Douglas Koch, Csc | D Irector of Photography

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DOUGLAS KOCH, CSC | D IRECTOR OF PHOTOGRAPHY FEATURE FILMS (Select Credits): CRIMES OF THE FUTURE [In Production] David Cronenberg Serendipity Films FUNNY BOY Deepa Mehta Netflix/Array/ Hamilton-Mehta Productions THROUGH BLACK SPRUCE Don McKellar Serendipity Point Films/ Myriad Pictures THE GRAND SEDUCTION Don McKellar Max Films Prod/EOne THE REPUBLIC OF LOVE Deepa Mehta Dan Films/Triptych Media BOLLYWOOD HOLLYWOOD Deepa Mehta Different Tree/Sam Wood LAST NIGHT Don McKellar Lion’s Gate Films/CBC/Rhombus WHEN NIGHT IS FALLING Patricia Rozema Crucial Pictures/Alliance I’VE HEARD THE MERMAID SINGING Patricia Rozema NFB/Miramax FRIENDS LOVERS AND LUNATICS Steven Withrow Fries Entertainment DEAR JOHN Catherine Ord Independent Film MARTHA, RUTH & EDIE Norma Bailey/Deepa Mehta Sunrise Films THE FALLS (Documentary) Kevin McMahon NFB/Channel Four Films TELEVISION (Select Credits): CHILDREN RUIN EVERYTHING (TV Series – Season 1) Various New Metric Media/CTV MICHAEL: EVERY DAY (TV Series- Season 2) Don McKellar Rhombus Media/CBC SENSITIVE SKIN (TV Series- Seasons 1 & 2) Don McKellar Rhombus/TMN/Movie Central MICHAEL: TUESDAYS AND THURSDAYS (TV Series- Season 1) Don McKellar Rhombus Media/CBC THE MIDDLEMAN (TV Pilot) Jeremiah Chechik ABC Films THE BRONX IS BURNING (TV Miniseries) Jeremiah Chechik Touchstone/ESPN MELTDOWN (TV Movie) Jeremiah Chechik FX Channel/ApolloScreen SECRET SERVICE (TV Movie) Rupert Wainwright 20th Century Fox SHORT FILMS (Select Credits): IT’S NOT YOU Don McKellar Triple 7 Films ROY SPIVEY Michael Slovis The Lair/Amazon A WORD FROM THE MANAGEMENT Don McKellar Rhombus/TIFF THE CATSITTER Tim Hamilton Tim Hamilton R Us Films COMMERCIALS (Select Credits): SUBARU BUDWEISER BAYER CHRYSLER DEMPSTER’S VOLKSWAGEN DODGE FORD GENERAL MOTORS EXPEDIA HAVERTY’S HONDA GIBSON WISKEY KIA MITSUBISHI COMMERCIALS (Continued): HUDSON’S BAY COMPANY ROGERS TIM HORTONS HOME HARDWARE TOYOTA BEST BUY OLG GM MCDONALD’S FIDO CAMPBELL’S SVEDKA VODKA WALMART FIX AUTO MANULIFE SHREDDIES SWIFFER MR. CLEAN FOOD BASICS OREO AT&T ADVIL ACADEMY SPORTS ITRADE INTERAC GAMESTOP LOTTO MAX POST CEREALS WEIGHT WATCHERS RESOLVE THE PURPLE PROJECT AIR CANADA CLARITIN DENTYNE DIRECTORS: Martin Granger Damien Toogood Mark Gilbert Jean-Marc Piché Phil Brown Curtis Wehrfritz Matt Eastman Wayne Craig Tim Hamilton Tom Feiler Kathi Prosser Trevor Cornish Bob Rice Pete Henderson Alex Ogus John Mastromonaco James Haworth Steve Gordon Aleysa Young Greg Bell Michael Clowater Taso Alexander David Hicks Chris Hooper Jono Holmes Jason Scott Paul Constantakis Mathieu Renoult Angela Cohen Adam Reid Angie Bird AWARDS & FESTIVALS: Douglas’ work has been recognized for numerous awards and nominations as well as at many prestigious festivals around the world. Including but not limited to the Canadian Society of Cinematographers, BAFTA Awards, Genie Awards, Marketing Awards, Canadian Screen Awards, Sundance Film Festival and the Toronto International Film Festival. .

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Myth and Patriarchy in Deepa Mehta's Heaven on Earth
223 Manjeet Roden: Deepa Mehta Myth and Patriarchy in Deepa Mehta’s Heaven on Earth Manjeet Ridon University of Nottingham _______________________________________________________________ This article analyses how Heaven on Earth (2008) uses Indian mythology to expose the reality of culturally driven violence against Sikh Punjabi women in Canada, occurring as a result of transnational marriages between diaspora-based Non-Resident Indian (hereafter NRI) men and Sikh Punjabi women. Referring to Bruce Lincoln’s theory of myth as ideology, I argue that the film explores how some of these women have experienced marginalisation and how a discourse of abuse can be challenged through myth. _____________________________________________________________ My analysis of Deepa Mehta’s Heaven on Earth (2008) focuses on the fictional depiction of a poor, working-class, first-generation Indian family, living in Brampton, Ontario, which provides a microcosm of the pressures and realities of everyday immigrant life affecting the family from within. The text represents the ancient Indian myth of the Sheesh Naag, the King Cobra, with the ability to shape-shift and transform into human form, to raise awareness about the issue of culturally driven violence against women in South Asian Canadian communities, which is on the increase in Canada’s immigrant communities (Papp) and, along with the incidence of gang rape,1 an even more alarming trend in India (Lakhani). Mehta’s interpretation of the myth is based on Naga-Mandala (1994), a popular play by Girish Karnad, a South Indian dramatist heavily influenced by ancient Indian mythology. Karnad’s play is a story about the mythical figure of a cobra, which, in human form, rescues a lonely bride from an abusive husband and empowers her through storytelling.
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The Feminine Eye: Lecture 5: WATER: 2006: 117M
1 The Feminine Eye: lecture 5: WATER: 2006: 117m: May 2: Women Directors from India: week #5 Mira Nair / Deepa Mehta Screening: WATER (Deepa Mehta, 2005) class business: last class: next week: 1. format 2. BEACHES OF AGNES 3. Fran Claggett 2 Women Directors from India: Mira Nair: [Ni-ar = liar] b. 1957: India: education: Delhi [Delly] University: India Harvard: US began film career as actor: then: directed docs 1988: debut feature: SALAAM BOMBAY! kids living on streets of Bombay: real homeless kids used won Camera d’Or: Cannes Film Festival: Best 1st Feature clip: SALAAM BOMBAY!: ch 2: 3m Nair’s stories: re marginalized people: films: focus on class / cultural differences 1991: MISSISSIPPI MASALA: interracial love story: set in US South: black man / Indian woman: Denzel Washington / Sarita Choudhury 2001: MONSOON WEDDING: India: preparations for arranged marriage: groom: Indian who’s relocated to US: Texas: comes back to India for wedding won Golden Lion: Venice FF 2004: VANITY FAIR: Thackeray novel: early 19th C England: woman’s story: Becky Sharp: Witherspoon 2006: THE NAMESAKE: story: couple emigrates from India to US 2 kids: born in US: problems of assimilation: old culture / new culture plot: interweaving old & new Nair: latest film: 2009: AMELIA story of strong pioneering female pilot: Swank 3 Deepa Mehta: b. 1950: Amritsar, India: father: film distributor: India: degree in philosophy: U of New Delhi 1973: immigrated to Canada: embarked on professional career in films: scriptwriter for kids’ movies Mehta: known for rich, complex
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1 Professor Prageeta Sharma Film 381: Wednesday/Friday 10:40 Am-‐1:00Pm JRH
Professor Prageeta Sharma Film 381: Wednesday/Friday 10:40 am-1:00pm JRH 205 Office Hours: Thursday: 10am-12:30pm, LA 211 e-mail: [email protected] SOUTH ASIAN CINEMA AND TELEVISION: FROM THE APU TRILOGY TO SLUMDOG MILLIONAIRE AND THE MINDY PROJECT. “When I Was groWing up in the nineties, no one on my favorite shoWs ever looked like me.” -- Manori Ravindran There's been a recent revolution in mainstream moviemaking and American and Canadian television (although, it has happened much earlier for BBC). Outside of Bollywood’s narrative formulas, more and more South Asians and South Asian descent actors are populating the film and television industry. In addition to acting, they are producing, directing, writing scripts, and creating their own television shoWs. Even so, it is still difficult to unpack the racial stereotypes of Indians from the subcontinent: Are they edgy characters or unsettling, exaggerated portraits inconsistent with reality? What are our narrative discourses around the subcontinent and South Asian immigrant culture? What has it looked like and What does the 21st century South Asian media culture outside of India Want to accomplish? This class Will explore the representations of South Asians in filmmaking and television from mid-twentieth century to the present day. We will Watch Richard Attenborough’s Gandhi, several of Satyajit Ray's films and figure out hoW they differ from Merchant Ivory Productions. We Will discuss Peter Sellar’s character in The Party; We Will explore Hanif Kureishi's My Beautiful Laundrette, Jhumpa Lahiri & Mira Nair’s The Namesake, the Harold and Kumar trilogy and phenomenon, Gurinder Chadha’s Bend it Like Beckham, Danny Boyle’s Slumdog Millionaire, Salman Rushdie and Deepa Mehta’s Midnight Children, Umesh Shukla's Oh My God, and television shows and series like The Far Pavilions (1984), The Mindy Project, Parks and Recreation, Community, and The Good Wife to figure out the range in characters and over-arching themes for South-Asians today.
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Bureaucrats and Movie Czars: Canada's Feature Film Policy Since
Media Industries 4.2 (2017) DOI: 10.3998/mij.15031809.0004.204 Bureaucrats and Movie Czars: Canada’s Feature Film Policy since 20001 Charles Tepperman2 UNIVERSITY OF CALGARY c.tepperman [AT] ucalgary.ca Abstract: This essay provides a case study of one nation’s efforts to defend its culture from the influx of Hollywood films through largely bureaucratic means and focused on the increasingly outdated metric of domestic box-office performance. Throughout the early 2000s, Canadian films accounted for only around 1 percent of Canada’s English-language market, and were seen by policy makers as a perpetual “problem” that needed to be fixed. Similar to challenges found in most film-producing countries, these issues were navigated very differently in Canada. This period saw the introduction of a new market-based but cultural “defense” oriented approach to Canadian film policy. Keywords: Film Policy, Production, Canada Introduction For over a century, nearly every film-producing nation has faced the challenge of competing with Hollywood for a share of its domestic box office. How to respond to the overwhelming flood of expensively produced and slickly marketed films that capture most of a nation’s eye- balls? One need not be a cultural elitist or anti-American to point out that the significant presence of Hollywood films (in most countries more than 80 percent) can severely restrict the range of films available and create barriers to the creation and dissemination of home- grown content.3 Diana Crane notes that even as individual nations employ cultural policies to develop their film industries, these efforts “do not provide the means for resisting American domination of the global film market.”4 In countries like Canada, where the government plays a significant role in supporting the domestic film industry, these challenges have political and Media Industries 4.2 (2017) policy implications.
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Shastri Indo-Canadian Institute Sponsored Multidisciplinary International Seminar Bollywood’S Soft Power
Shastri Indo-Canadian Institute sponsored Multidisciplinary International Seminar Bollywood’s Soft Power 13-15 December 2009 Department of Humanities and Social Sciences Indian Institute of Technology Kharagpur West Bengal India 721 302 The Seminar is part of a two-year long collaborative project on Bollywood’s Role in Promoting India Canada Relations and is generously funded by the Shastri Indo-Canadian Institute. Soft power, a term coined by the Harvard political scientist Joseph Nye in his book, Bound to Lead: The Changing Nature of American Power(1990), which he developed a decade and a half later in Soft Power: The Means to Success in World Politics(2004) has entered the vocabulary of international relations over the years. By soft power Nye means “the ability to get what you want through attraction rather than through coercion” and believes that soft power enables a nation "to achieve desired outcomes in international affairs through attraction rather than coercion." It was Nye who made the connection between Bollywood and soft power when he asserted that “Indian films with a sprawling audience across Asia, Middle East and Africa, are the cutting edge of the country's soft power” at the Davos Meet in January 2006. Two years later, author, peacekeeper and politician Shashi Tharoor seconded him by citing the international popularity of Bollywood films as an example of India’s rising soft power. But when the Indian Prime Minister Manmohan Singh recently told a group of IAS probationers that “cultural relations, India's film industry, Bollywood...I find wherever I go in the Middle East, in Africa, people talk about Indian films," and underlined the need to put soft power to use as an important instrument of foreign policy, Bollywood’s soft power received official recognition.
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Canadian Films: What Are We to Make of Them?
Canadian Films: What Are We to Make of Them? By Gerald Pratley Spring 1998 Issue of KINEMA This technically fine picture was shot in British Columbia, but care seems to have been taken toeradicate any sign of Canadian identity in the story’s setting, which is simply generic North American. Film critic Derek Elley in his review of Mina Shum’s Drive, She Said in Variety, Dec. 22, 1997. NO MATTER to what segment of society individuals may belong within the public at large most of those interested in the arts are contemplating what to make of Canadian cinema. Among indigent artists, out- of-work actors, struggling writers, publishers and bookshop proprietors, theatregoers and movie enthusiasts, the question being asked is, what do we expect from Canadian movies? The puzzle begins when audiences, after being subjected to a barrage of media publicity and a frenzy of flag waving, which would have us believe that Canadian movies and tv programmes are among the best in the world, discover they are mostly embarrassingly bad. Except that is, films made in Québec. Yet even here the decline into worthlessness over the past twoyears has become apparent. It is noticeable that, when the media in the provinces other than Québec talk about Canadian films, they are seldom thinking of those in French. This means that we are forced, whentalking about Canadian cinema, into a form of separation because Québec film making is so different from ”ours”, making it impossible to generalize over Canadian cinema as a whole. If we are to believe everything the media tells us then David Cronenberg, whose work is morbid, Atom Egoyan, whose dabblings leave much to be desired, Guy Maddin, who is lost in his own dreams, and Patricia Rozema, who seldom seems to know what she is doing, are among the world’s leading filmmakers.
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Dr. Sridhar Rajeswaran's Report
Trust Registration Number E/2423/Kachchh _____________________________________________________________________________________ Report on Field Visit to CICS, University of the Fraser Valley May 2014 I was awarded the South Asian Diaspora Fund grant by the Centre for Indo-Canadian Studies, University of Mumbai and the Centre for Indo-Canadian Studies, University of the Fraser Valley, in 2013-14 for my research project on the works of the Indo-Canadian Film maker Deepa Mehta. My main objective for this project was to focus on the Re-Imaging of the Nation in Mehta’s Elements Trilogy, Earth, Fire and Water. The purpose of the field visit to the CICS at the University of the Fraser Valley was to - 1. Contextualize the film maker in her diasporic geopolitical space of Canada 2. To get viewer response from Indo-Canadians on the stance adopted by Mehta in her films 3. To meet Mehta and interview her on the main objectives and metaphors in her films related to re- imaging the nation 4. To share my work and findings on Mehta’s films with the faculty, students and Indo-Canadian community members at the UFV My visit to the CICS even though it was very brief enabled me to interact with the dynamic Director of the Centre, Dr. Satwinder Bains and her committed team of researchers. I was also able to speak on Mehta’s films at the symposium organized by Dr. Bains and interact with the audience after the talk. I was also happy to meet the President of the UFV and realize the extent of his involvement with the CICS and his commitment to research on the Indo-Canadian community.
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Longfellow-22Bollywoodtoronto22.Pdf
My study of the exhibition and consumption of Bollywood films in Toronto is inspired by two key theoretical objects. The first has to do with the desire to explore alternatives to thinking globalization as a single integrated or unified conceptual scheme, a particular danger in Canadian studies where the tendency has been to read globalization exclusively as an extension of American cultural and economic imperialism. A more productive line of inquiry has been suggested by Saskia Sassen, who shifts the focus from the conventional globallnational axis to a consideration of how globalization is actualized in concrete localized forms at the sub-national level of cities. Of great import to the Canadian experience, Sassen insists that the presence of large diasporic populations in major metropolitan cities attests to the living reality of postcoloniality and uneven development, both historic features of long term global economies. As such, she argues, immigration and ethnicity need to be taken out of the paradigm of "otherness" and situated, precisely, as a fundamental aspect of globalization, "a set of processes whereby global elements are localized, international labour markets are constituted, and cultures from all over the world are de- and reterritorialized."' Introducing sub-national groupings like cities into an analysis of globalization, not only adds concrete specificity but allows for a consideration of the way in which economic globalization impacts on the lives of marginal subjects, "women, immigrants, people of colour; as she puts
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Away from Her, a Film by Sarah Polley, Starring Julie Christie, Gordon Pinsent and Olympia Dukakis
presents AWAY FROM HER A Film By SARAH POLLEY Starring Julie Christie Gordon Pinsent Olympia Dukakis PRELIM PRESS NOTES **Downloadable Press Kit & Hi-Res Jpeg images** will be available at http://www.caprifilms.com/capri_pressmaterial.html By July 21st, 2006 Media Contacts: Distributor: Cynthia Amsden Robin Smith ROUNDSTONE CAPRI RELEASING INC. COMMUNICATIONS 259 Lakeshore Blvd. East T: 416.910.7740 2nd Floor F: 416.944.8140 Toronto, Ontario, M5A 3T7 [email protected] T: 416.535.1870 x 236 F: 416.535.3414 [email protected] AWAY FROM HER SYNOPSIS AWAY FROM HER is the lyrical screenplay adaptation of celebrated author Alice Munro’s short story “The Bear Came Over the Mountain”. AWAY FROM HER is a beautifully moving love story that deals with memory and the circuitous, unnamable paths of a long marriage. Married for 50 years, Grant (Gordon Pinsent) and Fiona’s (Julie Christie) commitment to each other appears unwavering, and their everyday life is full of tenderness and humour. This serenity is broken only by the occasional, carefully restrained reference to the past, giving a sense that this marriage may not always have been such a fairy tale. This tendency of Fiona’s to make such references, along with her increasingly evident memory loss, creates a tension that is usually brushed off casually by both of them. As the lapses become more obvious and dramatic, it is no longer possible for either of them to ignore the fact that Fiona is suffering from Alzheimer’s disease. Eventually, Fiona decides that it is time for her to enter into Meadowlake, a retirement home that specializes in the disease.
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Reference Guide This List Is for Your Reference Only
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Midnight's Children: an Expedition from the Novel to the Film
Vol-6 Issue-5 2020 IJARIIE-ISSN(O)-2395-4396 Midnight’s Children: An Expedition from the Novel to the Film Anshuman S. S. Mohanty 13PHENG001 Research Scholar (PhD) Department of English Ravenshaw University Cuttack – 753003 Odisha, India Adaptation is an integral part of literature in which one genre is transformed into the same or the another. The person who adapts any literary product generally adds or deletes, maybe something or maybe many things, from the original and recreates a new original proving Linda Serger’s statement, “…adaptation is a new original”, right. DeWitt Bodeen claims that, “Adapting literary works to film is, without a doubt, a creative undertaking, but the task requires a kind of selective interpretation, along with the ability to recreate and sustain an established mood.” The concept of the transfer of a novel into a feature film is known as ‘Novel into Film’. It is considered in modern western culture as a type of derivative work. Popular novels are frequently adapted into films to take advantage of the popularity of the written literature. The reason is to reach the audience easily in order to make commercial benefit. Obviously, the more successful the source novel is, the more likely it is to attract a larger audience. By now many novels have already been converted into films but there is still no definitive theory of adaptation, thus the critics and scholars ponder over adaptation, yet cannot seem to agree on what makes an adaptation a success or a failure. On successfully observing both the genres without any prejudices, the observer can realise that the change is a new creativity that also helps in better understanding of the texts.
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Sundance Institute Names Projects for Its Screenwriters Lab, Documentary Edit and Story Labs and New TheatreMakers Residency
FOR IMMEDIATE RELEASE Media Contact: June 8, 2016 Chalena Cadenas 310.360.1981 [email protected] Sundance Institute Names Projects for its Screenwriters Lab, Documentary Edit and Story Labs and New TheatreMakers Residency Concurrent Labs Provide Artists with Unique CrossDisciplinary Opportunities Encouraging Creativity with Different Storytelling Forms Los Angeles, CA — Sundance Institute has selected 25 projects to participate in its Screenwriters Lab, Documentary Edit and Story Labs and new TheatreMakers Residency, which will take place concurrently this summer in the mountains of the Sundance Resort in Utah. The confluence of these three artist development programs will provide Fellows the unprecedented opportunity to experience portions of the other Labs and will support a crosspollination of creativity and personal expression across different storytelling forms. Under the guidance of established creative advisors, screenwriters will participate in individualized story sessions exploring their workinprogress screenplays while documentary filmmakers in postproduction embark on a rigorous exploration of story, structure, and character development. At the TheatreMakers Residency, artists with plays not yet ready for actors will have the time and space to reflect on and develop their new work. Keri Putnam, Executive Director of Sundance Institute, said, “The unique gathering of independent voices, for the first time in a multiLab setting, allows our artists to collaborate across different creative
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