Responsibility, which questions the industrial nations' increasing stocks of nuclear arms. "Speaking Our Peace" follows Muriel Duckworth, a Canadian peace activist, through a series of conversations with women in Canada and the Soviet Union which introduce the breadth of women's involvement in peace efforts. Three spin-off films resulted from "Speaking Our Peace": "A Writer in the Nuclear Ay: A Conversation with Margaret Laurence"; "Nuclear Addiction: Dr. Rosalie Bertell on the Cost of Deterrence"; and "A Love Affair with Politics: A Portrait of Marion Dewar." All three spin-off films are relatively short (10-27 minutes) and would lend themselves to use in classes or club meetings, and, like the other films, develop the theme that despair is not an appropriate response to a nuclear world, action is, and "ordinary" people can make a difference.
    [Show full text]
  • Le Cinéma Des Femmes À L'office National Du Film Du
    LE CINÉMA DES FEMMES À L’OFFICE NATIONAL DU FILM DU CANADA EN 2016, L’OFFICE NATIONAL DU FILM DU CANADA (ONF) LANCE UN INNOVANT PROGRAMME DE PARITÉ HOMMES-FEMMES POUR FAIRE EN SORTE QU’AU MOINS LA MOITIÉ DE SES PRODUCTIONS SOIENT RÉALISÉES PAR DES FEMMES ET QUE LA MOITIÉ DES BUDGETS DE PRODUCTION SOIENT AFFECTÉS AUX PROJETS DE RÉALISATRICES. EVELYN LAMBART EN 2017, L’ONF POUSSE PLUS Ces nouveaux engagements précédent. Quelques-unes de l’ONF — un chef de file en se joignent d’ailleurs à la LOIN SON ENGAGEMENT À matière d’égalité des sexes nouvelle équipe du fondateur de LUTTER CONTRE LA DISPARITÉ dans l’industrie canadienne du l’ONF, John Grierson. Les plus cinéma — s’inscrivent dans la expérimentées, notamment DE GENRES AU SEIN DES tradition de l’institution, qui, Evelyn Spice Cherry et Judith POSTES CLÉS DE CRÉATION déjà en 1974, a écrit une page Crawley, se consacrent aussitôt EN CINÉMA, NOTAMMENT d’histoire en créant le Studio D, à la réalisation. Toutefois, la premier studio de production au majorité occupe des postes EN SCÉNARISATION, EN monde consacré exclusivement subalternes, comme monteuses aux femmes. de négatifs ou secrétaires. MONTAGE, EN MIXAGE ET EN DIRECTION DE LA Mais l’ONF travaille avec Grierson étant prompt à PHOTOGRAPHIE, AINSI QUE des réalisatrices depuis sa reconnaître l’esprit d’initiative, fondation. certaines se voient rapidement DANS D’AUTRES DOMAINES mutées à des postes de LIÉS À L’ANIMATION ET Lorsque le Canada s’engage création. Les plus connues sont dans la Deuxième Guerre sans doute Evelyn Lambart, AU RÉCIT INTERACTIF mondiale en septembre 1939, le première animatrice au Canada, ET IMMERSIF, COMME LA tout nouveau producteur public qui a coréalisé six films avec est immédiatement chargé Norman McLaren et signé DIRECTION ARTISTIQUE, LE de la propagande de guerre.
    [Show full text]
  • HOTDOCS.CA Bring Creative and Business Together
    HOTDOCS.CA Bring creative and business together. CREATIVE INDUSTRIES MANAGEMENT GRADUATE CERTIFICATE The creative arts industry needs business experts who know how to maximize financial potential. Sheridan’s new eight-month Creative Industries Management program will teach you how to work with artists to strategize, organize, finance, negotiate, write contracts and make the most of their creations. From marketing to distribution and from large corporations to small entrepreneurs, the opportunities in film, TV, animation and gaming are endless. docs.sheridancollege.ca APRIL 25–MAY 5, 2019 : HOT DOCS CANADIAN INTERNATIONAL DOCUMENTARY FESTIVAL WELCOME TO HOT DOCS 2019 PHOTO: GABRIEL LI FIND YOUR FILMS CHOOSE YOUR TICKETS OR PASS Browse films by program or use the title index to find films. More detailed SCREENING TICKETS: $17.50–19 film descriptions and a subject index are available at www.hotdocs.ca. 6-SCREENING BUNDLE: $99 Special Events not included (p. 5–7) BUY YOUR TICKETS SPECIAL EVENTS: $17.50–24 ADVANCE Tickets $35–80 Food & Film Events Ticket Packages WWW.HOTDOCS.CA Gain access to screening tickets and select Special Events. Perfect 416.637.3123 for sharing; use multiple tickets per screening and redeem in advance. Not valid for Food & Film Events (p. 6). C rave Box Office at Hot Docs Ted Rogers Cinema 10-PACK: $159 506 Bloor Street West 20-PACK: $259 HOURS (MARCH 19–MaY 5) 11am-6pm Redeem tickets online, by phone or in person at the Crave Box Office at Hot Docs Ted Rogers Cinema. SAME DAY Tickets * All prices include HST. All prices exclude online service fees.
    [Show full text]
  • Translation Quality Assessment
    Voices and Silences: Exploring English and French Versions at the National Film Board of Canada, 1939-1974 Christine York Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate of Philosophy degree in Translation Studies School of Translation and Interpretation University of Ottawa © Christine York, Ottawa, Canada, 2014 Table of Contents Chapter One: Understanding NFB versions as a site of competing voices ................................................... 1 1.1 Interwoven threads of English and French production ........................................................................ 3 1.2 Defining a corpus ................................................................................................................................ 6 1.3 Defining concepts: Beyond source and target text ............................................................................ 11 1.4 Literature review: NFB ..................................................................................................................... 19 1.5 Literature review: Translation studies ............................................................................................... 25 1.6 Considering multiple voices .............................................................................................................. 32 1.6.1 Voice-over in film studies and audiovisual translation .................................................................. 33 1.6.2 Voice of the text ............................................................................................................................
    [Show full text]
  • A History of Women's Filmmaking at the National Film Board of Canada
    A HISTORY OF WOMEN’S FILMMAKING AT THE NATIONAL FILM BOARD OF CANADA THE NATIONAL FILM BOARD But the NFB’s work with women moved rapidly into creative filmmakers also goes back to its roles. Perhaps the best-known OF CANADA INTRODUCED earliest days. among them were Canada’s A PIONEERING GENDER- first woman animator, Evelyn PARITY INITIATIVE IN 2016, When Canada entered WWII Lambart, who co-directed six in September 1939, the newly films with Norman McLaren and ENSURING THAT AT LEAST created public producer was also directed an acclaimed body HALF OF ITS PRODUCTIONS immediately tasked with of solo work; Jane Marsh, the making war-related propaganda. only woman to direct films for WILL BE DIRECTED BY With so many men engaged the legendary Canada Carries WOMEN AND HALF OF ALL in overseas conflict, women On series; and documentary PRODUCTION SPENDING WILL were entering the workforce filmmaker Gudrun Parker, in unprecedented numbers— who would go on to run the BE ALLOCATED TO FILMS and some would find work on NFB’s Education Unit. Besides DIRECTED BY WOMEN. NFB founder John Grierson’s directing their own films, IN 2017, THE NFB DEEPENED THIS COMMITMENT TO ADDRESS THE GENDER IMBALANCE ACROSS A RANGE OF KEY CREATIVE POSITIONS IN FILM—IN SCREENWRITING, EDITING, SOUND MIXING AND CINEMATOGRAPHY—AS WELL AS ANIMATION AND IMMERSIVE/INTERACTIVE STORYTELLING ROLES SUCH AS ART DIRECTOR, ART EVELYN LAMBART DESIGNER AND CREATIVE TECHNOLOGIST. new team. A number of women Judith Crawley and Margaret These new commitments are the came with prior experience and Perry were the first two women latest for the NFB, a Canadian immediately started directing cinematographers to work at the film industry leader in gender films, including Evelyn Spice Film Board.
    [Show full text]
  • PORNOGRAPHY Produced by the Film of Canada
    The National Film Board of Canada presents a film about PORNOGRAPHY Produced by the Film of Canada National Office Film Board national du film of Canada du Canada Not a A flie F/7m Not a Love Story, by the very nature of its subject, contains some sexually explicit scenes. While these may be embar- rassing and, in some cases, shocking, none has been used gratuitously. No amount of verbal description could ade- quately recreate the impact of the images themselves. Only by seeing them can the viewer begin to fully realize the enormous impact of pornographic imagery on our society. The first film of its kind, Not a Love Story is an inquiry into pornography for people who may have never given it seri- ous thought but whose lives are affected by it in the most subtle and obvious ways. Not a Love Story also addresses the issue of pornography within the context of what it means for women, expressing a point of view that is personal, feminist and based on the experience of the women who made the film. This landmark documentary begins a dia- logue that leaves no viewer unengaged. Without advancing a particular strategy toward the complex social problem of pornography, the film neither advocates nor appeals for censorship. Instead, A/of a Love Story raises questions which must be answered, asks us to consider their far- reaching implications and encourages us to find possibili- Linda Lee Tracey and Bonnie Sherr Klein ties for positive personal and political action. A/of a Love Story is a thought-provoking, emotional chron- icle of two women — Bonnie Sherr Klein, filmmaker, and Linda Lee Tracey, a Montreal stripper.
    [Show full text]
  • An Exploration of a Radical Aesthetic in Feminist
    AESTHETIC LEARNING: AN EXPLORATION OF A RADICAL AESTHETIC IN FEMINIST DOCUMENTARY FILM by PAMELA A. ROGERS B.A. University of British Columbia, 1993 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Educational Studies We accept this thesis as conforming to the r^cmired standard/ THE UNIVERSITY OF BRITISH COLUMBIA August, 1996 © Pamela A. Rogers, 1996 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date ?4lMhj^i; Ml, ABSTRACT This study emerged from a curiosity about the powerful affect of feminist documentary film and an interest in transformative learning approaches. Three films of Studio D—the former feminist production unit of the National Film Board of Canada [NFB] were explored: Goddess Remembered (1989), Burning Times (1990), and Full Circle (1992). For methodology, I used an adaptation of autobiography, film and literary criticism and I explored the aesthetics of these films. Beginning with an in-depth look at the characteristics and criticisms of feminist documentary film, I identified the feminist perspective as having a transformative influence on traditional documentary styles.
    [Show full text]