Canada 150 – a Portrait in Documentary Film
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Your Source for New Canadian Stamps
M AY 2014 | No.4 Details Your source for new Canadian stamps Empress of Ireland 1914-2014 Inside • National Film Board of Canada • UNESCO World Heritage Sites EMPR ESS OF IRELAND C NO TE TS 100th Anniversary Collection M AY 2014 | No.4 6 National Film Board of Canada, 75th Anniversary Five groundbreaking productions complete our stamp issue honouring NFB filmmakers who have focused their lenses on quintessentially Canadian experiences. Only 6,000 produced 8 UNESCO World Heritage Sites in Canada Recognized by UNESCO, these five World 95 Heritage sites give visitors a peek into the $99 lives of our ancestors. Empress of Ireland 100th Anniversary Collection 12 Empress of Ireland 244257 L earn about a sad and widely unknown story – the sinking of the Royal Mail Ship Empress of Ireland, Canada’s worst peacetime marine disaster. Unique collectibles only available in this collection 16 Royal Canadian Mint Coins Sold at Canada Post C ollectible coins of all kinds for all occasions. 20 Still Available Get them while you still can. A richly detailed 36-page colour book, telling the story of the RMS Empress of Ireland – her construction, her eight years of service, and events before and after the tragedy. The Collection is presented in a foil-stamped, embossed leatherette folder, inset with a brass plaque. DI ETA LS Details is published by Canada Post. Write to Director, Stamp Services: Jim Phillips STAMP SERVICEs – DETAILS Director, Marketing and Brand: Nancy Wright CANADA POST Co-ordinator: Monica Desjardins 2701 RIVERSIDE DR SUITE N1070 Staff contributors: Joy Parks, Will Manzer OTTAWA ON K1A 0B1 CANADA Translation: Anne Joyal Printed in Canada. -
Brown Railroad Equipment Katy's Cars Ken Ley Hank Brown Brown
The SETOFF The Official Publication of NARCOA North American Railcar Operators Association Sept. / Oct. 2008 Volume 22 - No. 5 BBrroowwnn RRaaiillrrooaadd EEqquuiippmmeenntt KKaattyy’’ss CCaarrss PPllaanntt MMaannaaggeerr KKeenn LLeeyy RRiiddiinngg WWiitthh JJooee HHaannkk BBrroowwnn RReemmeemmbbeerreedd The President’s Message SETOFF Warren Riccitelli Volume 22 - No. 5 In the past year, I have met with many tended to solicit feedback from other lead - The SETOFF is the official publication of challenges as NARCOA’s president. The ers in the hobby. I surely have succeeded the North American Railcar Operators Associ - job requires daily decisions and actions for in getting feedback, and I am listening. ation (NARCOA) and is published bimonthly the organization to grow and prosper. I support last year’s decision that all to promote safe legal operation of railroad mo - Over the past year many events have taken 117 Excursions Coordinators that passed torcars, and to encourage fellowship and ex - place that required immediate decisions the board mandated January testing are on change of information among motorcar that could not wait for the entire board of the approved list. I stand by that decision, enthusiasts. Membership in NARCOA, which directors, or for the annual meeting. as everyone on the Board of Directors includes a subscription to The SETOFF is $30 does. We have found a few apparent er - per year, and is available from Secretary Joel The most controversial decision I Williams. Please send your check made out to made was to suspend the Excursion Coor - rors, and these will be corrected either by NARCOA to: dinator mentoring program in May. -
Mimodiegetic and Volodiegetic Levels of Diegesis, Together with Variable Frame Rates, As Tools to Define a Tentative Early Film Language
Lund University Christoffer Markholm Centre for Languages and Literature FiMN09, spring 2017 Master Program in Film and Media History Master’s Thesis Supervisor: Prof. Erik Hedling Seminar Date: 31-05-2017 Mimodiegetic and Volodiegetic Levels of Diegesis, Together with Variable Frame Rates, as Tools to Define a Tentative Early Film Language Abstract This thesis focuses on the era of early film, with the aim to address an almost forgotten film language. Three aspects have been taken into account—variable frame rates, suppressed sound and hearing, and projection speeds—to analyze several examples of film to ascertain the techniques used by early filmmakers. I have also applied my findings of the techniques of yesteryear to contemporary films that have tried to imitate the early era production methods, in order to present the possibilities and difficulties in reproducing and utilizing the “old” language. The thesis also examines what separated the early era from the modern era, thus identifying future avenues of research. In so doing, I have introduced two novel diegetic terms, namely mimodiegetic and volodiegetic, with the former referring to sound imitating the visuals and the latter relating to a volatile sound rising from the image. Neither of the terms represents a technique, or, for that matter, are restricted to the early era—both rather provide a means to define a specific technique. Finally, based on my findings, I argue that the early film language is problematic to utilize fully today but that it is, at the same time, not confined to the early era. Keywords: silent era, diegesis, frame rate, frames per second, early film, intertitles, projection, Girl Shy, The Movies, Fiddlesticks, One Week, Neighbors, Easy Street, Ask Father, The Artist, La Antena, Dr. -
John Weinzweig and the Canadian Mediascape, 1941-1948
John Weinzweig and the Canadian Mediascape, 1941-1948 by Erin Elizabeth Scheffer A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Erin Elizabeth Scheffer 2019 John Weinzweig and the Canadian Mediascape Erin Elizabeth Scheffer Doctor of Philosophy Graduate Department of Music University of Toronto 2019 Abstract This dissertation explores John Weinzweig’s incidental music for radio and film and its context in Canadian cultural life. Between 1941 and 1948, Weinzweig composed music for nearly one hundred CBC radio docudrama episodes and for four National Film Board documentaries. Weinzweig’s time at the CBC and NFB was his first large scale success as a working composer, following his graduate studies at the Eastman School of Music. Weinzweig’s incidental music was publicly broadcast across Canada, and can be interpreted in light of how it represents Canada during an anxious and difficult yet significant time in the nation’s history through the Second World War and the immediate post-war era. These works, featuring new music broadcast by organizations in their infancy, helped to shape audience perceptions of a rapidly changing country. I begin by situating Weinzweig’s documentary music both temporally and philosophically. The opening chapter explores his biography, the musical context of the 1940s in Canada, and the creation of the CBC and NFB, and it closes by discussing significant themes in the works: indigeneity, northernness, dominion over the landscape, and nation and national affect. The subsequent three chapters divide Weinzweig’s docudramas and documentaries by topic: World War Two propaganda and postwar reconstruction, Canada’s north, and finally a discussion of Weinzweig’s only radio drama The Great Flood , which premiered on CBC’s ii cultural program Wednesday Night in 1948. -
The Role of the National Film Board in the Development
THE ROLE OF THE NATIONAL FILM BOARD IN THE DEVELOPMENT OF ADULT EDUCATION PROGRAMS IN THE PROVINCE OF BRITISH COLUMBIA: 1942 TO 1970 by ALEXANDER McGECHAEN B.A. , University of British Columbia, 1970 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Faculty of Education (Adult Education) .. We accept this thesis as conforming to the required standard: THE UNIVERSITY OF BRITISH COLUMBIA JULY, 1971 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 representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. ' Department of Adult Education The University of British Columbia Vancouver 8, Canada Date August 13, 1971. ABSTRACT This study presents an historical survey of the activities of the National Film Board in British Columbia. The programs of the Board are organized into a number of different categories according to the purpose of each program, its structure, the educational techniques used, and the type of audience to which each was directed. The programs fall into six major categories: General Interest, Enrichment, Instructional, Package Program Kits, Leadership Training and Community Development. The study describes four different methods of film distribution used at various times in British Columbia in the period 194 2 to 1970. -
NFB Short Films
LANGUAGE TEACHER CURRICULUM COORDINATOR PROJECT PEEL-HALTON-DUFFERIN Online Resources for Accessing and Teaching National Film Board Short Films Blackfly (song) This animated film about the pesky blackfly is based on the song of the same title, written and sung by Canadian folk singer Wade Hemsworth, with back-up vocals by the McGarrigle sisters. It recounts Hemsworth's battles with this quintessential "critter" during a summer of surveying in Northern Ontario. Christopher Hinton, 1991, 5 min 10 s https://www.nfb.ca/film/blackfly Bully Dance (no dialogue) This short animated film examines the roles of peer pressure, accountability and power struggles in bullying – a pervasive phenomenon. When a bully picks on a smaller member of his group, the whole community becomes involved. The bully, they learn, is himself a victim at home. Bully Dance is part of ShowPeace, a series of lively, animated films about conflict resolution. Janet Perlman, 2000, 10 min 14 s https://www.nfb.ca/film/bully_dance Cornet at Night Based on a short story by Sinclair Ross, this short film recalls rural life on the Prairies in the 1930s. In the film a farmer's young son, sent to town to hire a man for the harvest, readily accepts when an itinerant trumpet player, down on his luck, begs a chance. He is hardly the kind of man the boy's father had in mind, but that night his trumpet speaks from the shadows and everyone pauses to listen. Stanley Jackson, 1963, 14 min 41 s https://www.nfb.ca/film/cornet_at_night Dinner for Two (no dialogue) When it comes to conflict, even chameleons won't change! Peace in the rain forest is disrupted when two chameleons literally get stuck in a conflict, with catastrophic results. -
Glenn Gould, Oscar Peterson, and New World Virtuosities
Glenn Gould, Oscar Peterson, and New World Virtuosities The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mok, Lucille Yehan. 2014. Glenn Gould, Oscar Peterson, and New World Virtuosities. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Lucille Yehan Mok All rights reserved. Dissertation Advisor: Professor Carol J. Oja Lucille Yehan Mok Glenn Gould, Oscar Peterson, and New World Virtuosities Abstract This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music- making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition. The first part of this dissertation demonstrates how Gould’s and Peterson’s respective performances sparked furor through their contestation of musical boundaries. -
Canadian Rail the MAGAZINE of CANADA·S RAILWAY HISTORY
No. 442 Canadian Rail THE MAGAZINE OF CANADA·S RAILWAY HISTORY SEPTEMBER - OCTOBER 1994 PUBLISHED BI-MONTHLY BY THE CANADIAN RAILROAD HISTORICAL ASSOCIATION PUBLIE TOUS LES DEUX MOrS PAR L' ASSOCIATION CANADIENNE D ' HISTOlRE FERROVIAlRE '''... '' CANADIAN RAIL ., . ..... "'".... " • , PUBLISHED el-MONTHLY BY THE CANADIAN RAILROAD HISTORICAL ASSOCIATION TAStE OF CONTEI'ITS THE CANADIAN NORTH EASTERN RAILWAy ......... " ..................................... MERVYN T. (MIKE) GREEN .. .... .. 167 " THE TOP FIFTY" RAIL SPOTS IN PACIFIC CANADA ............................. " ...... MERVYN T. (MIKE) GREEN ........ 172 THE FIRE AT THE SALEM AND HILLSBOROUGH RAILWAY.•... ..... __ .. __ •.•.....•... 16' CPR 29 AT HILLSBOROUGH ......................... ........... .. ................... ....................... RICH ARD VIBERG .. , .............. " .... 16. lWO eN COACHES IN NORTH CAROLINA .......................... " .. .......................... JACKSON McQUiGG ................... 191 DUNROBIMS TRIP TO AAllFAIR AT SACRAMENTO ................................. ...... ERNIE OTTEWELL. .................... .. 192 MORE MUSIC AND TRAINS ................................................................................. .. 19' RAIL CANADA DECiSiONS ........................................................., ........................ DOUGLAS N. W. SMITH .............. 196 CRHA COMMUNiCATIONS .......................... , .............. " ............... , .............. " ....... .. 199 THE BUSINESS CAR ............................................................................................ -
The Nfb Canada Map Resource Manual for Elementary and Secondary Grades
THE NFB CANADA MAP RESOURCE MANUAL FOR ELEMENTARY AND SECONDARY GRADES National Office Film Board national du film of Canada du Canada A French-language resource manual, entitled Guide pédagogique de la carte du Canada réalisée par t'ONF, is also available. Please address all product inquiries to: NFB Canada Map P.O. Box 6100, Montreal, Quebec H3C 3H5 Second Edition, 1985 ©National Film Board of Canada 1985 P.O. Box 6100, Montreal, Quebec H3C 3H5 Legal Deposit, 2nd trimester 1985 ISBN: 0-7722-0107-2 THE NFB CANADA MAP RESOURCE MANUAL FOR ELEMENTARY AND SECONDARY GRADES One of the questions we get asked Born out of a conviction that there is most frequently about the NFB Canada a way of looking at our country that has Map is why the National Film Board of not been tried before, this impressive map Canada, essentially a film production and presents a space-age view of Canada. distribution agency, became involved in The NFB Canada Map is a new and in- this project. The answer is quite simple: novative teaching tool designed for a gen- we felt it was an exciting, innovative idea eration that has grown up with space that without the involvement of the NFB games and movies and accustomed to live might never get the support it rightly de- television transmissions from satellites served. and spacecraft. The NFB has a long-established The education of Canadian children record of breaking new ground in the has always been a priority for the NFB. In creation of visual materials oriented spe- the 1980s and beyond, the challenge to cifically toward Canadian interests: films, educate creatively will be more important filmstrips, slides, overhead transparen- than ever. -
December 2017
December 2017 Do You Remember The Railrodder? The National Film Board of Canada made a film starring Buster Keaton in 1965, where a man steals a track motorcar and crosses Canada on it. The film is available to watch on the internet and shows some very interesting railroad action. Tom Price and Ken Ashmead restored a vintage Fairmont motorcar and are making a circuit of the track at Heritage Park’s Railway Days on September 24, 2017. It’s like deja vu! 6th Division Officers Superintendent Treasurer Ed Molenkamp [email protected] Rick Walker [email protected] Phone: 780-455-1479 Achievement Program Assistant Superintendent Doug Wingfield, MMR [email protected] Peter Ulvestad [email protected] Convention Coordinator Phone: 780-410-0788 Doug Burton [email protected] Secretary Highball! Editor Doug Johnson [email protected] Rob Badmington [email protected] Superintendent’s Report - Ed Molenkamp, Superintendent 6th Division Hello everyone! at most shows and it was great to see Regina back on the circuit! We are now in that busy season of Christmas which gives us the opportunity to take some time More details, like the location and dates have off and relax with family and friends and perhaps been promised for the Spring Meet and will be knock some dust off the layout or a project or posted as soon as possible. two. Preparations for the Regional Convention to be 2018 will bring more Shows/Meets again which is held in Cranbrook in 2019 are moving along. So always refreshing and will help inspire us all. look for information to be posted on that as well. -
Canadian Railroad Historical Association Publie Tous Les Deux Mois Par L'association Canadien Ne D'histolre Ferroviaire 90
Published bi-monthly by the Canadian Railroad Historical Association Publie tous les deux mois par l'Association Canadien ne d'Histolre Ferroviaire 90 ISSN 0008·4875 CANADIAN RAIL Postal Permit No. 40066621 PUBLISHED BI-MONTHLY BY THE CANADIAN RAILROAD HISTORICAL ASSOCIATION TABLE OF CONTENTS Newfoundland Railway Mail Cars 231 and 232, Brian T Stalker ................. ....... ... ..... .. .. ....... 91 Railway Recollections of a B.c. Sheep Rancher, John K. Moilliet ........................... ......... ....... 96 Planes, Trains and Buster, Robert and Marco Marrone ... ... .. ... ... .. .... .... ... ........ ....... ... ... .. .. 109 Working the CPR's Westminster Branch, Jack Stewart. ....................................................... 114 Business Car, John Godfrey .. .. ....... .... ... ... ... .. ...... ............... ..... .... ..... .... .. ...... 121 FRONT COVER: Canadian National Railways nan-ow gauge train No.1 ready to depart St. John 's Newfoundland for Port aux Basques on June 26, 1952. Photo Ronald S. Ritchie. BELOW Side view ofN ewfoundland Railway mail car 231 taken at the Canadian Car and Foundry shops in Ville Saint-Pime, Quebec (Montreal). The car was moved around the property on 'shop Ducks ; the 3' 6" gauge DUcks were supplied separately. Photo CC&F C-6294, author's collection. For your membership in the CRHA, which Canadian Rail is continually in need of news, stories, EDITOR: Fred F. Angus includes a subscription to Canadian Rail, historical data, photos, maps and other material. CO·EDITORS: Douglas N.W. Smith, write to: Please send all contributions to the editor: Fred F. Peter Murphy CRHA, 110 Rue St-Pierre, St. Constant, Angus, 3021 Trafalgar Avenue, Montreal, P'Q. ASSOCIATE EDITOR (Motive Power): Que. J5A 1G7 H3Y 1H3, e-mail [email protected] . No payment can Hugues W. Bonin be made for contributions, but the contributer will be Membership Dues for 2006: LAYOUT: Gary McMinn given credit for material submit1ed. -
OTTAWACULTURE – LECTURE FOUR in 1879, a Group Of
OTTAWACULTURE – LECTURE FOUR ART In 1879, a group of prominent local citizens formed an association for the encouragement and advancement of the fine arts throughout Canada. They proposed to establish an art union that would sponsor annual exhibitions in this city, to use the influence of the association in promoting the creation of a National Gallery, and to open a School of Art and Design in Ottawa. A year later, under the patronage of the Marquis of Lorne and his wife the Princess Louise, they succeeded on all counts. By then, plans for a National Art Association had evolved into the idea of an academy of artists, each of whom would contribute a "diploma" work to form the basis of a national collection (later to become the National Gallery of Canada's permanent collection). The Royal Canadian Academy held its first gala exhibition in March, 1880 at the Clarendon Hotel, situated at the corner of Sussex and George Streets. A month later the Art Association hired an instructor to begin art classes in rooms at 140 Wellington Street. Eighteen pupils made up the first enrollment. The Art Association of Ottawa ran the Ottawa Art School (as it was then known) for almost twenty years. By 1899, however,support had waned. Although the Royal Canadian Academy continued to sponsor occasional lifedrawing classes throughout the early years of the century, it was not until the '20s and '30s that a number of groups, including the revived Art Association, once again offered regular art instruction to citizens of the capital - only to have classes suspended again at the onset of the World War II.