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Summer 2019 Vol.21, No.3 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SUMMER 2019 VOL.21, NO.3 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA A Rock Star in the Writers’ Room: Bringing Jann Arden to the small screen Crafting Canadian Horror Stories — and why we’re so good at it Celebrating the 23rd annual WGC Screenwriting Awards Emily Andras How she turned PM40011669 Wynonna Earp into a fan phenomenon Congratulations to Emily Andras of SPACE’s Wynonna Earp, Sarah Dodd of CTV’s Cardinal, and all of the other 2019 WGC Screenwriting Award winners. Proud to support Canada’s creative community. CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 3 Summer 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire [email protected] Contents Director of Communications Lana Castleman Cover Editorial Advisory Board There’s #NoChill When it Comes Michael Amo to Emily Andras’s Wynonna Earp 6 Michael MacLennan How 2019’s WGC Showrunner Award winner Emily Susin Nielsen Andras and her room built a fan and social media Simon Racioppa phenomenon — and why they’re itching to get back in Rachel Langer the saddle for Wynonna’s fourth season. President Dennis Heaton (Pacific) By Li Robbins Councillors Michael Amo (Atlantic) Features Mark Ellis (Central) What Would Jann Do? 12 Marsha Greene (Central) That’s exactly the question co-creators Leah Gauthier Alex Levine (Central) and Jennica Harper asked when it came time to craft a Anne-Marie Perrotta (Quebec) heightened (and hilarious) fictional version of Canadian Andrew Wreggitt (Western) icon Jann Arden’s life for the small screen. -
Feature Film Writing in Montreal Montreal
Media Advisory- For Immediate Release Creating Success: Feature Film Writing in Montreal Montreal – March 3, 2010 – Media@McGill and the Writers Guild of Canada are pleased to present a panel of accomplished English-language feature-film writers on Friday, March 26, 2010, from 6:30 to 8:30pm in room 232 of the Leacock Building at McGill University. The past year has seen the work of several Montreal feature writers achieve strong success, from international acclaim and distribution deals to festival awards. Our four panelists will talk about the realities of being a feature writer living in Quebec and Canada. They will discuss craft, financing, festivals, distribution and their favourite films. When: Friday, March 26, 2010 from 6:30 to 8:30pm Where: Room 232 of the Leacock Building at McGill University Who: Steve Galluccio (Mambo Italiano) Mark A. Krupa (The Wild Hunt) Doug Taylor (Splice) Jacob Tierney (The Trotsky) To attend, please RSVP to [email protected]. For media inquiries, contact David Kinahan, Director of Communcations, WGC. Panelist Bios: Jacob Tierney has worked as a professional actor since the age of six. Jacob launched his directorial career in 2002 with the comedic short film Dad. Dad won the honourable mention for Best Short at the 2002 Atlantic and Austin Film Festivals, and screened at the CFC’s Worldwide Short Film Festival. His feature debut Twist, which premiered at the Venice Film Festival, received several Genie nominations, including a nod for Jacob’s screenplay, and won the Genie for Best Original Song. His second feature, the festival hit The Trotsky, won audience awards at the Atlantic and Tokyo Film Festivals after premiering to a full house and rave reviews at the Toronto International Film Festival. -
Altreitalie 38,39
ALTREITALIE gennaio-dicembre 38-39/2009 Rivista internazionale di studi sulle migrazioni italiane nel mondo International journal of studies on Italian migrations in the world INDICE Editoriale Saggi Stefano Luconi From William C. Celentano to Barack Obama: Ethnic and Racial Identity in Italian-American Postwar Political Experience, 1945-2008 7 Sommario | Abstract | Résumé | Extracto 21 Robert Buranello Between Fact and Fiction: Italian Immigration to South Africa 23 Sommario | Abstract | Résumé | Extracto 45 Alessandro Arduino Giovani e mobilità in Estremo Oriente 47 Sommario | Abstract | Résumé | Extracto 59 Modelli di migrazioni femminili Oriana Bruno «Le navi delle mogli»: donne calabresi in Argentina 61 Susanna Scarparo Italian Proxy Brides in Australia 85 Silvia Cassamagnaghi Relax Girls, U.S. Will Treat You Right Le spose italiane dei GI della Seconda guerra mondiale 109 Sommario | Abstract | Résumé | Extracto 133 Canada Francesca L’Orfano The Overwhelming Albatross: Stereotypical Representations and Italian-Canadian Political and Cultural Life 137 Irene Poggi La comunità italiana a Montréal e la questione linguistica 158 Sommario | Abstract | Résumé | Extracto 187 Brasile Aurelia H. Castiglioni e Mauro Reginato Impatti socio demografici dell’immigrazione europea in Espirito Santo 190 Federico Croci Dal «pericolo giallo» a «l’invasione nipponica». L’impatto dell’immigrazione giapponese sulla comunità italiana di São Paulo: solidarietà, rifiuto e conflitto 222 Sommario | Abstract | Résumé | Extracto | Resumo 250 Cinema e letteratura -
Canada's #1 Young University
Carrefour du Congrès/Congress Hub Inscription/Registration Série de causeries Voir grand Réceptions du recteur Résidences pour congressistes Grand chapiteau Expo Big Thinking lecture series President’s Receptions Residences for attendees Beer Tent Pavillon Montpetit Jock-Turcot Chapiteau des réceptions 90U, Stanton, Marchand, Montpetit Hall FSS Reception Tent Thompson, Leblanc, Friel FRIEL Friel U SCS A E D SCS I R 11 1 18 2 17 3 T D R O A R W B E L I T S W 4 10 SCR 12 9 14 15 8 6 16 STT 7 LÉGENDE / LEGEND 90U 13 Piste cyclable/Bike Path 4. Second Cup 5. Starbucks OC Transpo 6. Stand de saucisses / Sausage Cart 5 Taxi - point d’embarquement DMS 7. Bac à Frites / Fry Shack Taxi Pick-up Point 8. Second Cup Navette d'assistance à la mobilité 9. Nostalgica Mobility Assistance Shuttle 10. Bac+ (thai cuisine) 11. Father and Sons Kiosque d’information 12. Café Stop Information Kiosk 13. REZ Café (Grab'N'Go) 14. Café Écolo Restauration 15. Beer Tent/Grand chapiteau Food services (BBQ & Bar), Tim Hortons, 1. Café Friel / Friel Café Relish food truck, Grab'N'Go, 2. Perfection Satisfaction Promise Beavertails food truck 3. The Royal Oak 16. Première Moisson 17. Tim Hortons 18. The Draft Pub YOU’RE INVITED TO EXPERIENCE CANADIAN THEATRE REVIEW LIKE NEVER BEFORE... Engaging interviews, thought-provoking plays, and compelling photos In-depth feature articles, manifestos, design portfolios, photo essays, and other documents that reflect the challenging forms that theatre takes in the contemporary Canadian arts scene New and emerging artists and playwrights -
The Overwhelming Albatross: Stereotypical Representations and Italian-Canadian Political and Cultural Life
Saggi Canada The Overwhelming Albatross: Stereotypical Representations and Italian-Canadian Political and Cultural Life Francesca L’Orfano Carleton University, Ottawa The limits of one’s language signify the limits of one’s world. William Boelhower (1984, p. 26) Introduction On May 8, 2002, while watching CBC Newsworld morning, Don Martin, a reporter from the «Calgary Herald», was being asked about the recent Group Action patronage scandal that had hit the Liberal government. After discuss- ing the bureaucratic quagmire, Martin was asked what role he felt Alfonso Gagliano had played in the entire situation. Martin, without hesitation replied: «He’s sort of the godfather of the whole scandal». For Martin this is the limit of his language. An Italian name is involved and political «corruption», not the exclusive domain of any party or any ethnic group, jumps to a bigoted slur. This is the language that continues even today. The language of the media that without thought or effort continues to create the Other and in this circumstance the Other is an Italian-Canadian. My present research builds on the work of my MA thesis titled Challenging Exclusion: Film, Video, Identity, Memory and the Italian Canadian Immigrant Experience (L’Orfano, 2002a). For the first time in Canada,Challenging Exclu- sion brought together, narrated, wrote, and documented, a body of films and videos, both by and on the Italian-Canadian community and experience, created © Centro Altreitalie, Globus et Locus 137 Altreitalie gennaio-dicembre 2009 over the past fifty postwar years. The work then probed what it means for Italian diasporic artists to be, act and construct «Canadian». -
The Transmemoric Process: the Journey of Italian
THE TRANSMEMORIC PROCESS: THE JOURNEY OF ITALIAN-QUÉBÉCOIS ARTISTS Anita Aloisio Submitted in partial fulfillment of the requirements for the degree of Masters of Media Studies in The Department of Communications Studies Concordia University MARCH, 2016 © Anita Aloisio, 2016 TABLE OF CONTENTS ABSTRACT 3 PREMISE 4 CHAPTER I PERSONAL NARRATIVE 7 II METHODOLOGIES PAST AND PRESENT 10 III LITERATURE AND MEDIA REVIEW 12 Media Review 15 IV THE JOURNEY OF ITALIAN IMMIGRANTS: THE IMPACT ON QUEBEC’S LINGUISTIC AND CULTURAL DEBATES 20 V THE DEFINING MARKERS: ETHNICITY, IDENTITY, AND QUEBEC NATIONALISM 27 Anglophone and Francophone Versus Allophone 30 VI SEVEN CASE STUDIES: REFLECTIONS AND TESTIMONIES OF ITALIAN-QUÉBÉCOIS ARTISTS AND THEIR CREATIVE WORK 32 Vittorio Rossi: Playwright, Actor 32 Agata De Santis: Documentary Filmmaker, Producer, Blogger 33 Sandra Coppola: Filmmaker, Scriptwriter 34 Luisa Pepe: Singer, Songwriter 35 Franco Taddeo: Comedian 35 Michaela Di Cesare: Playwright, Actor 36 Marco Calliari: Author, Composer, Musician 37 Common Traits 40 VII THE TRANSMEMORIC PROCESS: AN ARTIST’S COUNTERACTION TO ESTABLISHED CULTURAL NORMS 44 VIII CONCLUSIONS 52 BIBLIOGRAPHY 57 MEDIOGRAPHY 60 Aloisio 3 ABSTRACT This study focuses on the complex construct of multilayered social identities internalized by Italian-Québécois artists and how it is manifested in their artwork. These experiences find expression through various artistic forms, contents, and practices. Practitioners in theater, film, and musical production sectors are featured. Through video and audio excerpts captured during several encounters I examine how the political landscape and the subjects’ parents’ experience of immigration impinged on the artistic process and production. A video documentary constitutes the essential part of the research-creation approach, which the present written component complements. -
NOTA DELLA PRESIDENTE Dear Members and Friends, Last Spring, I Travelled Throughout Italy to Present the AICW Anthology Writing Our Way Home
NOTA DELLA PRESIDENTE Dear Members and Friends, Last spring, I travelled throughout Italy to present the AICW anthology Writing Our Way Home . (You can see photos of these gatherings on the AICW Facebook page and in the June newsletter, available on the AICW site.) I’m pleased to report that Italian professors and graduate students are very interested in the literary production of Italian Canadians. For their hospitality and co-ordination of events, I am most grateful to professors Flavio Gregori and Giulio Marra (Venice), Paola Puccini and Carla Comellini (Bologna), Oriana Palusci (Napoli), Eleonora Federici (Calabria), and Annalisa Bonomo (Enna). Thanks also go to Elena Lamberti, Mirko Casagranda, Renata Oggero and Loredana Trovato. At the University of Calabria, I met Marcella Lorenzi (director of the university press) and her late husband Mauro Francaviglia, professor at the University of Torino. We had originally met at Montreal’s Blue Metropolis Festival a few years ago. Both Marcella and Mauro were very supportive of Italian Canadian writing and we discussed their participation at our Montreal 2014 conference. Shortly after our Newsletter / Bollettino meeting in Calabria, Mauro passed away suddenly. We are saddened to hear of his untimely September 2013 / Issue 68 death. Mauro gave us a memorable tour of Mauro Francaviglia, AICW members Licia Cosenza. We will always remember his kindness Canton and Liana Cusmano, Marcella Lorenzi. and hospitality. We are working on the 2014 AICW Conference to be held in Montreal, May 1 - 4, 2014. (See Call on page 7.) I look forward to seeing many of you at the Montreal conference, a unique opportunity to come together and share our publications and works-in-progress. -
Canadian Theatre in Latin America: Translation and Dissemination
Canadian Theatre in Latin America: 75 Translation and Dissemination Canadian Theatre in Latin America: Translation and Dissemination Hugh Hazelton¹ Submetido em 30 de junho e aprovado em 18 de agosto de 2019. Abstract: Canadian theatre has achieved a high level of popularity in Latin America and is now widely translated both for production and publication. Much of this success has been a mutual affair, the result of exchange programs between theatre companies in Mexico, Argentina, and other countries with those in Canada. This initiative largely originated in Quebec, which established bilateral agreements with theatre groups and cultural agencies from other countries in Latin America, especially Mexico, as early as the 1980s, and followed them up with theatre festivals, tours, and a continual stream of funding for translations. English Canadian dramatists as varied as Judith Thompson, Steve Galluccio, and Michael Mackenzie have been translated into Spanish, as well as a plethora of Quebec playwrights, from Michel Tremblay and Évelyne de la Chenelière to Chantal Bilodeau and Suzanne Lebeau. Latin Americans living in Canada have also played a role. A whole generation of experienced Latin American translators has arisen to meet this challenge, many of them in Mexico encouraged by the French playwright, actor, and translator Boris Schoemann, who immigrated to Mexico twenty years ago. This essay, then, will give an overview of the development and diffusion of Canadian theatre in Latin America, with particular attention to the cultural exchange between the two regions and to the crucial role that translation has played in the evolution of Latin American interest in Canadian drama. -
16Th Edition
16TH EDITION OUR FILMS IN OUR SCHOOLS II CELEBRATING FILM EVERYWHERE We’re finally back to the big screen, but we never stopped showing your favourite films along the way. We believe the magic of movies continues to inspire anywhere. Whether you’re visiting us or watching from home, enjoy the unforgettable stories while they move you. 1 ACKNOWLEDGMENT OF INDIGENOUS TERRITORY REEL CANADA’s offices are located on the treaty lands and territory of the Mississaugas of the Credit First Nation, which is also the traditional territory of the Anishinaabe, Haudenosaunee and Huron Wendat nations. This territory is subject to the Dish With One Spoon Covenant, a sacred agreement between the Haudenosaunee Confederacy, the Anishinaabe, and allied nations to peaceably share and care for the land and waters of the Great Lakes regions. REEL CANADA also conducts activities and presents programming across Canada. We acknowledge the treaty lands and traditional territories of Indigenous nations across the country. We acknowledge that the relationship between these Indigenous nations and their lands has existed since time immemorial and is ongoing. We make these acknowledgments as a sign of respect, in the spirit of reconciliation, and in recognition of Indigenous sovereignty. TABLE OF CONTENTS Who We Are p. 4 Message from the Founders p. 10 Our Team p. 11 Letters p. 12 Guests, Educational Partners & Consultants p. 16 Feature Films p. 19 Elementary School Programme p. 55 Canada On TV p. 56 Short Films p. 61 2020 Catalogue Additions p. 71 Reference Guide p. 73 Festival Partners, Donors and Supporters p. 102 Index p. -
The Emergence of Italian Canadian Theatre from 1947 to the Present
The Emergence of Italian Canadian Theatre from 1947 to the present Simone Lomartire Submitted in accordance with the requirements for the degree of Ph.D University of Leeds School of English November 2013 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2013 The University of Leeds and Simone Lomartire i ACKNOWLEDGEMENTS I must of course begin by thanking my supervisor, Professor Graham Huggan, the great ‘artificer’. Over the years, his sound advice and generosity of spirit have always encouraged my intellectual creativity and interdisciplinary orientation, and for that I am deeply grateful. Graham is to me what Socrates was to Plato: grazie, con tutto il cuore, for my ‘emergence’ as a scholar. I am grateful to the following funding sources: the School of English and the Italian government through INPDAP (Istituto Nazionale di Previdenza e Assistenza per i Dipendenti dell'Amministrazione Pubblica) for full financial support throughout three years of my studies; the Centre for Canadian Studies at Leeds University; and the Foundation for Canadian Studies in the UK (in association with the Canadian High Commission) for financial support for my two research trips to Canada in October 2009 and July 2011. Thanks are also due to archivists at the Library and Archives Canada in Ottawa, and to Casa d’Italia and the Centre des auteurs dramatiques in Montreal for facilitating the retrieval of valuable bibliographical material and for sending me copies of important documentation which I would never have been able to consult otherwise because of the many individuals ‘from Porlock’ who infest the globe. -
Self Portraits
Self PortraitS Self PortraitS THE CINEMAS OF CANADA SINCE TELEFILM Edited by André Loiselle & Tom McSorley With a preface by Piers Handling The Canadian Film Institute/Institut canadien du film Ottawa, 2006 ISBN 0-919096-41-7 Published by The Canadian Film Institute, 2 Daly Ave. Ottawa, Ontario CANADA. K1N 6E2 [email protected] www.cfi-icf.ca Tel: 613-232-6727 Fax: 613-232-6315 Printed in Canada by Carleton University Graphic Services © 2006 The Canadian Film Institute/Institut canadien du film and individual authors. TABLE OF CONTENTS Preface. Piers Handling 7 1. Introduction. André Loiselle & Tom McSorley 13 Part 1. Art versus Commerce . 2. Film Policy/Film History: From 29 The Canadian Film Development Corp. to Telefilm Canada. Peter Urquhart 3. The Decline…and the Rise of 55 English Canada’s Quebec Cinema. André Loiselle 4. Genres and Variations: 93 The Audiences of Quebec Cinema. Pierre Véronneau. 5. Air Bud and Stickgirl Share Leaky Condo: 129 The Changing Landscape of B.C. Cinema since the 1980s. Diane Burgess. 6. Surfing the Toronto New Wave: 167 Policy, Paradigm Shifts and Post-Nationalism. Brenda Longfellow. 5 Part 2. Regional Aesthetics 7. Made in Saskatchewan! 203 Christine Ramsay. 8. Strange Frontiers: 237 Twenty Years Of Manitoba Feature Film. Brenda Austin-Smith. 9. The Centre Cannot Hold: 271 The Cinema of Atlantic Canada. Tom McSorley. 10. A Typically Canadian Cinema: 297 Filmmaking in Alberta, its Institutions and Authors. Jerry White . Appendix 321 Notes on Contributors 325 6 PREFACE Piers Handling Toronto International Film Festival In the mid-seventies a French publisher approached Pierre Véronneau and Cinémathèque québécoise to pro- duce an introductory text on Canadian cinema. -
Winter 2018: Download The
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