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. These were: Film Circuits,
Public and Deposit Libraries,.and Direct Distribution to the public from National Film Board offices. Each method reflected the Board's interest in making the maximum number of films available to people. In the early years> when the Board lacked the resources to handle distribution on its own, it relied on various agencies within the com• munity such as Film Councils; however, as the Board grew
it assumed more control over distribution until it reached the point where it handled most of its own film distribution.
The work of the local Representative is examined
in order to trace the evolution of his role as an adult educator. The study shows that during the past 28 years the role of the Representative has undergone three stages of development: (1) From 1943 to 1947 he was an exhibitor who travelled to various communities screening NFB films.
(2) In 1948 his role changed and he became more concerned with organizing various kinds of adult education programs.
(3) Recently, his role has begun to change again and he is now more of a Community Development worker, assisting various special interest groups to develop programs for change within a community. Throughout this study an attempt has been made to determine the importance of the
National Film Board to adult education in British Columbia. TABLE OF CONTENTS
Page
LIST OF TABLES vi
LIST OF FIGURES ...... ; vii
ACKNOWLEDGEMENTS viii
Chapter
I. INTRODUCTION 1
PURPOSE OF THE STUDY ...... 2
SOURCES OF INFORMATION ...... 4
PLAN OF THE STUDY .- . 5
FOOTNOTES ...... - 7
II. HISTORY OF THE NATIONAL FILM BOARD 8
CANADIAN FILM FROM 1896 TO 1938 8
THE GRIERSON REPORT 11
STRUCTURE OF THE NFB 14
FILM PRODUCTION FROM 1939 TO 1946 , 15
DISTRIBUTION 18
The Circuit Programs 20
THE FILM COUNCIL MOVEMENT ...... 27
THE EVOLUTION AND FUNCTION OF THE DISTRIBUTION REPRESENTATIVE 29 THE EFFECT OF DIRECT DISTRIBUTION
ON THE NFB REPRESENTATIVE . 34
PROGRAMS AND PROGRAM EVALUATION 36
FOOTNOTES 41 ii
Chapter Page
III. HISTORY OF NFB DISTRIBUTION IN BRITISH COLUMBIA 45
THE CIRCUIT PROGRAMS FROM 1943 TO 1947 ; 45
THE FILM COUNCIL MOVEMENT FROM
1947 TO 1963 . . . . i ; 47
DEPOSIT LIBRARIES FROM 1947 TO 1970 ...... 49
NFB REGIONAL AND DISTRICT OFFICES 50
PUBLIC LIBRARIES FROM 1951 TO 1963 ...... 53
DISTRIBUTION TRENDS FROM 1957 TO 197 0 55
Distribution Outlets 55
Film Councils 5 6
Deposit Libraries 56
Regional and District Offices 57
Public Libraries 58
TRENDS IN ADULT SHOWINGS FROM
1957 TO 1970 . . . ; 59
FOOTNOTES i 71
IV. THE FILM IN ADULT EDUCATION PROGRAM 73
AIMS AND OBJECTIVES OF THE PROGRAM ...... < . . . 73
THE STRUCTURE OF THE FAE 74
THE AUDIO-VISUAL GUIDE 75
FAE PROGRAMS 76
1. Film Series - General Interest 77
2. Enrichment Programs . . . ; 79
3. Instructional -Programs 81
4. Package Program Kits ...... 83 iii
Chapter Page
5. Leadership Training Programs 87
6. Special Programs . .... 8 9
PROGRAM EVALUATION 92
THE CONTRIBUTION OF THE FAE TO
ADULT EDUCATION 94
FOOTNOTES 96
V. NFB PROGRAMS THROUGHOUT B.C. .... 98
FACTORS AFFECTING THE INITIATION
OF PROGRAMS ; 99
THE RURAL PROGRAMS ...... 102
1. Film Series - General Interest 102
2. Enrichment Programs 105
3. Instructional Programs 106
Social Studies 106
The Film As Art 109
4. Package Program Kits 110
5. Leadership Training Programs Ill
CHALLENGE FOR CHANGE INB.C 113
Programming From 1966 to 1968 ... 114
Programming From 1968 to 1971 116
PROGRAM EVALUATION 121
The Role of the NFB Representative in Program Evaluation 121 Program Evaluation by Adult Education Departments . . 125 FOOTNOTES 130 iv
Chapter Page
VI. SUMMARY ; . 133
General Interest Film Series 133
Enrichment Programs 133
Instructional Programs 133
Package Program Kits 134
Leadership Training Programs 134
Community Development Programs 134
CONCLUSION * 138
THE FUTURE OF THE NFB . 142
FOOTNOTES . 144
BIBLIOGRAPHY ...... 145
ANNOTATED FILMOGRAPHY 153
APPENDICES 159
A. Membership Form For the Greater Vancouver
Audio-Visual Co-ordinating Committee 16 0
B. FAE Organization Structure 162
C. AVCC Committee Membership 163
D. Listing of FAE Package Programs ...... 164
E. Film Evaluation Form - Vancouver Public Library 167 F. Film Evaluation Form - NFB - Odeon
Theatres . 168
G. NFB Program Listing - All About. Canada ...... 169
H. NFB Program Listing - McLaren Festival ...... 171
I. NFB Program Listing - The Family - Where Are We Going 173 J. NFB Program Listing - Mass Media and You ...... 175 V
Page
K. NFB Program Listing - The Medium, The Message and You 177
L. NFB Program Listing - Explorations in Sound 179
M. NFB Program Listing - Challenge For Change: School District 61 181
N. Evaluation Form for Challenge For Change Program - Summer 1970 ; 183 vi
LIST OF TABLES
Table Page
I. Percentage Distribution of Films By Outlet 61
II. Promotional Screenings 1957 to 1962 62
III. Trends in the Number of Films Distributed By Each Outlet, Expressed as a Moving Average 63
IV. Trends in the Number of Active Distribution Outlets, Expressed as a Moving Average ...... 64
V. Comparison of Trends in Adult Showings With Trends in the Provincial Total 65 vii
LIST OF FIGURES
Figure Page
1. Graphic Comparison of Number of Active Film Council Outlets With Number of Films Distributed - 1957 to 1970 . ; 66
2. Graphic Comparison of Number of Active Deposit Library Outlets With Number of Film Distributed - 1957 to 1970 67
3. Graphic Comparison of NFB Regional and District Office Outlets With Number of Films Distributed - 1957 to 1970 68
4. Graphic Comparison of Number of Active Public Library Outlets With Number of Films Distributed - 1957 to 1970 69
5. Graphic Comparison of Number of Adult Showings With Total Showings For B.C. - 1957 to 1970 70 ACKNOWLEDGEMENT S
Many people have contributed a great deal to this study and the author would like to take this opportunity to thank them. In alphabetical order they are: Miss Rhoda
Baxter of the Fine Arts and Music Division of the Vancouver
Public Library who made all of the FAE files available for this study; Mr. Jan Clemson, Distribution Representative for the NFB in Vancouver who supplied much of the program material listed in Chapter V; Miss Catherine Firth, Film
Librarian in the Board's Vancouver office who, as always, happily tolerated frantic telephone calls from the author enquiring about important details of the distribution system; Mr. Bill Gallant, Chief of the Research and Reports
Division in the Board's headquarters in Montreal, who sup• plied the statistical data on the Board's distribution
system in B.C.; Mr. Peter Grant, NFB Distribution Repre• sentative for the Vancouver Island region, who supplied program outlines used in Chapter V; Mr. Dooley Gray, Special
Projects Officer for the NFB, who,/ihimself, is writing ai". history of the National Film Board and gave this author much valuable information on where to find material on the
Board; Mr. Wally Lee, Regional Supervisor for the Board in B.C., who supplied reference material for the study;
Mr. Bill Mullen and Mrs. R. Cormier, both with the Person• nel Division of the NFB, who supplied job outlines for the Distribution Representatives which spanned a ten year period; also, many thanks go to Mr. C. W. Marshall, now retired from the Film Board, who supplied the author with first-hand information about the early history of the
National Film Board in B.C. Finally, special thanks go to my wife, Pat, who criticised points in the study, cor• rected my cavalier spelling, and spent long hours typing up the final draft. She is the only person I know who can decipher my handwriting. CHAPTER I
I. INTRODUCTION
Ever since 1878, when Eadweard Muybridge first pieced together some time-lapse photographs to create a moving picture, people have been fascinated by the magic of film. Unlike any medium before it, film has the capacity to make.life seem more real than reality. It can record a moment out of life which can be stored and then played back later for others to see, appearing exactly as it originally happened. As an informational device film appears to have no equal except television. There are no language barriers with film; it seems to be able to communicate with all people. It can inform them about themselves, their country and their relationship to the rest of the world. Or, it can bring to life worlds which they have never been aware of before; from the microcosmic organisms in a drop of water to the macrocosmic world of the universe.
As a device for mass-education and enlightenment, film has few equals. From its inception people and govern• ments realized this fact. Following the Russian revolution the Soviet government committed itself to the use of film as its major device for educating and enlightening the
Russian people. During the late 1920's the British govern• ment created the General Post Office Film Unit to produce 2
films in the public interest. But few government film agencies have been as successful as the National Film
Board of Canada.
II. PURPOSE OF THE STUDY
The purpose of this study is to present an his• torical survey of the National Film Board of Canada and to examine its role in adult education in the province of
British Columbia. A variety of film programs are discussed and an attempt is made to organize them into a number of different categories according to the purpose of each program, its structure, the educational techniques used, and the type of audience each was directed towards.
A secondary purpose of the study is to describe the different methods of film distribution employed in the province of B.C. during the years 1942 to 1970. Each method is identified and described in order to consider the NFB's basic philosophy concerning film distribution and how it was reflected in the distribution methods chosen.
The work of the National Film Board Distribution
Representatives is also examined for the purpose of de• scribing their roles as adult educators; what kinds of film programs did they produce for adults in B.C. and what factors influenced the types of programs which they attempted? The overall intention of the study is to de- 3
scribe the contributions which the National Film Board has made to the development of adult education programs in British Columbia.
It might be well at this point to consider briefly the terms adult education and adult educator. The term
"adult education" has been precisely defined by Verner in Adult Education Theory and Method: A Conceptual Scheme for the Identification and Classification of Processes 1 as: . . . the action of an external educational agent in purposefully ordering behavior into planned system• atic experiences that can result in learning for those for whom such activity is supplemental to their primary role in society, and which involves some continuity in an exchange relationship between the agent and the learner so that the educational process is under con• stant supervision and direction.
The term "adult educator" is less easy to define.
At various times throughout this study "adult educator" or "agent for adult education" are used to describe the
National Film Board Distribution Representative. Both terms are used to describe that part of his work where the
Representatives organized adult programs, the occasions when he acted as a resource person supplying, materials for other programs, and the occasions when he taught certain courses himself. An attempt is made in Chapter II to describe the evolution of his role as an adult educator by relating the different stages to Houle's Pyramid of 2 Leadership. Although the model is useful for describing 4
the changes in his role from an amateur to a professional leader, it is still difficult to define precisely what an 3 adult educator is. According to Verner the dilemma exists because: [The] complexity and diversity and the lack of any common perceptions among professional adult educators mirror the diverse nature of the field and make it impossible to identify and study a "typical" adult educator. 4 He points out: Adult education is a marginal activity that per• meates the entire institutional structure of society; therefore, the adult education role is a marginal activity for the institutional representatives who assume it. Within every institution, the line of career development is linked to the dominant function of the institution; therefore, marginal functions such as adult education do not follow a separate line.
III. SOURCES OF INFORMATION
Information for this study came from a number of different sources. Historical data describing the evo• lution of the NFB distribution system in B.C. from 1942 to 1957 was drawn from interviews with NFB personnel who worked in B.C. at that time. Basic statistical information concerning distribution from 1957 to 1970 was drawn from annual film distribution reports made available for this study by the Research and Reports Division of the NFB in Montreal.
Data, for the chapter dealing with the Film in Adult
Education organization came from the FAE records in the
Vancouver Public Library. The material included promotional 5
brochures, program outlines, certain pieces of correspond• ence, and a series of journals produced by the association.
The data was supplemented by personal interviews with some
individuals who were part of the FAE and some who were
indirectly concerned with the organization.
The same methods of collecting information were employed in the chapter dealing with the programs insti• tuted by the NFB Representatives. Material such as bro• chures , program outlines, and evaluation instruments came
from the Representative's personal files and was supplemented by interviews with these men. Two booklets, Adult Edu• cation with Films and Creative Programming compiled by the NFB in Vancouver to promote film programs for adults throughout the province have also been extensively used.
IV. PLAN OF THE STUDY
The study is divided into five sections:
Chapter II is an historical survey of the National
Film Board of Canada, based on a review of the available
literature. It traces the evolution of national trends
in film distribution and programming for adults. It also introduces the NFB Distribution Representative and de•
scribes his position as an adult educator in Canada.
Chapter III examines the evolution of a variety of different kinds of film distribution methods employed
in the province of B.C. from 1942 to 1970. 6
Chapter IV is an analysis of the film programs produced by the Film In Adult Education organization,
a professional body created in 1959 to co-ordinate film programs for adults in the metropolitan Vancouver area.
The programs are organized into different categories
depending on the purpose and structure of each. Chapter IV
also contains a small section devoted to the types of
evaluation instruments developed by FAE.
Chapter V examines the work done by the NFB Repre•
sentatives throughout, the province and an. attempt is made
to fit their programs into the same kind of conceptual
framework developed for the FAE. The chapter also describes
the factors affecting the type of program which the Repre•
sentatives produced and the assumptions under which they worked when organizing courses; Finally, Chapter V ex•
amines two types of program evaluation attempted by the
Representative himself and by various Adult Education
Departments which co-sponsored film programs with the NFB.
Chapter VI presents a final summary of the findings
and concludes with an; examination of the Film Board's
role in the development of adult education in B.C. The
various categories of programs are listed and each is
examined to see whether or not it qualifies as an adult
education activity. Similarily, the Representative's
role is examined to see to what extent he qualifies as
an adult educator. 7
CHAPTER I
FOOTNOTES
Coolie Verner, Adult Education Theory and Method: A Conceptual Scheme for the Tdentification and Classi• fication of Processes, Chicago: Adult Education Association of the United States of America, 1962. 2 Coolie Verner and Alan Booth, Adult Education, New York: Center for Applied Research and Education, 1965, p. 37. 3 Ibid., p. 43. 4 Ibid., p. 34. CHAPTER II
HISTORY OF THE NATIONAL FILM BOARD
On May 2, 1939 the National Film Act was passed by the Parliament of Canada. It established the National
Film Board as a Federal government department to co• ordinate all government film production and distribution.
Amongst all the stuffy legalistic jargon and all the boring detail about the administrative structure of this new department one sentence shone out. It declared that the purpose of the National Film Board was "to in^ terpret Canada to Canadians and to the rest of the world".
The importance of this statement should not be overlooked for its lack of any clear-cut, stifling set of guide• lines , gave the National Film Board license to do any• thing within reason. The result of this government mandate was to prove to be the creation of one of the largest and most innovative organizations working in the area of public education and enlightenment.
I. CANADIAN FILM FROM 1896 TO 1938
May 2nd was not an earth-shattering day.- It would be many difficult years before the Film Board was to become the giant it is today. But the National
Film Act was the successful beginning of what had 9
been, up until 1939, a relatively unglamorous and unco•
ordinated attempt at building an effective film pro• duction and distribution organization in Canada.
Canada had its first taste of film in the summer
of 1896 when an impresario by the name of John, C. Green
shot a film of a stuntman named Jimmy Hardy crossing
Niagara Falls on a tightrope."*" That year also saw the
first two public screenings of films in Canada. The
first was held in Montreal by Ernest Ouimet, the admis•
sion price was five cents, and the audience saw seven minutes of film on different subjects. In the second
screening Auguste Guay, using equipment ^uilt by the
Lumiere Brothers, projected films to an audience of
three thousand people. Each film was ten minutes long
and during the intermissions between films, the audience was entertained by various vaudeville acts. Film, as
an entertainment medium at least, was here to stay.
There was, however, no great rush to make films
in Canada and^the next twenty years saw only sporadic
attempts to produce and distribute them. In 18 98, Edison made a publicity film for the Massey Harris Agricultur•
al Machinery Company. This was the first commercially
sponsored film and is noteworthy only for the fact that
it introduced the first American influence into film• making in. Canada. A further American influence on Canadian 10
filmmaking was felt in 19 0 0 when the celebrated American
filmmaker Charles Urban came to Canada to make a public relations film for the Canadian Railroads to help stimu•
late immigration. That same year British filmmaker Guy
Bradford also came to Canada. He created a series called
"Living Canada". Like Urban's film for the railroads,
Bradford's series was also of the "PR-genre"; this time
to help promote British emigration to Canada.
On the first of January, 1906, the first perma•
nent "deluxe" cinema in North America was built. It was
located at the corner of Saint Catherine Street and
Montcalm in Montreal, and it was called "The Ouimetoscope"
after its owner, Ernest Ouimet. The theatre was a con•
verted Chinese pottery shop. It cost one hundred thou•
sand dollars to build (a fabulous price even in those
days) and it had a seating capacity of 1,000. Admission was 25 cents. Reservations were accepted. The cinema's
patrons came mostly from the fashionable high society
area around St. Denis Street.
By 1909 the first film censorship board was created
in Quebec although it did not actually begin to protect
the moral fabric of society until 1911 when it passed
its first piece of legislation. By 1914 the Federal
government made its first tentative step into the field
of film production by creating a department of Cinema
within the Ministry of Trade and Commerce. A bolder step 11
was taken in 1921 when the Canadian Government Motion
Picture Bureau was created to co-ordinate all government
film production, but it was never very effective in its
role. The different government departments were just as
likely to make their own films or to contract films out
to private filmmakers as they were to go through the
Bureau. In her History of the National Film Board,
Marjorie McKay tells of a very humorous incident which
illustrates the lack of co-ordination in government film
production at that time: "In one case crews from the Motion
Picture Bureau and the Parks Branch each prepared scripts
on the same subject, sent crews to the location, and
started shooting before inadvertently falling over each
other".2
II. THE GRIERSON REPORT
Government film production and distribution con•
tinued in this rather erratic manner until 1936 when Ross
McLean began discussions. with the government in Ottawa 3
concerning the creation of a more effective film agency.
McLean's first suggestion to Parliament was that it
immediately institute a research project to study existing
government film services and to recommend ways by which
they could be better co-ordinated for maximum efficiency.
On McLean's recommendation, Jbhn Grierson, director of
Britain's GPO Film Unit, was asked by the Canadian Government to come to Canada and direct the project.
Grierson accepted the invitation and arrived in Canada 4 in the early summer of 1938.
Perhaps no single, individual was to have more effect on the development of the National Film Board than John Grierson. The recommendations which he made in his report, were adopted almost verbatim by the govern• ment in the National Film Act of 193 9. The Act not only reflected Grierson's ideas about the proposed administra• tive structure of the Board, it also, in a way, echoed
Grierson's personal philosophy about film which indirectly influenced the kinds of films the Board produced and the kinds of educational activities in which it became involved in later years.
As Marjorie McKay points out, Grierson became interested in the study of the mass media early in his 5 career. He was particularly interested in "the press, cinema, radio and other mass media of communications in relation to their effect on public opinion. As Forsyth
Hardy points out.: "It is important to remember that
Grierson's interest was aroused first in the cinema, not as an art form, but as a medium of reaching public opinion". Or, as Grierson himself wrote in 1933: "I look on cinema as a pulpit, and use it as a propa• gandist"".6
Although these statements tend to conjure up images of George Orwell's 1984 it is necessary: to view this philosophy in perspective. Grierson regarded "propa ganda" as a totally acceptable means to an end. He re• garded film as one of the most effective tools for modi• fying or affecting social attitudes. He was very con• cerned about the use of film in what he called "citizen- 7 ship training". The role of the propaganda film within this context was as follows:
By bringing alive different aspects of a country' life and work in an imaginative way, they [films] build up in the younger generation, an effective system of loyalties. Such films are in great de• mand by teachers as an essential factor in the teach• ing of modern citizenship. (At a time when there is so much talk of sectionalism in Canada, they might be of particular value in emphasizing nation• al perspectives to the Canadian people.)
In view of the prevailing social philosophy of the time,
Grierson's statement appears to be very responsible and very noble indeed.
The result of Grierson's study of government film production was "a carefully prepared blueprint:, of the g future" for the NFB. It would be interesting at this point to examine those parts of Grierson's report which deals with the role of the intended agency in education in Canada. Grierson found that at the time he did his study:^ Government film propaganda [fell] roughly into four categories.
(a) Educational or informative films designed to fit into the educational system and create a body of general knowledge about a country, department, organization or product.
(b) Trade publicity films designed to recommend or sell a particular product to the public.
(c) Departmental films designed to fit into the specialized educational schemes of a department; e.g., a film to teach farmers better methods of marketing.
(d) Prestige films designed to convey ideas and create loyalties with regard to a country, department or organization. They are gener• ally of a documentary type; i.e., they bring alive in narrative or dramatic terms some particular aspect of community life and achieve• ment.
Grierson was committed to a policy of expanding these areas so that the Board could become a force in the educational and cultural development of Canada.
III. STRUCTURE OF THE NFB
According to the National Film Act of 1939, the new administrative structure for the NFB was as follows: the
Board was to be administered by two Federal cabinet min• isters, three senior civil servants and three public repre sentatives chosen from a new organization, the National
Film Society.10 These three men from the Film Society were chosen to "represent the public interest"."'"1 It was also decided to appoint a Film Commissioner who would co-ordinate the Board's activities, assist in instituting policy decisions, and provide a liaison between the govern ment and the department. For this task it was decided that the commissioner "should be a Canadian, should know 15
the country well, should know how to produce and dis- 12 tribute films". It is interesting to note that on this basis the position was offered to a leading adult educator of the time, Dr. Ned Corbett. Corbett was qualified in all areas but the latter; he lacked knowledge and experi• ence about films. For this reason he regretfully declined the position and Grierson was appointed instead. Corbett"s refusal was possibly an unfortunate move for the adult ed• ucation movement in Canada, but that he was approached at all was an important indication of the importance the
Board placed on its role as an agent for adult education in Canada. The Board's interest in adult education was largely a result of two factors, one philosophical, the other constitutional. In his report Grierson had indicated his awareness of the need for adult education both formal and informal (citizenship training, social awareness and so on). This commitment is implicit in the National Film
Act. Furthermore, adult education was the only branch of education in which the Federal government could legally become, involved. The education of children was a consti• tutional right of the provinces, a right which they jeal• ously guarded against any intrusion by the Federal govern• ment.
IV. FILM PRODUCTION FROM 1939 TO 1946
With Grierson as Commissioner and, as McKay points out, a group of young idealistic.and very unorthodox
filmmakers around him, the Film Board began the difficult 13
task of fulfilling its mandate. War had been declared
and all the Federal departments were modifying their
operations to fit in with the war effort. The NFB was no exception. It began to produce newsreels to keep the public informed, and propaganda films like V FOR VICTORY
to assist in Bond drives. There was even an attempt in
films like WAR FOR MEN'S MINDS to delve into the area of psychological warfare; The film attempted to paint a
frightening picture of Hitler's attempts at mass brain• washing of the German people. It supposedly was an expose
of the techniques involved but the filmmakers employed
the same techniques themselves. The result was a very
embarrassing product.
There were also two notable film series being produced at this time. The first was the WORLD IN ACTION
series. Donald Buchanan describes 1 it as "An editorial 14
recapitulation and commentary on world events". The
series "was an attempt to improve upon the MARCH OF TIME
(an American newsreel series) by putting more content
and more editorial impetus into the visual interpretation of the news". The second series was called CANADA CARRIES
ON, "a secondary,.but more, specifically Canadian,.theatrica
series", than the WORLD IN ACTION films.
It must be noted at this point that as educational devices all of these films would rate quite low. They were mostly geared towards theatrical audiences. They ran as "shorts" along with feature films and served mainly "to catch the attention of casual movie goers, who attended city theatres during these years of conflict".
Although some behavioral change may have taken place as a result of viewing these films, their effect was prob• ably more than anything else one of reinforcing attitudes already held by the viewer. The films provided an ade• quate amount of information, though probably no more than the newspapers and radio accounts. And like newspapers and radio accounts the films offered little in the way of audience involvement. They functioned mainly as a one way channel of communication with little or no chance for feedback from the audience. This defect made them almost impossible to evaluate as educational experiences.
However, there was a type of film being produced at this time which was to have a sizeable impact on adult ed• ucation programs in Canada. These were the Documentary films. The term Documentary was coined by Grierson 16 during his earlier years as - a student of film. It serves to describe a particular kind of film which tries in as realistic a way as possible to examine an aspect of life which is of concern to people, for instance poverty, un• employment, inequality and so on. Documentary films were designed to be used by groups of people in a non-theatrical 18
situation such as club meetings or community meetings.
Documentary films could be used at these informal sessions
as a device to help promote group discussion which, it was
hoped, could lead either to a better understanding of a
situation or, in some cases, it might act as an incentive
for these groups to take an active part in effecting some
kind of social change.
One of the best examples of these early docu• mentaries is the 1939 production THE CASE OF CHARLIE GORDON,
which dealt with the problems of unemployment amongst un•
educated young adults. It was the first of this type of
film which lentt itself easily to discussion and debate.
Later, whole series of discussion films were created such
as the EYE WITNESS series and the WHAT DO YOU THINK series.
The role of these discussion films in adult education
programs will be dealt with at greater length later in
this chapter but for the moment it would be appropriate to
examine the film distribution side of the NFB which had
been developing along with the Production Division. It
was the distribution group who had the most direct contact
with the public and were the real innovators in the area
of the use of film in adult education activities.
V. DISTRIBUTION
When Grierson first came to Canada to study govern• ment film distribution he found it to be sketchy and spo- 19
radic to say the least. The potential film user in 1939 encountered a multitude of difficulties if he tried to obtain a film for a program. There was no central dis• tribution agency. Films were scattered everywhere and at times it was actually easier to obtain films from the U.S. 17 and Britain than it was to obtain Canadian films. The result was that very few Canadian films were being used in community programs.
Grierson's main interest in film distribution lay in the area of non-theatrical distribution to community groups and other more informal organizations. People were more apt to discuss the films in such a setting than they were in the formal atmosphere of a theatre. There• fore, as Kidd points out the Board saw two basic goals which needed to be achieved. The first was "to get films to people all over Canada" and the second goal was "to ensure that responsibility for and control over the film 18 programs would be in the hands of local citizen groups".
To achieve these ends the Board entered into agreements with universities and other voluntary organ• izations such as Junior Chambers of Commerce, service clubs, YMCA's and so on to handle local film distribution.
The first problem for the Board to contend with in film use by these groups was their lack, of proper projection equipment. This was solved in part when the Board in• stituted a program of lending equipment to the organizations. The second problem was to train people in the proper use and maintenance of this equipment and the proper care of the films. To solve this problem the NFB organized pro• jectionist training courses. The third, and most impor• tant task for the Board was to make these groups aware of the potential for the use of films in their programs.
To accomplish this a number of public film forums were held "to stimulate other organizations to use films as a basis of discussion and action on the issues of the day" .
The Circuit Programs
Programs such as the Public Film Forums served to increase the popularity and use of films in the major cities in Canada but what about the rural areas of the country? Here were large areas, sparsely settled, with little or no contact with the educational and cultural advantages of the large metropolitan areas. They had even more need for film programs than the cities did. 2 0 The answer: the Rural Circuit Programs. Under this scheme the country was divided up into workable sized 21 geographic units. Groups of films were then arranged into blocks containing a number of films on different subjects. The total running time of each block of films was approximately 80 minutes. This was found to be'a workable length and allowed ample time after the screen- ing for discussion amongst the members of the audience.
These blocks of films were circulated around the various areas along with projection equipment. Prior to each screening pertinent posters and study guides were sent out so that the community would be prepared for the films when they arrived. The study material enabled the audience to criticize the films more thoroughly in the discussion sessions held after each screening.
A typical example of the kinds of films used in the Rural Circuit programs can be seen in the following 22 listings: FOOD AS IT MIGHT BE - on the post war future of farming and food marketing.
GETTING OUT THE COAL - an instructional film on coal mining.
INSIDE FIGHTING CANADA -.depicting war scenes.
MITES AND MONSTERS - a natural history topic.
NEWS ROUNDUP - a special reel of international events.
It can be seen clearly from this listing that a major feature of the Rural Circuit programs was their attempt to appeal to an audience with diverse interests even though the general theme of the program was geared to• wards a more rural agrarian type of audience.
When the rural communities reached the stage where they were using films on a more regular basis the Board began to phase out the Rural Circuits and replace them 22
with a modified scheme known as the Basic Circuit. As
Kidd points out there appeared to be a great similarity between these two programs, but in fact there was a con- 23 siderable difference between them. Under the Rural
Circuit plan the NFB supplied the films, projector, and a projectionist who made the rounds of the various com• munities showing the films. However, under the Basic
Circuit plan the communities themselves took on the re• sponsibility of shipping the program around amongst each other. They also provided their own projectionists and created their own follow-up discussion programs based on the material they received from the Board. The types of films used in the Basic Circuit program were largely the same if we compare a sample of three taken from 1951 with the earlier example given for a Rural program:
I- BEHIND THE MENU (information about nutrition) FEELING OF DEPRESSION (mental health) EYE WITNESS NO. 19 (discussion film) BIRDS OF CANADA II
EYE WITNESS NO. 17 (discussion film) THE ROAD TO WORLD PEACE FAMILY CIRCLES (parent education) NORTH TO HUDSON BAY (transportation route and travel)
III
STORY OF STANDARDS (government standards in food) COME SATURDAY GENTLEMAN JEKYLL AND DRIVER HYDE (driving safety) EYE WITNESS NO. 16 (discussion film) 23
The Basic Circuit programs proved to be. very successful and were still in operation in some areas of
Canada as late as 1965. A good example of the kinds of organizations which made use of the Circuit programs can 24 be found in a 1960 article published in Food For Thought.
It described film distribution in Norhtern Canada. The adult groups in that area which made "regular use. of films" included: Home and School Associations - Yellowknife, Aklavik, Fort Simpson and Hay River. Boards of Trade - Yellowknife and Hay River.
Legions - Yellowknife, Fort Smith and Hay River.
Guides and Scouts - Fort Smith and Yellowknife.
Kinsmen - Hay River and Yellowknife.
Church Groups - Fort Smith, Hay River and Yellowknife.
At that time the Basic Circuit programs served
"thirty-three audiences in twenty-three communities".
The route which the circuit took was as follows:
Circuit 1
1. Fort Smith Federal Day School R.C. Day School St. Ann's Hospital School 2. Resolution St. Joseph's Hospital St. Joseph's Residential 3. Yellowknife Public School No. 1 Separate School No. 2 4. Hay River 5. Fort Providence 6. Fort Simpson Federal Day School 24
(Fort Simpson cont'd.) St. Margaret's Hospital 7. Fort Norman 8. Fort Good Hope' 9. Arctic Red River 10. Fort McPherson 11. Aklavik Federal Day School All Saint's Residential All Saint's Hospital Immaculate Conception Residential School
CIRCUIT 2
1. Fort Rae 2. Coppermine 3. Rocher River 4. Fort. Franklin 5. Fort Laird 6. Jean Marie River 7. Port Radium Mine Day School, PO Box 160, Edmonton 8. Reindeer Station 9. Yellowknife Discovery Mine School 10. Yellowknife Rayrock Mine School 11. Tuktoyakiuk Federal Day School 12. Cambridge Bay Federal Day School, c/o 10177 104 Street, Edmonton, Alta. 25
Besides initiating the Basic or "self-operating" circuit the Board also acted as an agent for other govern• ment departments or organizations involved in adult ed• ucation activities,.' For instance, there was the',. Supplementary
Circuit program where the Board worked in conjunction with the District Agricultural Representative. The NFB supplied the agent with agricultural training films to be used in his own program. In 1953 the distribution of these two types of programs was as follows: 25
Self Supporting Supplementary Showing Points Circuits Circuits
Western Provinces 115 15 997 Ontario 77 0 2149 Quebec 69 18 1284 Atlantic Provinces 94 5 4 65
The popularity of the Rural and Basic film circuits led to the development of other, more specialized programs.
The Industrial' Circuit was developed during the war years.
Its purpose was to show films about the war effort to large groups of industrial workers during their lunch- hours or during shift changes. It was an attempt to create more support for the war effort. According to. Kidd's 2 6 analysis the film programs worked quite well. They helped to boost morale by making the workers feel a part of the war effort and in some instances the film programs were credited with helping to increase production.. After the war, some industries carried on the idea and found it a useful method for promoting such things as safety pro• grams and in-service training programs. Trade Union Circuits were another outgrowth of the Rural and Basic Circuit programs. Films were shown which "had some relation to union activity or at least to the part that unions were playing in industrial development, war activities and community affairs". The Board introduced a significant new device:into these programs: "discussion trailers".
The trailers were only a few minutes in length and usually depicted a group of trade unionists discussing the issues in the film. The purpose of the trailer was to help pro• mote discussion amongst the audience and to help to "make a bridge between the ideas of the film and the somewhat 27 limited experience of the trade union members".
In later years Urban Circuits were developed.
In essence they performed the same functions as did the
Rural Circuits only their appeal was directed towards individuals or organizations in the large cities in
Canada whose only contact with NFB films would have been from viewing them as shorts along with feature films in the local theatres. The Board realized that there was a large, relatively untapped audience yet to be reached
in the cities and an attempt was made to involve them with films and discussion groups through the Urban Circuit plan. Other efforts such as the Home Cinema Clubs were also introduced to attract more'of an audience.
However, once the war ended the general popularity of the Circuit programs began to decline. While many of the Rural Circuits remained a strong force and some even grew in popularity most of the Circuit programs in the large metropolitan areas, the Industrial Circuits,
Home Cinema Clubs and so on,, tended to fade away into oblivion. One of the major factors for the popularity of the Rural Circuits had been the fact that not only were NFB films "educational", they were also entertaining. It was often the promise of an evening's entertainment and a "social get-together" which brought people together to view films. Any discussion leading to any educational experience was often a secondary concern. In the cities, however, entertainment and diversions were everywhere.
Therefore, the need for many people to congregate for a specific purpose was less than in rural areas. Competition therefore', increased the distribution problems which the
Board faced in the cities. A new distribution system was needed and the Board found the answer to their problems with the development of the Film Council movement.
VI. THE FILM COUNCIL MOVEMENT
Film Councils were the outgrowth of the National
Film Society which had been founded on August 25, 1935.
The purpose of the society was "to help local groups import foreign films for cultured screenings and . . . to bring together and strengthen existing activities in the edu- 2 8 cational film field". The objectives of the Society were to provide information and distribution services to organizations like "the Canadian Association for Adult
Education and its member associations, also service clubs and other community groups". From its beginning, the National Film Society was plagued with financial dif- 29 ficulties. Still it continued to grow and at the end of the war with the creation of the Film Council move• ment it became a strong force in Canadian film distribution Film Councils began to appear in scores of towns and cities after the war. In his article, Documentary and
Educational Films in Canada (1935 - 1950) , D. W. Buchanan noted that the major impetus for the movement began in 30
British Columbia. Working in conjunction with the NFB the Councils attempted to "establish or assist in the setting up of local film libraries, secure projection equipment for community use, train volunteer projection• ists and provide guidance on the proper selection and 31 use of film and other visual materials". A number of
"Documentary Film Nights" were organized by the Film
Councils in order to promote the use of NFB films in the large urban areas. These were "informational film show• ings to the public which usually formled] part of an 3 adult education program sponsored by local groups . . .". The Film Council movement grew rapidly so that by 33
1950 there were some 250 of them in Canada. That they were successful in bringing together various organizations to work toward a common goal can be seen by the fact that at one point over 12,000 organizations in Canada belonged to Film Councils and in one case over 5 0 community groups made up one Council: the Greater Victoria Film Council.
Besides the public screenings of documentary films the
Councils also organized film workshops in conjunction with the NFB and CAAE. In these workshops members of the community "learned the value and use of films, how to 29
appraise films and how to lead a discussion". In addition to these special courses, the regular monthly meeting of the Film Councils were "being devoted ... to demonstrations, discussion of technique of presentation, 35 and the relation of film to other educational media".
VII. THE EVOLUTION AND FUNCTION OF THE DISTRIBUTION REPRESENTATIVE
There is still one more element in the Board's growth which has not been dealt with and that is the evolution of the Field Representative. The Field Repre• sentative or Distribution Representative as he is now called is the Board's most important symbol of its direct involvement with adult educational activities in Canada.
The position of the Field Representative or Field
Man was created early in the Board's history, about the same time that the idea of the Rural Circuit program was developed. D. W. Buchanan of the National Film Society borrowed the idea from an experiment which had been carried 3 6 out in the sparsely settled areas of Scotland. The situation in Scotland was very similar to the situation which Buchanan discovered in Canada. It was extremely difficult to distribute films to the rural areas. Most of the communities lacked projection equipment and some, even lacked electricity. Shipping schedules were sporadic and unreliable during the winter months. The solution which Buchanan adopted from the Scots was to hire travelling 30
projectionists who, with cars loaded down with films, projectors, generators and screens, would travel through• out a particular area screening films in various communities along the way. Each projectionist was paid $125.00 a month plus expenses for his car. Each month he travelled a specific route "with approximately twenty points on it where he would stop and show the films". Each month the program of films was changed. It is interesting to note that one of the first men to become interested in the plan was Dr. Gordon Shrum, Director of the Extension 37
Department at the University of British Columbia.
The life these travelling projectionists led was indeed a colourful one. Although the programs were ostensibly designed for adults their popularity inevitably turned them into a social affair for the entire community. Men, women and children jammed themselves into local halls to see the films. This was often the only opportunity for the community to meet together at one time. Marjorie
McKay in her book The History of the National Film Board provides some very colourful accounts about some of these 3 8 early programs and the versatility of the projectionists: Often the films were not the only attraction. In Northern Alberta, Damase Bouvrer organized a talent contest along with his showings. At one of these, in Morinville, he cut the first disc of Robert Goulet singing. Sometimes, if there was an agricultural film on the programme, the Provincial agricultural represent• ative came along. If there was a health film the public health nurse or doctor travelled with the projectionist. When a district was having a special campaign, the projectionist brought a film to help it along. Some• times a square dance was held after the showing, and many of the projectionists, especially Henry Dickie, were in demand as callers.
But what of the role of these projectionists as adult education agents? In terms of Houle's Pyramid of
Leadership these men would probably be classified under 3 9 the category of Volunteer Leadership. This category forms the broad base of Houle's pyramid. It represents the "vast number of individuals who act as adult educators on a voluntary basis". It appears that the major raison d'etre for these NFB travelling projectionists was their role as an exhibitor and any educational activity which took place either before or after the screenings was more a matter of chance than intention.
However, as time passed the projectionists became more, directly involved in educational activities. The
Board began to hold workshops and training programs for these men in the proper use of films. Later, when the
Basic Circuit programs were introduced the Board shifted its focus of interest away from that of an exhibitor and more towards the area of acting as a community organizer to promote the public's use of film in programs of their own. It was at this point that the role of the NFB pro• jectionist changed also. Now he began to organize work• shops himself in his own communities to train local pro• jectionists and to instruct local groups in the proper 32
use of films. As Chatwin points out the travelling pro• jectionist became, in effect, "a field worker in adult 40 education". At this stage the projectionist changed his title as well as his role. He now became known as a Field
Representative or District Representative. His new found organizational and educational responsibilities moved him from his position at the base of Houle's pyramid up to the 41 middle level, that of a Part-time Leader. The District
Representative fulfilled one of Houle's major criteria for a Part-time Leader, that of having received "specialized training appropriate to the particular adult education task which...he... perform(ed)". To further illustrate this change in role for the field representative Kidd quotes the official 42 job description for the representative: The field representative: Promotes the cir• culation and utilization of NFB 16mm films and filmstrips, displays any film literature to film circuits, film councils, committees, extension services etc.; plans, organizes and develops' new outlets for film distribution in large territories, assisting local groups to develop their own film service, demonstrating the functional use of films, training operators in the care and use of equipment, advising'com• munity representatives on film selection, pres• entation and methods of conducting film discussion. The field representative remained in this general type of role for a number of years. While it is true that he became more "professional" in this role, he never actually attained that level of sophistication which would have placed him in the top category of Houle's pyramid as a Professional Leader. 33
At times he bordered on this category particularly when he found himself responsible for initiating programs,
selecting the "appropriate methods" of instruction, managing the operation for the Film Board, and evaluating 43
the program's effectiveness. However, in the final
analysis his activities were of a marginal nature insofar
as adult education was concerned because the primary purpose
of the NFB was not adult education as a study but the production and distribution of materials which could be
utilized in adult education programs. Nevertheless, the
NFB Representative was an important agent for adult edu•
cation in Canada and in 1967 when the Challenge For Change program was instituted the role of the Representative
changed considerably. He became intensely involved in
that important, but to date, relatively unexplored area
of adult education known as Community Development. He
found himself in a new role - that of a quasi-sociologist;
a "Change Agent". He began to initiate programs in commu•
nity development. He began to take a more active part
in the production of films, originating ideas and materials within his own area. While there were many traumatic mo- ments in the early stages of the program, experience and
exposure to sociological, psychological and adult edu•
cational material has resulted in a high degree of sophis•
tication on the part of the Representative. The added
responsibilities and knowledge which have resulted from this new role as a Community Development officer might eventually boost the Distribution Representative into
Houle's category of the Professional Leader in Adult
Education.
VIII. THE EFFECT OF DIRECT DISTRIBUTION ON THE NFB REPRESENTATIVE
Another important event took place in 1966/67 which was to make still another change in the role of the
District Representative. The Film Board introduced a new film distribution system called Direct Distribution.
Under this system the Board closed down almost all of the district film libraries within each province and consolidated the films in the provincial headquarters of the NFB. From these regional offices the Board was to control film distribution for the entire province.
There were a number of reasons for this action.
The Circuit programs were almost dead. Communi• cations systems had become so sophisticated in Canada that the Circuit programs could not be justified any longer. The entertainment aspect of the programs had been overshadowed by the easy accessibility to other forms of entertainment, particularly television. The importance of the educational aspect of the Circuit programs had been diminished by the growth of other more varied programs such as local night schools.
Furthermore, except for a few communities the 35
Film Council idea was also, in effect, dead. Audience
ratings had dropped considerably and fewer and fewer people were becoming interested in the study of films.
The Councils were plagued with financial problems and it was questionable as to how long they could survive.
However, the most important factor for the imple• mentation of Direct Distribution was a desire by the NFB
to make its films available to all Canadians free of charge.
Previously, small numbers of films had been spread around
to a number of local depots, in public libraries and film
council offices. Many of these organizations had been
given the right to charge a rental fee for use of the
films. The fee was to help cover handling charges plus
an honorarium for the person in charge of film bookings.
The Board felt that this charge kept various groups and
individuals from using films in their programs who might
otherwise have done so had they been available free of
charge. Furthermore, it was felt that having small groups
of films scattered about the province created a problem
over the availability of certain films. A group in one
area might want a film which was being kept in another
area a number of miles away and the wastage of time in•
volved in shipping the films back and forth made the present
system inefficient. Lastly, under the old system it was
the District Representative's responsibility to check
the film depots in his area on a fairly regular basis in order to ensure that they were operating well. This
constituted no more than clerical work and in some areas
such a task kept the NFB man busy travelling around for
a week at a time when he could be working on his programs.
For these reasons, the Direct Distribution system was implemented. The result was to free the District
Representative from the clerical and administrative duties
involved in film distribution leaving him more time to
initiate programs of all kinds including Adult Education
programs.
IX. PROGRAMS AND PROGRAM EVALUATION
Various programs have been mentioned throughout
this chapter in other contexts but it seems appropriate
in conclusion to draw them together and supplement them
with a number of others to provide a short overview of
the different kinds of Adult Education programs attempted
by the Board throughout its history. Generally speaking,
these programs fall into five major categories;
The first major area the Board became involved
in was in organizing programs which would result in some
form of social action. These programs were focused
specifically on community organizations. Their purpose
was to give "Canadians a better understanding of their 44 problems and a better knowledge of how to solve them".
The major technique employed was the discussion group. 37
Films were used as devices to promote and encourage dis• cussion. Often this discussion led to direct action as illustrated in Chatwin's example where, as a result of a
film and discussion session a group of B.C. residents 45
joined together to build a community centre. Kidd also describes a similar situation in Saskatchewan where a community became aware of its lack of recreational facilities 46
through a similar kind of film, discussion program. They organized committees to study the matter further and the committees initiated Boy Scout and Girl Guide programs followed later by other similar types of recreational programs. Kidd mentions other programs which resulted 47 in community action. Among them were the following: A change in employment policies . . . "As a direct result of showing the film DATE OF BIRTH, one dairy company has altered its employment policy and are now hiring older men with good results." A counsellor in the National Employ• ment Service. Saving lives . . . "The screening of ARE YOU SAFE AT HOME during the past season resulted in saving the lives of two people in this county. A seven year old girl remembered seeing children cover up with blankets in bed to save their lives. When she discovered her own home on fire she took her 2-1/2 year old brother and they covered up in bed. They were found unconscious, but were revived." Teacher, Lambton County, Ontario. Changing farm practices . . . "I would like to draw attention particularly to the utilization of the film MASTITIS in Dufferin County and the effect it is having on getting farmers to change their practices. Here we had all the elements that are so desirable - participation of the Medical Health Officer, the County Agricultural Representative the Federation of Agriculture along with the NFB - as well as proper advertising, along with excellent speakers and discussion leaders. Report of a farm leader.
An extension of the social action type of pro• gramming occurred with the creation of the Challenge For
Change program. It concerned itself primarily with promoting social action in one particular segment of
Canadian society: the "poverty" groups. The objectives of the program were:
(1.) to improve communication between individuals and groups in all segments of society who are concerned with or affected by poverty and social change; (2.) to create a greater understanding and aware• ness among people of the causes of poverty and what it means to be poor; (3.) to explore and promote new ideas and new ap• proaches which are being used or could be used to combat poverty, and to evaluate the effec• tiveness of traditional approaches; (4.) to provoke social change by changing attitudes which hinder the development of equal opportu• nities for everyone and inhibit their meaningful participation in society.
The three main areas of concern in the program 49 were: 1. To produce films "for general audiences (e.g. Thing I Cannot Change . . .) designed to educate about poverty and social development, and to stimulate- attitude change."[italics mine]
2. The second area of concern was the most significant one because it constituted a new policy for the Board. Films were produced "about, with and for a very particular group in society, with the aim of helping them to identify their problems, under• stand their environment and work with fresh insight 39
toward change". The most important early pro• gram of this kind and the most successful was the now-famous Fogo Island project.
3. The third area of concern was "to get down to the root communications problems between pro• fessional organizations and individuals working for social change, and the people for whom they work".
The Board also has gained a good reputation in recent years for its programs in Film Study. These courses transcend the bounds of the study of film purely from the standpoint of its social implications. Film is also studied in terms of its aesthetic or artistic merits.
Three major methods of study are employed; the Institute, the Class and the Workshop. The programs are' conducted both for the general public and as in-service training programs for NFB Field Representatives. Bill Orr, once
District Representative for the NFB in Vancouver became a leader in the field with his film study courses given in conjunction with the Vancouver School Board Night
School program,.the Vancouver Public Library and the local
Film Council.^0
By far the best known Film Study program is the
NFB1s own Film Study Institute presented annually through a co-operative effort between the Board and McGill University.
Here, educators from throughout the country meet for six weeks during the summer to study the social and educational 51 implications of film. During the '40's and *50's the Board was also active in organizing Projectionist training courses.
These were small workshops held for educators and others who were interested in organizing film councils or in utilizing audio-visual material in their courses. During these workshops people were trained in the operation, care and maintenance of all kinds of audio-visual equipment. CHAPTER II
FOOTNOTES
Unless otherwise noted, all pieces of historical data within this section are taken from Le Cinema Canadien by Gilles Marsalais, Editions du Jour, Montreal (1968). 2 Marjorie McKay, History of the National Film Board, (unpublished manuscript), Crown, Copyright Reserved (1964?), p. 4.
3Ibid., p. 3.
4 Ibid., P. 4.
5 Ibid., P- 3.
6 Ibid., P- 3.
7 Ibid., P- 5.
8 Ibid., Pr 5.
9 Ibid., P-- 5.
^Donald Buchanan, Documentary and Educational Films in Canada, 1935 - 1950, Canadian Film Institute (19?), p. 3.
11 ; Ibid., p; 11. 12 McKay, op. cit., p. 19. 13 McKay, op.•cit., pp. 1 - 2. 14 Buchanan, op. cit., p. 4.
15 Buchanan, op. cit., p. 5.
16 See Grierson on Documentary, edited and with an Introduction by Forsyth Hardy, Collins, London (1946) for a further discussion on this subject. 17 McKay, op. cit., p. 4, 42
18 J. R. Kidd, "Pictures with a Purpose, The Distri• bution of Non-Theatrical Films in Canada", Learning For Living No. 7, Canadian Association for Adult Education for the Fund for Adult Education (1953), pp. 10 - 11. 19 Ibid., p. 12. 20 See Leonard Chatwin, "The Documentary Film in Adult Education", Adult Education in Canada, ed. by J. R. Kidd, Canadian Association for Adult Education, Toronto (195 0), pp. 190 - 191. 21 Kidd, op. cit., p. 12. 22 Kidd, op. cit., p. 12 23 Kidd, op. cit., p. 18 24 "Northern Film Distribution", Food For Thought, Canadian Association for Adult Education, Vol. 20, No. 6 (March 1960).
[ ^Kidd, op. cit. , P- 21.
26 Kidd, op. cit. t P- 14. 27 cit. 16. Kidd, op. / P- 2 8 op, cit. , p. 2. Buchanan, 29 For further discussion of this matter see Buchanan, op. cit., pp. 6-7. 30 Buchanan, op, cit., p. 8. 31 Buchanan,,op. cit., p. 8. 32 Buchanan, op. cit., p. 9. 33 Chatwin, op. cjt., p. 191, 34 Chatwin, op. cit,, p. 192, 35 Chatwin, op. cit., p. 192 3 6 McKay, opi cit., p. 34. 37 i 3 8McKay , op cit., p. 34. McKay, op, cit., p. 35. 3 9 C. Verner and A. Booth, Adult Education, New York: Centre for Applied Research and Education,, 1965, p. 35. It should be noted that there is one significant difference between Houle1s "Volunteer" leader and the NFB Projectionist. The NFB man was paid for his work, whereas the "Volunteer" leader usually was not. However, there is enough similarity between the two in the fact that neither the "Volunteer" leader nor the Projectionist had any formal training in adult education methods. It was for this reason that the term "Volunteer" leader was chosen to describe the NFB Projectionist. Perhaps it might have been more appropriate to refer to him as an "Amateur", rather than a "Volunteer". 40 Chatwin, op. cit., p. 193. 41 Verner and Booth, op. cit., p. 37. 42 Kidd, op. cit. , p.- 25. 43 Verner and Booth, op. cit., p. 38. 44 Chatwin, op. cit.; p. 193. 45 Chatwin, op. cit., p. 18 8. 46 Kidd, op. cit., p. 32. 47 Kidd, op. cit., pp. 32 - 33. 48 Nancy MacNeill, "Challenge for Change, The Film Board deals with social issues", Continuous Learning, Vol. 7, No. 4, Canadian Association for Adult Education (July - August 1968), p. 171. 49 Ibid., p. 172. 50 W. P. Orr, "Audio-Visual in Vancouver", Food For Thought, Vol. 20, No. 5, the Canadian Association for Adult Education (February 1960), pp. 202-205. 51 For a complete, detailed account of the structure and purposes of the NFB Film Study Institute see Mark Slade "Studying Film and Television", Continuous Learning, Vol. 5 No. 5, Canadian Association for Adult Education (September October 1966), pp. 203 - 209. For an evaluation of the Institute program see Mark Slade, "NFB Summer Institute, A Report on Screen Study", Continuous Learning, Vol. 5, No. 6,.Canadian Association for Adult Education (November - December 1966), pp. 269 - 275. 52 Kidd, op. cit., p. 51. CHAPTER III
HISTORY NFB FILM DISTRIBUTION IN BRITISH COLUMBIA
I. THE CIRCUIT PROGRAMS FROM 1943 TO 1947
The first National Film Board Regional office was opened in B.C. in 1942.1 Until that time the Board had been operating through Provincial agencies such as the
Extension Department at U.B..C. which distributed Film Board
films. The Board also had a number of part-time "Regional 2
Agents" (or Projectionists) who were given a nominal
retainer to travel around the province screening the Rural
and Industrial Circuit programs. The Board had nine Regional
Agents working in B.C. during the war years. Two agents
covered the south-east section of the province travelling
throughout the Kootenays. There was one agent for the
Okanagan area, one in the Fraser Valley, two on Vancouver
Island, one in Prince George who covered the North Central 3
B.C. area and two in the city of Vancouver. It was the
agent's responsibility to take the Circuit programs, which
arrived each month from Ottawa, and travel around a pre•
arranged route showing them in various communities. The
agents worked on a fixed itinerary. They followed the
same route every month and each was responsible for putting
on a minimum of 40 showings in that month. They operated
a school showing during the day where they might show only one or two of the films in the package, and in the evening they would show the entire package at a community screening.
The Regional Agents contributed a great deal to early film distribution in the province of B.C.^ A con• servative estimate based on the figures of 4 0 screenings each per month, shows that all nine agents were responsible for producing a total of 4,320 screenings per year or,
17,280 screenings over the four year period from 1943 to
1947 when the NFB began to phase out the Circuit programs.
This number represents no mean achievement on the part of the agents who were often forced to battle the rugged geography of B.C. to bring films to a community. As one ex-agent recalls:^
I had one place on the West Coast of Vancouver Island - Port Renfrew, actually. There was no road in at that time. I used to drive up through the mountains behind Cowichan Lake as far as I could drive, then someone from the camp would pick me up in a Logging Scooter and we'd drive the remaining 15 miles on this thing. They'd put me up overnight and return me to my car the next day.
Although there are'no statistical data available to show exactly how many screenings these agents held each year beyond the minimum number of approximately 4,32 0, there is good reason to believe that each put on many more. For instance, there were special programs instituted by the Federal government at various times throughout the war years. One such program was the Victory Loan campaigns which were held from time to time to "drum up support for 47
the war effort" by encouraging people to subscribe to
Victory Loans. During these campaigns the agents would
put on as many showings as possible in order to reach 7
the largest possible audience. One agent set an all time
record for the province by putting on upwards of eight of
these programs in one day. While incidents such as this
one are not conclusive proof that the agents were responsible
for providing more than the minimum number of programs,
such facts do provide us at this late date with an insight
into the dedication of these men and the important role which they played in the evolution of NFB film distribution,,
in the province. They laid a solid foundation on which the
Board's distribution system could later grow.
II. THE FILM COUNCIL MOVEMENT FROM 1947 TO 1963
Following World War II the Film Board's budget was drastically cut, the first of a number of Federal
government austerity drives which were to affect the
development of the National Film Board throughout the
years. The Board was faced with the problem of either
spending its reduced budget to produce more films which
were needed to assist Canadians in adjusting from a wartime
society to a peacetime society, or, spending the money g
on salaries for its large distribution staff. The Board
chose the former course of action and the distribution
staff was reduced accordingly. There was another reason 48
besides the lack of funds which led to the decision to dismiss some of the agents. The Board had become concerned with developing a more functional use of film. They were interested in the potential of discussion groups as a technique for enriching their film showings and as a way of more actively involving people with the subject matter of the film programs. Quite a number of people recruited for Circuit operations during the war years were not adequately equipped to handle this newer, more demanding 9 type of work. Furthermore, as already mentioned in
Chapter II, the Board was interested in investigating more effective systems of film distribution which would get more films to more people more often, than under the
Circuit program scheme.
The Film Council Movement was enacted to replace the Circuit programs. Film Councils were essentially an extension of the earlier distribution system where NFB
Projectionists or Agents carried films around to various communities. The major difference was that now the com• munity was responsible for the distribution and exhibition of the films. Each organization in the local community which was interested in using film assigned one person to represent it on the Council. The membership in each
Council might range from 20 to 50 people depending on the number of organizations in the community.''"0 The Film
Board allocated a block of films to each Council which 49
made up a permanent library of films within the community for its use at any time. Film Councils in various com• munities were encouraged to establish liaison with each other. One Council would book films for a particular program and when finished with them, would ship the films on to the next Film Council and so on. In this way each community had access to more films than under the old scheme where the Film Board Agent brought them around only once a month. The Film Council Movement remained a strong force in film distribution in B.C. for approximately 10 years."'""'" Although no statistical data are available before 1957, it should be noted that in that year Film
Councils accounted for 4 0.7% of the total distribution for B.C. (see Table I).
III. DEPOSIT LIBRARIES FROM 1947 TO 1970
The second major source of National Film Board films in B.C., besides the Film Councils, were the Deposit
Libraries; Deposit Libraries had been in existence in B.C. before the Film Councils were organized and even before the Board had opened a distribution office of its own in
Vancouver. Originally, Deposit Libraries had been set up in various Provincial government agencies in B.C. While some Deposit Libraries distributed films to adult groups, for the most part they were concerned largely with dis• tribution to schools. The Deposit Libraries which accounted 50
for the majority of films distributed within that category.; , . . 12 were such organizations as:
1. The Provincial Department of Education Film Library 2. The U.B.C. Extension Department Film Library 3. The Vancouver School Board Film Library 4. New Westminster Audio-Visual Centre
After the war the Board began to expand the Deposit Libraries.
No data are available to show how much distribution the
Deposit Libraries were responsible for before 1957 but
Table I shows that for the fiscal year 1957/58 they accounted for 28.6% of the provincial total and by 1958/59, 76.5% of the total distribution for B.C. was handled by the
Deposit Libraries.
IV. NFB REGIONAL AND DISTRICT OFFICES
When the first National Film Board office was opened in B.C. in 1942 a Regional Supervisor was appointed to take charge of the operation of the Circuit programs which had been previously controlled by the NFB's head office in 13
Ottawa. Besides operating the Circuit programs, the
Regional Supervisor was also concerned with promoting the use of Film Board films within the province. The best way to accomplish this purpose was to initiate promotional film screenings. In the earlier years, promotional screen• ings accounted for much.of the Representative's time.
They were so important that the Film Board created a sepa• rate category in its yearly report on film distribution 51
called the Promotional Category. While there are no data
available on the number of Promotional screenings held
in B.C. before 1957, Table II lists them from 1957 to 1962.
In 1957/58 Promotional Screenings accounted for 12% of the provincial total which is a small amount compared to the number of screenings held by the Film Councils in that
same period: 40.7% of the provincial total (see Table I).
Nevertheless, as the moving average indicates in Table II.,
Promotional Screenings increased steadily from 1957 to
1962 at which point the category was deleted and all
Promotional Screenings were included under the Regional
and District Office category.
Almost.no films were distributed directly from the
Regional office in Vancouver to groups or individuals.
Even as late as 1957 the number of films distributed from
the Regional office in Vancouver amounted to only 1.4% of the provincial total (see Table I). Generally speaking
the distribution figures for the Regional office from
1957 to 1963 represent only those films which were sent
from the Regional office to supplement other film deposits
such as the Deposit Libraries, Film Councils and Public
Libraries. Regional office distribution during the fiscal
year 1958/59 accounted for 2.0% of the yearly total, for
1959/60 0.7%, for 1960/61 0.8%, for 1961/62 again only
0.8%,.and for 1962/62 1.0% of the total. No data were
available for Regional office distribution from 1963 to 52
1966. However, in 1966 the Regional office accounted for
24.1% of the total distribution for the province. This marked increase was due in part at least to a new system called Direct Distribution implemented in 1966/67. Under this plan the Film Board began to close'down a number of its Deposit Libraries and to withdraw its films from some
Public Libraries. The intention was that the Regional office in Vancouver, and certain District offices such as the one in Victoria, would take over film distribution and begin to book films directly to the general public rather than have them go through secondary agencies.
This change was made partly for the sake of efficiency and partly because the Board wanted to make its films available to more people than just those who were serviced by the other outlets. By 1966/67, all of the District
Offices were distributing more films, whether or not they were directly involved in Direct Distribution. Whereas from 1957 to 1963 the Regional office in Vancouver was the only NFB outlet listed as distributing any films at all, by 1966/67 there were seven outlets (see Table IV). From
1966 to 196 9 the NFB outlets took over more and more control of the total film distribution for the province. By 1967/68
NFB offices were responsible for 24.6% of the provincial total. By 1968/69 it was 32.4% and by 1969/70 the NFB offices controlled 51.6% of the total distribution in
B.C. (see Table I). 53
V. PUBLIC LIBRARIES FROM 1951 TO 1963
In 1951 the Fraser Valley Regional Library became the first Public Library in B.C. to become involved in 14 distributing National Film Board films. By 1953 other libraries began to distribute them and slowly a trend began to emerge; a trend away from having the local Film
Councils control film distribution towards a new system where the Public Libraries serviced the community. The major impetus for this trend came from the NFB. The Board began to be concerned that the Film Council films were not reaching the maximum number of people within the community.1^ The Film Councils had been functioning quite successfully, it's true, but their clientele was limited.
In order to be eligible to book films from a Film Council one had to be a member. There was a fee charged for this privilege; a fee which was not excessively large but which at times did prevent many individuals from joining. As a result it was really only community groups who joined the Council, each group paying a membership fee entitling it to access to NFB films. The organizations could afford to pay the fee without much trouble but in many cases, the average individual could not. The Film Council concept, therefore, appeared to have one very significant flaw.
The tendency was to create a minor elite of sorts who were constantly using the films while the majority of the people in the community were denied access to films unless 54
they attended public screenings which the Film Councils or its member groups held in the community.
This whole question of the limited access to films by the general public led to the Board's adoption of a newer and more streamlined distribution system. Under the new system the public libraries took over administration; of the Film Council's films. The libraries had already established themselves as effective public service organi•
zations and they were capable of handling a more compre^ hensive film distribution setup. The Board began to remove its films from certain Film Councils and deposit them in the local library. If there was a Film Council in the area, it still retained partial responsibility for keep•
ing the films repaired and it also did some publicity work' for the programs. But the library was the custodian, providing the physical resources and staff to handle distri• bution for the area.^
There was another reason for moving the films from the Councils to the local or district libraries.
Not only did the Board feel that, at times, the general public was prevented from using Film Board films because of the financial burden of having to pay rental for them,
it also felt that in some cases, under the Film Council
scheme, the public was unaware that there were Film Board
films in the community. This unfortunate situation arose, because the Councils often did not have an office of their 55
own but relied on local businessmen and other service
agencies to provide a storage space. One NFB Representative who worked in the Okanagan,, Similkameen, North Thompson
area of the province around 1961 and 1962 remembers visiting a Film Council in one interior town which was 17 located in the local fire hall: I remember in Penticton walking into a dusty- corridor in a fire hall and some fireman proudly point• ing in the direction of the film cans lying there. I couldn't help thinking to myself 'How many people ever go to a fire hall?'
VI. DISTRIBUTION TRENDS FROM 1957 TO 1970
There are roughly four significantly different methods of distribution which the NFB has attempted in
B.C.: the Circuit programs-, the Film Councils, the Libraries
(both. Public Libraries and Deposit Libraries) and Direct
Distribution. It is impossible to state accurately where one method stopped and the other began. In general, they overlapped each other, functioning as an entire pattern with each method fulfilling a different function from every other method and each serving a different segment of society. It- took many years for one method to disappear and for another to replace it. However, by examining
the distribution statistics from 1957 to 1970 a number 18 of different patterns emerge.
Distribution Outlets
Table III describes the various trends in the 56 numbers of films distributed by Film Councils, Deposit
Libraries, the NFB's Regional and District Offices and the Public Libraries. In each case the various trends are expressed as a series of moving averages. Table IV describes the trends in the number of active distribution outlets and uses the same method of expression. By com• paring both tables we may note the following trends:
Film Councils. The Councils appear to have reached their peak distribution period during the fiscal year
1959/60 followed by a very sharp trend downwards which continued right up to 1970. At the same time there was a steady decrease in the number of Film Councils actively distributing NFB films. Both'of; these declines are, il• lustrated graphically in Figure 1 and tend to support, statements made by NFB personnel earlier in this chapter that the Film Councils were disbanded in favour of more' efficient methods of distribution,.such as the Public
Libraries and the Deposit Libraries.
Deposit Libraries. While the Deposit Libraries accounted for the majority of NFB film distribution during the period 1958 to 1963 it must be remembered that most of these films were being distributed to schools. As
Table III shows, the Deposit Libraries in general appear to have enjoyed an upward trend in distribution even though at times it was a bit erratic. Table IV shows that the 57
number of outlets in this category appears to increase and decrease in proportion to the numbers of films being distributed. Both trends are expressed graphically in
Figure 2.
One point should be made about the graph in Figure 2, which applies also to the other figures. There appears to be a signifcant decrease in the numbers of films distributed between the years 1968/69 and 1969/70. The decrease is explained by the fact, that in 1968 the NFB changed its unit measure from the number of screenings (i.e. the number of times a film was actually shown) to bookings (i.e. the number of times a film was loaned or rented to customers 19 regardless of how many times they used it). Under the old system a film could be loaned to a customer who would show it five or ten times and the figure of five or ten would be counted for the yearly distribution statistics.
However, under the new system the customer was loaned a film and than one transaction was the only one recorded by the NFB. Obviously, the figures would be affected.
Regional and District Offices. As Table III clearly indicates, the most significant increase in film distribution can be.found under this category. Up until
1963 there is no significant change in the numbers of films distributed: it remains very small in comparison to the other outlets. However, from 1964 onward there is 58
a sharp increase in the number of outlets in this category: the result of the Direct Distribution scheme introduced in 1966. From that period on, all of the NFB District offices began to report the numbers of films distributed from their offices. A comparison of the trend in distri• bution and the trend in the number of outlets is illustrated graphically in Figure 3.
Public Libraries. Table III also indicates that the number of films distributed by the Public Libraries has steadily increased from 1957 to 1968. However, an unusual situation appears to exist. While Table III shows a marked increase in distribution from 1957 to 1968,
Table IV shows a definite decrease in the number of Public
Libraries handling NFB films. The'discrepancy is best illustrated in Figure 4, and can only be explained by the fact that the Public Libraries appear to have been able to increase their rate of distribution in spite of a de• cline in the number of outlets. This tends to indicate that the libraries could do a more efficient job of pro• moting and distributing NFB films. It is an important point to remember because, as previously mentioned, the
Board's original reason for turning over some of its film distribution to the Public Libraries was that they felt the libraries could handle the films more effectively than the Film Councils could. VII. TRENDS IN ADULT SHOWINGS FROM 1957 TO 1970
Table V compares the total number of showings for the province with the number of adult showings in order to examine the relationship between them. Figure 4 ex• presses the relationship in graph form. From it we can see that in general the number of showings by adult groups tended to increase in relation to the total provincial distribution except for the period 1967/68 to 1968/69 when the number of showings by adult groups rose con• siderably although the total provincial showings did not increase. Also, there was a very marked decrease in the total provincial distribution from 1968/69 to 1969/70 while the decrease in the number of adult showings for the same period was not so marked. All this might tend to indicate that more, adult groups are beginning to use films in their programs. However, the reliability of the data can very easily be criticised and therefore any such assumptions would be dangerous.
While some of the data given in Tables I to V might be of a questionable nature, it is useful to present
it here because it does'tend'to illustrate further the different trends in film distribution which have evolved in this province throughout the last 12 years. It is not the purpose, of this study to analyze these data, merely to use them to support statements made by NFB 60
personnel about the different trends. It must be remembered that the main purpose of these data, so far as the Film
Board was concerned, was to indicate to the Board how well its distribution system was functioning - were more
NFB films being used? - were more' people viewing the films?
If the data showed an increase in distribution from one year to the next, then the Board could use the evidence to support, its requests for an increased budget from the
Federal government. If there were startling decreases in any particular area or' in the overall system then the Board could concentrate on developing more efficient ways of promoting their films to increase, distribution in that area. Lack of control over the data appears to have led to the decision in 1968 to change the unit of measure.
By counting the number of films booked from each outlet the Board should, over the next few years, be able to control the accuracy of its data which can be used to make valid assessments of the Board's distribution methods.
However,, at this stage it is too early to say what the findings will indicate. Table I
PERCENTAGE DISTRIBUTION OF FILMS BY OUTLET
Regional District Yearly Film Council Deposit Library Office Public Library Year Total Total Percent Total Percent Total Percent Total Percent
1957-58 12,328 5,018 40.7 3, 531 28. 6 173 1.4 2,118 17.1
1958-59 22,701 3,985 17.5 15,561 68. 5 460 2.0 1,659 7.3
1959-60 45,082 5,977 13. 2 34,529 76.5 329 0.7 1,718 3.8
1960-61 48,234 5,191 10.7 34,862 72.2 406 .8 2,869 5.9
1961-62 41,874 4,218 10. 0 27,539 65.7 376 .8 5,233 12.4
1962-63 43,845 4,447 10.1 28,174 64.2 453 1.0 6,611 15. 0 1963-64 * * * * * * * * *
1964-65 57,929 * * * * * * * *
1965-66 83,575 * * * * * * * *
1966-67 60,585 2,320 3.8 33,917 55. 9 14,659 24.1 9,635 15. 9
1967-68 83,572 2,449 2.9 47,233 56.5 20,641 24.6 13,249 15.8
1968-69 78,616 775 .9 39,852 50.6 25,474 32.4 12,515 15.9
1969-70 38,282 568 1.4 11,122 29.0 19,779 51.6 6,813 17.7
* Figures are not available. + The unit of measure was changed in 1968-69 from screenings (i.e. the number of times a film was actually shown) to bookings (the number of films "booked" by a customer regard• less of how many times they were actually screened). Table II
PROMOTIONAL SCREENINGS
Yearly Promotional Year Total Showings Percent Moving Average
1957-58 12,328 1,482 12.0 1,259 1958-59 22,701 1, 036 4.5 1,782 1959-60 45,082 2,529 5.6 3,717 1960-61 48,234 4, 906 10.1 4,707 1961-62 41,874 4,508 10.7 Table III
TRENDS IN THE NUMBER OF FILMS DISTRIBUTED BY EACH OUTLET EXPRESSED AS A MOVING AVERAGE
Regional District Film Council Deposit Library Office Public Library Year Total Average Total Average Total Average Total Average
1957-58 5,018 3,531 179 2,118 4,501. 9,546. 319. 1,888. 1958-59 3,985 15,561 460 1,659 4,981. 25,045. 394. 1,688. 1959-60 5,977 34,529 329 1,718 5,584. 34,695. 367. 2,293. 1960-61 5,191 34,862 406 2,869 4,704. 31,200. 391. 4,051. 1961-62 4,218 27,539 376 5,233 4,332. 27,856. 414. 5,922. 1962-63 4,447 28,174 453 6,611
1963-64 * * * *
1964-65 * 3,383. * 31,045. * 7,556. * 8,123.
1965-66 * * * *
1966-67 2,320 33,917 14,659 9,635 2,384. 40,575. 17,650. 11,442. 1967-68 2,449 47,233 20,641 13,249 1,612. 43,542. 23,057. 12,882. 1968-69 775 39,852 25,474 12,515 671. 25,487. 22,626. 9,664. 1969-70 568 11,122 19,779 6,813
* Figures are not available. # The unit of measure was changed in 1968-69 from screenings (i.e. the number of times a film was actually shown) to bookings (the number of films "booked" by a customer regard• less of how many times they were actually screened). Table IV TRENDS IN THE NUMBER OF ACTIVE DISTRIBUTION OUTLETS EXPRESSED AS A MOVING AVERAGE Regional District Film Council Deposit Library Office Public Library Year Total Average Total Average Total Average Total Average TOTAL Average
1957-58 37 13 1 9 60 36.0 14.0 1.0 9.5 61. 0 1958-59 35 16 1 10 62 33.0 15.5 1.0 10.5 60. 0 1959-60 31 15 • 1 11 58 31.0 19.5 1.0 16. 0 67.5 1960-61 31 24 1 21 77 26.5 22.5 1.0 23. 5 73.5 1961-62 22 21 1 26 70 22.0 21.5 1.0 24.0 68.5 1962-63 22 22 1 22 67
1963-64 * * * * * 13.0 28.0 4.0 14.0 59. 0 1964-65 * * * *
1965-66 * * * * *
1966-67 4 34 7 6 51 4.0 34.0 7.7 6.5 51.5 1967-68 4 34 7 7 52 3.5 35.5 6.5 7.0 52.5 1968-69 3 37 6 7 53 3.0 34.5 5.5 6.5 49.5 1969-70 3 32 5 6 46
* Figures are not available. Table V
COMPARISON OF TRENDS IN ADULT SHOWINGS WITH TRENDS IN THE PROVINCIAL TOTAL
Total Moving Adult Ed. Moving Year Showings Average Showings Average
1957-58 12,328 17,514 1958-59 22,701 7,477 33,891 8,781 1959-60 45,082 10,085 46,658 11,945 1960-61 48,234 13,801 45,054 13,063 1961-62 41,874 12,325 42,859 12,584 1962-63 43,845 12,843
1963-64 * 50,887 * 12,963
1964-65 57,929 13,084 70,752 14,362 1965-66 83,575 15,641 72,080 15,159 1966-67 60,585 14,678 72,078 17,979 1967-68 83,572 21,281 81,094 26,705 1968-69 78,616 32,129 58,449 24,444 1969-70 38,282 16,759
* Figures are not available.
# The unit of measure was changed in 1968-6 9 from screenings (i.e. the number of times a film was actually shown) to bookings (the number of films "booked" by a customer re• gardless of how many times they were actually screened). 66
FIGURE 1
COMPARISON OF FILM COUNCIL OUTLETS WITH NUMBER OF FILMS DISTRIBUTED
LEGEND
Showings -t
-T 1 1 1 1 1 1 1 r- £1/ 58_ 59 60 61 62 66 67 68 59 60 61 6 2 63 67 68 6~9 TO FIGURE 2
COMPARISON OF DEPOSIT LIBRARY OUTLETS WITH NUMBER OF FILMS DISTRIBUTED
LEGEND
Showings Outlets - - - - 68
FIGURE 3
COMPARISON OF NFB OFFICE OUTLETS WITH NUMBER OF FILMS DISTRIBUTED
LEGEND
Showings Outlets - - - -
65 -
60 -
T ' ~r 1 1 j 1 i r 57 58 59 60 61 62 66 67 68 59 60 61 62 63 67 68 69 70 69
FIGURE 4
COMPARISON OF PUBLIC LIBRARY OUTLETS WITH NUMBER OF FILMS DISTRIBUTED
LEGEND
Showings Outlets - - - -
T 1 1 1 1 i 1 1 r—r 1Z5859 60 61 62_ 66 £768 59 60 61 62 63 67 68 69 70
CHAPTER III
FOOTNOTES
Interview with C. W. (Charlie) Marshall, June 16, 1971. Mr. Marshall is now retired from the NFB,. but he is. more familiar with the evolution of the National Film Board in B.C. than anyone else. He joined the Board in 1943 and worked as a Regional Agent covering the Vancouver Island area. In 1947 he left B.C. to become Assistant Co-ordinator of Canadian Distribution at the Board's headquarters which was then situated in Ottawa. In 1948 he took over the position of Co-ordinator and remained in Ottawa until 1956 when he was posted to the NFB office in New Delhi, India. In 1962 he returned from India to take over the position of Regional Supervisor for the NFB in B.C. where he remained until his retirement in 1966.
2See Chapter II, under THE EVOLUTION AND FUNCTION OF THE DISTRIBUTION REPRESENTATIVE. 3
Marshall, op. cit., interview.
4Ibid.
5Ibid.
6Ibid.
7Ibid.
8Ibid.
9Ibid.
10_u. , Ibid.
11T,. , Ibid. 12 Extracted from the National Film Board's Canadian Non-theatrical Distribution Statistics. 13 Marshall, op. cit., interview. 14 Interview with Jan Clemson, Distribution Repre• sentative for the National Film Board of Canada, June 4, 197 15 Marshall, op. cit interview. 16 Clemson, op. cit interview. 17 Ibid. 18 The Distribution Statistics were made available for this study by Mr. Bill Gallant, Chief, Research and Reports Division of the National Film Board in Montreal. 19 Personal correspondence between Mr. Bill Gallant and the author, June 17, 1971. CHAPTER IV
THE FILM IN ADULT EDUCATION PROGRAM
The Film in Adult Education Program, commonly referred to as FAE, was created in Vancouver in 1959.
Bill Orr, an NFB Representative in Vancouver at that time, worked with members of the Adult Education Department of the Vancouver School Board and the Vancouver Public Library, to form the association whose purpose was to provide "in• formation on the development of film in the adult education field, and to present programs with depth".1 FAE proposed
"to keep the public abreast of 'Canadiana'" and to assist other groups "in using and viewing films". In essence
FAE saw itself as a "co-ordinating body made up of repre• sentatives from Industry, Church, Citizenship, Mental
Health - in fact, all film-using groups in Greater Vancouver".
I. AIMS AND OBJECTIVES OF THE PROGRAM
The organizers of FAE described specific aims and 2 objectives of the association as follows: The aim of this program is to provide> through the documentary film a new experience in learning.
To give training in the skilled use of documentary film in adult education.
To establish a core of professionally trained educators interested in experiment and research in the use of film with adults.
To develop an 'adult education' type film library at the Vancouver Public Library where organizations and industrial groups may obtain film together with books and discussion questions.
To provide information on audio-visual materials and to provide information on the utilization of such materials.
To assist and advise in the selection, use and presentation of audio-visual materials.
Where required, to assist in the promotion of member presentations.'
To notify members of appropriate preview screenings on a wide range of subjects.
To provide general and specific information through quarterly audio-visual guides and through special bulletins where required.
II. THE STRUCTURE OF THE FAE
The organizational structure of FAE was as follows:
there were five directors, three appointed and two elected
for a period of one year. Individuals, industries, and
organizations were eligible for membership in the asso•
ciation. For a more detailed description of the types of membership and the organizational structure see Appendix A
and B. Generally, membership in FAE guaranteed the follow•
ing privileges:3
1. Subscription to the Audio-Visual Guide (four issues, October to June). 2. Voting privileges in the association. 3. Assistance in film evaluations. 4. Assistance in having the respective organi• zations own films reach maximum distribution. 5. The opportunity to participate' in Library film.services. 6. Instructional kits made available in various fields for further intelligent film use. 7. The opportunity to work with and meet people in this area. 8. The knowledge of supporting such worthwhile film programming as the Museum Series, Children1 Film Programs, etc. 9. Previews and film program planning for member's conferences, lectures, etc.
III. THE AUDIO-VISUAL GUIDE
The FAE was responsible for initiating many adult education programs throughout the Greater Vancouver area, but one of its greatest initial contributions was the creation of the Audio-Visual Guide, the first ever produced 4
in Canada. It served to bring together under one listing all the different adult education film programs offered throughout southern B.C. and was produced by Bill Orr, the local NFB Representative. The first edition appeared
in October 1959. It listed all film equipment centres,,
film distribution centres, the different centres where privately produced sponsored films could be obtained and
it also provided a map of the Lower Mainland showing where each of these centres was located. Besides this compre• hensive list of film distribution and information centres, the guide also listed all the FAE film programs which were held regularly throughout Vancouver. These listings gave time, dates, locations and costs of the various programs.
The guide represented a great step forward for
adult education programs. At last there was a conscious
recognition of the role of films in adult education. An esprit de corps had been created amongst various groups
throughout the local Vancouver area who had been directing film programs for adults for a number of years previously but who had not deliberately banded together to promote the use of film on a large scale. One look at the list of the committee members who made up the executive of the
Audio-Visual Co-ordinating Committee clearly shows that they represented quite a complete cross-section of the organizations actively involved in adult education activ• ities of one sort or another (see Appendix C). There were representatives from Industry, from the Adult Edu• cation Department of the Vancouver School Board, from the Citizenship Department of the Federal government, from the Provincial Mental Health Department, the Museum, the Public Libraries, the Community Arts Council, the
Pacific National Exhibition, and Religious Visual Edu• cation associations.
IV. FAE PROGRAMS
If sheer volume of programming is any criterion of excellence the FAE programs would have to be rated extremely high. For a seven year period from the fall of 195 9 to the summer of 1966 the FAE was responsible
for initiating no less than 93 separate series; This number represents a total of 667 weekly programs for the
seven year period, or an average of 1.8 programs per week. For an organization made up of groups who were not primarily concerned with such a specialized area of 77
adult education as film programs, this amount of programming represented a very significant commitment to the use of film.
The programs dealt with a variety of interest groups within the metropolitan area. An examination of these different programs indicates that generally speaking they can be divided into six major classifications (categories).
1. Film Series - General Interest
This classification is the broadest one. The purpose of these information-type programs was to provide entertainment for general interest groups. Series such as the P.N.E. Sunday Travelogue and the Documentary Show• case are two good examples of this category.
The P.N.E. Sunday Travelogue series began in 1959.
Its purpose was to encourage the general public to become more interested in travel and nature films. The secondary purpose was to attract people to the Pacific National
Exhibition in order to tour the displays in the B.C. Build• ing. The film programs were varied but usually centered on topics like travel in Canada and abroad, nature study such as WILDLIFE IN THE ROCKIES,5 ethnic groups living in Canada, and arts and crafts practiced in Canada.
The Documentary Showcase was a "film series de- voted to the best in the Documentary tradition". Es• sentially, this series was the same as the P.N.E. Sunday Travelogue programs. It was a potpourri of general inter•
est-type films; everything from international travel films 7
to popular experimental films like CHAIRY TALE. The
only major difference between the two series was that
whereas the P.N.E. Sunday Travelogue series was produced
free of charge, the patrons for the Documentary Showcase
programs had to purchase a season membership ticket: $2.50
for a. single, $5.00 for a.couple for 14 programs. Further•
more, the Documentary Showcase programs were held at
various locations throughout the city. In effect, this g
series was an Urban Circuit program where each program
was shown at a different location in the metropolitan area
on a different night of the week. In this way the FAE 9
hoped to reach the wxdest audience possible.
This general interest-type program proved to be
very popular. The above mentioned series, along with
others such as the Mirror of Our Times which was held
regularly at the Oakridge Shopping Centre auditorium ran
from 1959 up to, in some cases, as late as 19 66. However,
as adult education activities these film series would
rate quite low, because their purpose was only to enter•
tain and inform; not educate. It is doubtful that any
significant learning actually resulted from these programs,
and if it did it was more by accident than by design. But
these series did perform one very useful function. They made people aware of films; In itself this function might not appear to be much of a raison d'etre, but it must be remembered that one of the main concerns of the NFB was to make films popular with Canadians and to encourage people to watch NFB films. This concern about promoting the use of films had permeated the philosophy of the FAE through the work of one of its most active members, the local NFB Representative, Bill Orr. He, like the rest of the Board's Distribution staff, was primarily interested in obtaining the widest distribution of NFB films. The more people who saw Film Board films the better, and pro• grams such.as the General Interest Film Series succeeded in bringing a maximum number of people into contact with
NFB films.
2. Enrichment Programs
Moving up the scale from the General Interest
Film Series category, the second classification for FAE programs is the Enrichment Program category. The En• richment programs attempted consciously to include some element of adult education. They were usually a film- lecture series where a film would be advertised as being the main attraction but it would be supplemented by an authoritative speaker who would deliver a lecture related to the subject matter of the film. As with the ordinary
Film Series, the most important feature of the Enrichment program was the film being shown and not the speaker. However, the introduction of a guest lecturer did add an element of appeal to the programs making them appear to be more "educational"10 than the ordinary film series.
Secondly, the programs did become more selective. Rather than presenting a number of films on a variety of subjects, only one or two films were used and they related directly to the stated theme of each individual program. For in•
stance, in Volume 4 of Audio-Visual in Greater Vancouver one such film-lecture series is listed entitled "Suburban
Living - Six Solutions". One of the programs was called
"The Suburbs and The City". The film presented was called
A IS FOR ARCHITECTURE. It was a 20 minute colour film which examined the architectural structure of a number of ancient cities comparing the various architectural
styles and how each reflected the sentiments and values of the time. The program was supplemented and enriched by a lecture given by Professor Peter Oberlander, then
Associate Professor of Planning in the Faculty of Graduate
Studies at U.B.C.
This program, and others like it, represented
a definite trend away fromvthe simple showing of films
towards a more functional use of film as an educational
device. Various other innovations such as booklets and displays were introduced into the Enrichment programs.
However, one important factor kept programs like this
from, becoming a complete educational experience. The programs were only film-lectures; there was little or no attempt to involve the audience. Information was pre• sented to the audience via the film and the speaker but there was no "feedback" and without this necessary element of participation on the part of the audience it was im• possible to tell if any learning actually took place.
3. Instructional Programs
Whereas the first two categories of programs mentioned were not educational in the sense that a per• ceivable behavioral change might have occurred as the result of involvement of the learners, the third category, the Instructional Programs did have about them all the potential elements for learning which could make them complete educational experiences. The key point about the Instructional programs was that they were primarily adult education courses. In other words films were not central to them. Rather, films were deliberately relegated to the position of educational devices - tools used to
supplement the program but not used necessarily as the primary focus.
The Instructiona1 programs could be designed for
special interest groups or for the general public. They were advertised as Workshops, Institutes or Film-discussion programs and were usually co-sponsored by the FAE and
an adult education department. Each program was organized around a central theme or topic and the major technique used was group discussion, either group-centered or
leader-directed.11 One such program called "Prejudice, 12
Propaganda, and People" was held in the fall of 1959.
It was advertised as "four evenings of discussion on con•
troversial subjects . . . using film as a background to discussion", [italics mine] The program was a co-operative
effort between the Adult Education Department of the
Vancouver School Board, the National Film Board and the
Vancouver Public Library.and was listed as a night school
course at Kitsilano High School. It is interesting to note that the films used in the program were not mentioned
in the advertisement. Rather, each program had its own
title which represented the central theme for the evening:
1. "Are People Sheep" - Dr. Brock Chisholm, U.B.C.
2. "Semantics" - Mr. Alan Rossiter
3. "Prejudice" - Dr. E. Signori, U.B.C.
4. "Propaganda" - Mr. Pat Burns, Mr. Doug Collins (representing the media)
The films were simply used to explain or clarify the points
dealt with by the resource people. They were not the
central attraction.
For the most part the example given above is quite
representative of the types of programs initiated by the
FAE which could come under the category of Instructional
courses. They usually dealt with social issues of one
kind or another. For example, another program initiated 83
at the same time as the program on prejudice was an eight week course called "Adolescent Development". It used the same general structure and involved key resource people who worked with adolescents: a school counsellor, a Director of a Medical Health Unit, a Supervisor of Special Education for the area, a local physician,.a psychiatrist, a social worker and a Community Centre Director. The group dis• cussion technique was used along with one other factor - the introduction of compulsory reading assignments for the people who attended the classes. The intention of the assignments was to provide the learners with a broader background of the subject which would assist them in their discussion groups.
4. • Package Program Kits
Besides initiating educational programs the FAE was also responsible for creating a number of Package
Program Kits to be used by groups and organizations•who were interested in creating their own adult education programs. In total, the FAE created 36 of these kits ranging in subject from sociological studies of various countries in the world to Industrial Training Kits and
Citizenship Kits (see Appendix D), for a complete listing of the kits). Each Package Program contained the follow• ing items: a promotional leaflet listing films on the subject, a series of discussion questions, and a bibli- 84
ography of related books on the subject. The kit also contained a more detailed booklet outlining the series.
A good example of this booklet is the one which was made 13 available for "Series 15" of the kit: "Human Relations and Decision-Making". The program was organized around the National Film Board Film Series called the NATURE 14
OF WORK, a series made up of six, half-hour documentary films dealing with various types of workers, their prob• lems and their responsibilities. Each film was described in the booklet and a number of questions were given for group discussion. Two other films were also included, one called AUTOMATION which dealt with the social and economic effects of automation and another two-part film called THE BARRIER which dealt with the communications problems encountered between an employer and employee.
Three supplementary series were also offered in this pro• gram: one package of three films dealing with the prob• lems encountered by an Office Supervisor, one series of four films on Public Relations and one series of four films on Industrial Management and Personnel Management. The supplementary series was made up of films especially im• ported for a limited time. This series also had dis• cussion questions and a bibliography supplied with it.
Finally, the booklet contained a section devoted to the use of these.films. This section was included to provide some leadership training for the people who 85
were going to use the Package Program with their business
groups. The section was called "10 Points For Conference
Leaders", a guide to the development of group discussions:
1. Be ready - a well appointed conference room - no distractions.
2. Get your group interested from the start - use case studies - stories - familiar terms.
3. Have a change of pace - keep them awake.
4. Be smooth - keep the meeting moving; don't fumble.
5. Know your material - use your cases, films, and charts skillfully - practice beforehand.
6. Get the group in on the discussion - deal them in early.
7. Stay on the beam - summarize frequently - know your objective.
8. Be sure it's not a one-man show - be tactful - keep control but stay in the background.
9. Have a sense of humour and use it.
10. Leave them wanting more - end in high.'
It should be noted at this point that in the case
of the. Industrial Kits only there was an ulterior motive
for designing the kit besides its educational value. The
kits provided a good opportunity for companies to advertise
themselves and their products. As the Audio-Visual Co•
ordinating Committee stated in the September 196 0 issue
of their magazine "Audio-Visual in Greater Vancouver":
Companies and organizations who produce films for public use and industrial instruction are invited to place their catalogues or brochures in the Industrial Kit. There will be a charge of $30.00 per year for this service. However, we feel that this is a small invest• ment in what can be termed a top potential for your organization.
It must be stressed again, however, that this advertising factor applied only to the Industrial Kit and not neces• sarily to other kits such as the Mental Health Kit and the Citizenship Kit.
The FAE Package Program Kit proved to be a very useful device for organizations who wished to institute their own inservice training programs. The kits were also available to members of the general public who were interested in various subjects offered. The concept of a package program was not unique to the FAE. In fact the
FAE kits represented a more elaborate and sophisticated version of an idea which had been developed on a broader national scale by the National Film Board. During the late '50's and early '60's the Film Board had developed catalogues and brochures listing a number of films which were related to one area or specific interest group in
Canadian society. These special catalogues were intended to augment the complete NFB film catalogue'and served to promote the use of films to certain sectors of the populace. A good example of such a catalogue was Films
For Industry produced by the Board for the Canadian De• partment of Labour. This catalogue was made available to industry and contained listings not only of NFB films on industry but also of films produced and sponsored by other agencies. Such catalogues served the dual purpose of not only supplying information about films but also en• couraging business groups to use them for training and promotional work of their own.
5. Leadership Training Programs
One of the most important contributions which the
FAE made to the field of adult education in the metro• politan Vancouver area was the creation of a number of
Leadership Training Programs. These programs were de• signed specifically for people who were involved in adult education in one way or another and who were interested in using films in their own programs. A number of work• shops and one or two day institutes were designed to give these people an opportunity to study the use of film.
The programs began in a fairly humble way. The fir recorded program was given in October 1961 under the joint auspices of the FAE and the Vancouver School Board. It 15 was a Projectionist Training Course/ a "grass-roots" kind of course in the fundamentals of the care and oper• ation of a variety of projection equipment. It was a
"grass-roots" course insofar as there is no indication given that it dealt with anything more than the mechanical aspects of film use. There was apparently no instruction in the functional use of film: how to lead film dis• cussions and how to use films more effectively in adult education programs. In September of 1962 a more comprehensive type of Leadership Training program was held at the Vancouver
Public Library. It.was called the "Film User's Confer• ence", and was designed to assist groups who were using the Package Program Kits in developing a more functional use of film. Three main resource people were retained
for the conference: Dr. Bert Wales, Director of the Adult
Education Department of the Vancouver School Board,
Professor Ben Whittinger from the Faculty of Education at U.B.C., and Dr. William Black from the Citizenship
Branch of the Federal government. Another similar course was organized about the same time. It was a six week night school course called "The Use and Projection of 16
Films" and it was held at the Vancouver Vocational
School. The purpose of both courses was to instruct group leaders and adult educators in the proper selection
and use of "film, filmstrips, shorts and other visual equipment". There was also instruction in the operation
and maintenance of projectors and other audio-visual equipment, but the important point of the courses was that equal emphasis was placed on the functional use of audio• visual materials. Each member of the program was re• quired to read a book called Audio-Visual Materials by
W. A. Wittich and Charles Schuller, a popular text at
that time on the use of various audio-visual materials
in instruction. The above mentioned courses were designed for a variety of groups interested in using films in educational programs. However, the FAE was also responsible for initiating a number of special leadership courses for special interest groups. One such program was a two-day seminar in October of 1962 called the "Film and Citizen• ship Seminar". It was promoted as a "first aid" course for program planners: "A discussion of program topics, of available films, speakers and program aids" in the 17 field of Citizenship training. The program director was Dr. William G. Black of the Citizenship Branch.
6. Special Programs
Besides its regular programming the FAE was re• sponsible for producing a number of special programs of various kinds, such as "The Province", a series of film 18 lectures offered in 1962. This was a special travel program organized by Dick Colby, Chief Photographer for the B.C. government. Mr. Colby showed films on B.C. and gave lectures on all aspects of the province. The series was open to FAE members and the general public and was restricted to a maximum audience of 4 00 people. Some special programs were not film programs. For instance, from January to March of 1961 the FAE organized a photo- 19 graphic display which toured the Lower Mainland. It was a display of 36 award-winning photographs which had been produced by the Stills Division of the National Film
Board between the years 1942 - 61. The display was called 20
"A Salon of Award Winning Photographs" and was shown at the Vancouver Public Library, the West Vancouver Com• munity Centre, the New Westminster Public Library and the
Varsity Theatre. For the most part the pictures were taken
from NFB films so the display served the purpose of pro• moting them.
Probably the most important special program in• itiated by the FAE was "Inquiry 61" the first night school 21 course by television m Western Canada. This was pro• duced through the co-operation of the "Search for Know•
ledge" division of FAE, the Adult Education Department of the Vancouver School Board, the National Film Board, the
Vancouver Public Library, and CHAN-TV, Channel 8 in Van• couver. It was a series of seven half-hour programs on
Sunday afternoon from 3:30 PM to 4:00 PM. The program ran from October 10th to November 26th, 1961. The host for the series was Dr. William G. Gibson, Kinsmen Pro• fessor of Neurological Research at the University of B.C.
The guests who acted as resource people were from all walks of life:
Dr. Dean Anderson - President of World Affairs Council, Portland Oregon. Dr. James E. Royce - Psychology Department, Uni• versity of Seattle. 91
Joe Miyazawa - I.W.A. Research Director.
Bob McDonell - Canadian Manufacturers Association.
Dr. Joe Lagey - Director of Research.
Mrs. M. H. Ginsberg. - Community Chest.
Dean H. Goard - Adult Education, Vancouver School Board.
R. L. Wicks,- Supervisor of Employment, National Employment Service.
John Monk - Assistant Personnel Manager, City Hall.
Jim Wilson - Regional Planning Board.
Michael Tytherleigh - Vancouver Province newspaper.
Dr. Cyril Belshaw - UN Training Centre, U.B.C.
Norma Christie - Barrister.
The series dealt with a variety of topics and had as its general theme a study of relevant social issues and the social philosophy of the Western World. The following titles illustrate its nature:
1. A Way To Freedom 2. Minds, Men and Machines 3. Challenge of Aging 4. Unemployment or Education, Which? 5. Stresses of Our Times 6. Misconceptions Held by Western Man
7. Rebel in Our Midst
A registration fee was set for those in the audience who wished to take an active part in the programs. On payment of the fee each participant received an "Inquiry
61 Kit" which contained seven separate topic folders for each program, information on all the guest speakers, back• ground information on each topic listing the basic issues 92
to be discussed, suggested readings for each program and a series of discussion questions. Participants were en• couraged to organize themselves into viewing groups to discuss the issues brought out in each program and to discuss the questions provided in the kit.
Unfortunately, at this late date it is impossible to ascertain the effects which this program had on the participants. Any evaluation would have to be based on personal recollections of the series. One thing which is.quite apparent however is that the series was well organized, the resource people were experts in their re• spective fields and the introduction of the Kit to ac• company programs represented an impressive attempt to make them as structured an educational experience as possible.
It is a pity that this was one of the only series of its kind attempted on local television. It might have led to more attempts to produce adult education programs which would have helped to fill a void which existed in television programming in the Vancouver area up until the recent advent of cable television.
V. PROGRAM EVALUATION
The whole question of the evaluation of FAE programs is a rather thorny one. There are no data available today as to how much and what kind of evaluation was done of
FAE programs. It is quite possible that the Adult Edu- cation Department of the Vancouver School Board did some evaluation of FAE programs which they were involved in, but this is only an assumption for there is no evidence to support it. However, from one piece of data remaining it is possible to venture an educated guess as to what criterion the FAE used to evaluate, the success of their programs. It is a letter written by the NFB District
Representative, Bill Orr on May 29, 1962, to various people and agencies involved with the FAE programs in which Orr analyzes the FAE programs for 1962/63 and com• pares them with programs produced in 1961/62. He uses as his criteria, the following factors:
The popularity of the programs as reflected by: (i) increase in audience numbers (ii) increase in numbers of centres inter• ested in holding FAE programs
In other words, if we refer to the section on evaluation 22 in Chapter II we find the same general sort of criterion for success being used in the FAE programs as was used in the National Film Board programs. An increase in the numbers of people using films and booking films was an indication of success for the Board. And of course viewed in those'terms, the numbers of FAE programs produced in the 12 year period from 195 9/66 did indicate the success of the organization.
Although the evaluation of FAE programs - was sketchy and incomplete, the association became increasingly in- volved in evaluation. Two noteworthy instruments were developed by the FAE (see Appendix E and F). One was a general type of instrument which was distributed to people who booked films through FAE. Its purpose was to obtain reactions' to the films which would form a basis for judg•
ing the popularity and usefulness of the films. The
second evaluation form was one which was developed spe• cifically for a program of award-winning NFB films called
"Festival of Canadiana" held in a local Vancouver theatre.
The purpose of this instrument was to assess the popularity of the program and the films and was to form a basis for
judging whether or not to attempt other similar types of programming.
VI. THE CONTRIBUTION OF THE FAE TO ADULT EDUCATION
The main contribution which the FAE program made
to the development of adult education programs in the metropolitan Vancouver area was that of actively pro• moting the use of film. Film programs for adults in Van•
couver had never been too popular. The fact that Vancouver was a city with varied activities available for adults made it harder for the Film Board to develop adult film programs than in the rural areas where less variety was 23
available. The FAE was a success largely because it was an association made up of a number of organizations who were concerned about promoting the use of films in the community. Individually, these organizations might
not have been successful but by pooling their resources,
both physical and financial, they were able to produce more sophisticated types of programming and they were able
to offer a greater variety of programs from which to choose
Also the very fact the groups making up the FAE were pro•
fessionals involved in education of one sort or another
lent an air of legitimacy to the programs. People went
to them feeling that they were really going to attend
an "educational" activity and not merely to be entertained.
Such a statement is not meant to insinuate that either the
organizers or the participants suffered from any form of c
snobbery. On the contrary the programs were worthy of
such an attitude. They were well organized by people
who were professionals in their fields and the programs
were attended by people who had more than just a passing
interest in films. They were people who were genuinely
interested in film as an information medium, people who 25 wanted to "expand their horizons" through film. 96
CHAPTER IV
FOOTNOTES
^Audio-Visual in Greater Vancouver, I, 1, (1959/60), p. 3. 2 Film in Adult Education statement of objectives was contained in a form letter promoting the FAE (date unkown). 3 Extracted from an FAE general membership letter dated 1959. 4 Extracted from an Audio-Visual Co-ordinating Committee promotional letter dated 1955. 5See Filmography under WILDLIFE IN THE ROCKIES for a description of the film.
Audio-Visual in Greater Vancouver, op. cit., p. 3. 7 See Filmography under CHAIRY TALE for a description of the film, g See Chapter II for a description of Urban Circuit programs. 9 Programs were held at the Vancouver Public Library, at the Kitsilano High School, at the West Vancouver Com-- munity Centre, at the New Westminster Public Library, and in North Vancouver at Queen Mary School. 10The term "educational" as it is used here should be qualified. For a more detailed description of what it meant to the Distribution Representative and how the philosophy behind the term affected the programs which he produced, see Chapter V under the heading The Role of the NFB Representative in Program Evaluation.
"'"''"Interview with C. W. Marshall. According to his definitions, "'leader-directed1 discussion meant just that; the NFB Representative initiated the discussion. In 'group-centered' discussion the Representative merely showed the film then stood back 'to see what happened'. 97
Inevitably the tension amongst the group became so much that someone had to start talking". 12 Audio-Visual in Greater Vancouver, I, 1, (1959), p. 4. 13 See Appendix D under "The World of Business and Industry". 14 See Filmography under NATURE OF WORK for a com• plete listing of these films with descriptions. 15 Audio-Visual in Greater Vancouver, III (Sept. 1960) , p. 6. 16Ibid.,,p. 4. 17 Special FAE promotion leaflet. 18 Documentary Showcase promotional brochure, 1961/62. 19FAE brochure, 1961/62. 20 FAE special promotional brochure. 21 FAE special promotional brochure, 1961. 22 See Chapter II under Programs and Program Evalu• ation . 23 Interview with C. W. Marshall. 24 Interview with Jan Clemson, District Representative with the NFB. 25 Marshall, op. cit., interview. CHAPTER V
NFB PROGRAMS THROUGHOUT B.C.
Although the FAE popularized the use of films in adult education programs in the metropolitan Vancouver area, similar programs had been in operation throughout the province for many years before FAE. The Board had been producing film programs for adults in B.C. as early as 1953,1 and had first become interested in the functional use of film as early as 1947. No specific data are avail• able today about what kinds of programs were initiated from 1953 to 1962 or how many of them there were, but on the basis of historical information supplied by people who 2 worked for the NFB m B.C. during its earlier years it is safe to assume that film programs for adults fell roughly into the five major categories dealt with in
Chapter IV.
For instance, the Board was responsible for pro• ducing General Interest Film Series programs of all kinds to promote'the use of films in community activities and especially to help promote the Film Council movement.
The Board also initiated a great number of Projectionist
Training courses during the late '40's and early '50's.
They are best described as Leadership Training Programs and they were mostly directed towards the Film Councils in an attempt to train Film Council personnel in the care and maintenance of equipment and films so they could take
over from the Film Board responsibility for their own 3 programs.
I. FACTORS AFFECTING THE INITIATION OF PROGRAMS
A number of factors affecting the initiation of
film programs for adults in the rural areas were different
from those affecting the development of programs in the metropolitan Vancouver area. Generally speaking,\:.the
rural communities lacked exposure to adult education pro- 4
grams which involved the Film in Adult Education type.
While Public. School adult education departments had be•
come quite well established in the Vancouver area by 1962,
they were only beginning to develop in the rural areas
of B.C. and some rural communities had no adult edu- 5
cation departments at all. Because of its large and
diversified population Vancouver could support an organi•
zation like FAE to promote the:use of film in adult edu•
cation programs while the smaller communities in the
province could not. Therefore, in many cases it was up
to the NFB Distribution Representative to initiate pro•
grams of his own. If there was a Director of Adult Edu•
cation in the community, the NFB Representative would make
it a point to meet with him and offer his services to the
Adult Education Department for any programs they might
want to initiate. Often the result of such a coalition 100
between the NFB Representative and the District Adult
Education Director was the production of programs which fulfilled the needs of both parties. In some cases the
Representative might deliberately approach the local
Adult Education Department with an idea of his own which could be co-sponsored by both the Board and the School 7
District.
The numbers of programs initiated largely depended on the size of the community; the smaller the community, g the fewer the programs. The rural areas could not afford a blanket-type promotion as the FAE could in Vancouver.
In addition, the District Representative in the rural areas discovered that there was more demand for special types of film programs in the smaller communities than for programs offered in the metropolitan Vancouver area.
Also, people in the rural areas required little or no 9 enticement to participate in film programs.
Two other factors tended to affect.the type of programs offered in the rural communities. The first factor was the particular attitude of the community. In some areas the Representative found that ordinary General
Interest Film Series were more popular than adult education programs.10 In one case an NFB Representative working in the Fraser Valley area discovered that he could en• courage more participation if he offered an adult edu• cation type film course using speakers, discussion groups 101
and so on. If he offered a General Interest Film Series
it was regarded as an "entertainment" program and not an
"educational" program. Therefore, in this particular area,
Film Series were kept to a minimum. This "fact" about
the attitude of audiences towards different kinds of pro•
grams was not based on valid research by the NFB Repre•
sentative. Rather, it was based on his experience while
attempting different kinds of programming in the area.
The validity of such an assumption is questionable, but
it is an important point to mention because such assump•
tions did affect the kinds of programming attempted by
the Representatives.
The second factor affecting the types of programs
initiated by the NFB Representative was his own personal
biases and interests. If his interests tended towards
sociology and community development these interests were
reflected to some extent in the kinds of programs he at- 12
tempted. He had the freedom to dp this under the man•
date given him by- the National Film Act. As long as he was "interpreting Canada to Canadians" he could be as
innovative as he wished. The Administration of the NFB
was constantly looking for new ideas and each innovation
which helped to promote the Film Board and its films was 13
regarded as a useful project by the Directors.
Except in certain cases where the executives of
the NFB recognized the usefulness of a certain policy 102
there was very little attempt to control the types of 14 programs which the Distribution Representative attempted.
One such policy was the introduction of the film-discussion
technique which was introduced into B.C. around 1953 by
the Head Office of the National Film Board. The Directors
of Distribution felt that this would be a useful technique
to involve film audiences actively. Each Representative was instructed in the use of the film-discussion technique
and was encouraged to use it.1^ However, such examples
of deliberate direction from the NFB1s Head Office are
rare. The Representative was mainly responsible for 16
initiating his own kinds of programs. He had to rely
on his own imagination and in many cases his own interests
were reflected in what he produced.
II. THE RURAL PROGRAMS
Fairly comprehensive data are available concern•
ing the Rural programs produced in B.C. after 1962. Using
the five categories developed to define the different
types of FAE programs the following pattern emerges from
a study of these Rural programs:
1. Film Series - General Interest
The Rural programs under this category were like
the General Interest Film Series offered by the FAE insofar
as the general purpose was to present information and
provide entertainment for general interest groups. The 103
programs followed the same general format. They were usually presented at night and were co-sponsored by the
NFB and various adult education departments. The local adult education department would either include them in their regular Night School Program or they would offer the series as a special bonus at some time during the regular night school year. Each program consisted only of a series of film showings. There were no speakers, no time was afforded for discussion of the films and usually no supplementary material such as reading lists was offered.
An analysis of the Film Series indicates that there were also certain standard themes such as "The Canadian
Scene on Film", "A Canadian Mosaic of Photo and Film",
"Canadian Journey 1963" which were popular. One noteworthy series of this kind was produced in 1968. It was called
"All About Canada" and featured ten evening programs of films on nature study, portraits of various ethnic groups who live in Canada, films on different industries such as mining, fishing and travel films. A complete description of the series is given in Appendix G. Briefly, the pur• pose was "to help people broaden their knowledge about
Canada and its people" and was strictly informational.
Another popular type of Film Series program was the Promotional Series. It was made up of a mixture of new films and the purpose was to promote the use of these new films within the community. A good example of a Pro• motional Series was one called "An Exhibition of New Films a two-part series held at St. Alban's Church, Ashcroft B.C on September 26th and 29th, 1963. The program was co- sponsored by the Ashcroft Community Film Service and the
National Film Board. It was advertised as a "free exhi• bition of outstanding new films for all to enjoy". The purpose of the series was to "promote new films made avail able by the NFB for community use". A secondary purpose was to promote "a greater awareness of film" within the community. Each program contained a number of films on 18 different subjects: Program I
CORRAL - roping and riding of a high-spirited, half-broken horse provides visual poetry.
POLITICAL DYNAMITE - a group of ardent curlers clash with righteous ladies over the hot issue of Sunday Curling in Crocus, Saskatchewan.
MY FINANCIAL CAREER - an animated cartoon dis• playing Stephen Leacock's witty account of a young man's first brush with banking.
ON STAGE - a story of what happens when an ama• teur group in an average town decide to put on a play - from choice of cast to finished per• formance .
CATTLE RANCH - the life of the Cowboy - filmed in spectacular colour on and around the Douglas Lake Ranch in the Nicola Valley.
Program II
A CHAIRY TALE - a humorous fairy tale in a modern manner. The story of a youth and a chair - how• ever, this is no ordinary chair. KLEE WYCK - the story of Emily Carr, shown through her canvasses and the surroundings where they were painted.
LONELY BOY - a revealing film account of the Canadian pops-singer Paul Anka. This film shows how an entertainer becomes an idol to millions of worshipping adolescents.
MAN OF MUSIC - an intimate portrait of composer, conductor, choirmaster, organist and teacher, Healy Willan, who has devoted a lifetime to musical activity in Canada.
NAHANNI - the vivid account of an aging prospector searching for a lost gold mine beyond the Headless Valley far up the treacherous Nahanni River in the Northwest Territories. - Breathtaking scenery.
2. Enrichment Programs
The evidence would seem to indicate that the En• richment Program, which was a popular type with the FAE, was not popular with the NFB Representatives who initiated programs in the rural areas or with the audiences in these areas. Out of 52 which were analyzed for this study, only one appears to qualify as an Enrichment Program. The others are either General Interest Film Series programs or may be classified as Instructional adult education pro• grams. The title of the one Enrichment Program was the
"McLaren Festival". It was a series of two showings de• voted to the experimental films produced by Norman McLaren
A complete outline appears in Appendix H. Briefly, the purpose, was "[to] present to the people of a small com• munity the impressive art of a world renowned Canadian filmmaker". The programs were offered in the small com- 106
munity of Gibson's Landing on the Sechelt Penninsula.
Each night a selected number of McLaren's films were in• troduced and shown by Marguerite Roozeboom, an experienced film animator who lived in Vancouver. Mrs. Roozeboom described how each film was made and discussed the dif• ferent techniques McLaren used.
There is no evidence to indicate that this series was anything more than an Enrichment Program. The films were the main attraction while the lectures were added merely to enhance the program. It was primarily an in• formation type of showing with little or no apparent op• portunity for formal discussion about the films during the course. Informal discussion might have occurred) but there is no indication that any discussion techniques were deliberately included in an attempt to elicit.: responses from the audience.
3. Instructional Programs
For this study data were available for twenty-four
Instructional Programs initiated by the Distribution Repre• sentatives. These could be subdivided into two major thematic subdivisions: programs dealing with the study of a number of different social issues and programs deal• ing with the study of film as an art form or film as it relates to the other fine arts.
Socia1 studies. Instructional programs dealing 107
with social issues tended to be of two types: those which were directed towards general interest groups and dealt with the study of society in general, and those which were concerned with some specific aspect of society which would appeal to some special interest group. A good example of a general interest program was one called "Change and 19
Social Disorder". The theme was "[a] probing view into the effects of change and social disorder". It was a "film discussion program featuring panelists working in various areas of social change", and it was co-sponsored by the
National Film Board and the Adult Education Department of the Langley School Board. The programs were organized around a series of panel discussions and opportunities were given for the audience to participate in the dis• cussions . Program I Is Our Society Really Sick? Panel: (i) Nick Proznick, Supervisor of Langley Welfare Office, (ii) Al Simpson, Counselling Psychologist, Langley School Board, (iii) Colin Stewart, Instructor, History of Art, Vancouver School of Art. (iv) Moderator - Mervyn Davies, Executive Director, John Howard Society. Program II Poverty Is Here and Now Speaker: Bridget Moran - ex-social worker, fired by the Provincial govern• ment for her outspoken criticism of our province's social assistance pro• gram. 108
Program III No Racism Here? Paneled by Bob Joseph of the Vancouver Indian Centre.
Program IV Upside-Down Values Surprise speaker.
Program V Can We Master Change? Speaker: Dave Pellin of the Vancouver Activators Unit.
There were enough social issues dealt with to appeal to various different interest groups. The resource people were all recognized as experts in their particular fields, but the most important point was the fact that it was primarily an adult education course with the Film Board acting as one of the many resource groups involved. Like the FAE programs, when films were used in this series they were used as devices to illustrate points brought out by 20 the resource people. Films were not the primary reason for the program, in fact they were not even mentioned in the promotional brochure.
A good example of a special interest program for adults was one called "The Family - Where Are We Going" which was offered under the joint auspices of the National
Film Board, the Adult Education Department of the Chilliwack
School District and the Chilliwack Ministerial Association.
The central theme of this seven-week night school course was to examine "trends, problems, developments, and com• plexities of the modern family". The purpose of the series was to "encourage curious and interested adults to explore 109
by way of film and discussion what makes family life work, why it breaks down and how family relationships can be preserved in our complex society". For a detailed account of the structure of the series see Appendix I.
The film as art. The Instructional programs offered under this heading fell roughly into two subdivisions:
(1) courses on the mass media with particular attention being paid to film and, (2) courses on the arts in general using related films. A good example of a program on the mass media was a four week course offered by the New West• minster Adult Education Department and the NFB called "Mass
Media and You". It was designed "[to] acquaint those in• terested in the communications arts with the personal and social consequences of film and television". For a more detailed outline of the course see Appendix J. Another more complex program called "The Medium, The Massage and
You" was offered in January, February and March of 1969 under the joint direction of the Film Board and the YMCA (see
Appendix K). It used a workshop format in which the learners were required to produce their own film. The workshop method became particularly popular amongst, the Representatives especially when they conducted Leadership Training programs.
One adult education program in the arts which used film mainly as an information device, and not as an object of study, was called "Explorations in Sound". It was 110
designed to "demonstrate and discuss changing attitudes
to the Arts" by examining the evolution of music from Bach to modern electronic music. See Appendix L for a detailed
outline. "Explorations in Sound" was noteworthy because of a new innovation which was introduced: the use of a
"hot-line" radio show to evaluate the program. "Open-line radio programmes gave people a chance to air their reactions
[to the series] which ranged from enthusiasm to outright hostility".
4. Package Program Kits
There is no evidence to indicate that the NFB Repre•
sentatives either created Package Program Kits of their
own to be used in the rural areas or that they even used
those created by anyone else. There is only one program of the 52 analyzed for this study which might classify as
a Package Kit. This was the "Centennial Package Program"
created in 1967 by the National Film Board in Montreal
and presented throughout all of Canada. Although it was
called a "Package Program" it was really nothing more than
a number of travel films and films celebrating Canada's
Centennial which were organized into hour-long presentations
and promoted to communities throughout Canada which were
interested in organizing film showings of their own. It was strictly an entertainment and information package which
the Representatives were called upon to promote in their Ill
various areas.
The Package Program Kit therefore appears to have been a distribution method unique to the FAE for the FAE
Package Programs were not available to individuals and groups outside of the Greater Vancouver area. The reason was that distribution was handled by the Vancouver Public
Library and the Library, as a municipal institution, had no responsibility to distribute material outside of the 21 Greater Vancouver area.
5. Leadership Training Programs
Leadership Training programs followed an interesting pattern of evolution. During the late 194 0's and early
1950's they had been designed mainly to train leaders in the care and operation of audio-visual equipment. These courses were mainly concerned with teaching skills. There seems to have been little or no instruction in how to use materials. By the middle 1950's the programs had evolved beyond the level of skill learning and more emphasis was being placed on the functional use of film such as the effective use of film discussions. The structure of the programs had become more' sophisticated, the resource people conducting them were better qualified, and there were better types of material available for the participants to use later in their own programs.
One factor remained the same throughout all of these 112
programs. The participants were being trained to use materials which were already available. While the NFB was producing many different kinds of films on many dif• ferent topics, still, they could not have been expected to cover every area and,satisfy every interest. The Board was committed to producing films in the national interest; consequently, in most cases, the information in the films had to be of a general nature in order to be applicable to all parts of the country. The problem was that sometimes specialized material was needed for certain programs which might not be covered in any of the available Film Board films. To solve this problem the Distribution Representatives began to develop Leadership Training programs in which the main concern was to train educators to produce their own films and related audio-visual materials. Such programs began to appear in B.C. in the late 1960's.
A good example of this new type of Leadership pro• gram was a "Film Making [sic] Course for Teachers" produced in November of 197 0 for a group -of :high school teachers in School District No. 61 (Greater Victoria). The course contained the traditional elements of other Leadership programs: it used some films as illustrative material, there were some lectures, and some film discussions. However, the main focus of interest was the production of materials.
The overall purpose was to assist the learners to acquire certain skills; they learned how to operate cameras and 113
edit films. These were skills which they could later use
to produce specialized material to suit their own needs.
III. CHALLENGE FOR CHANGE IN B.C.
The Challenge for Change program is one of the very
few examples of a trend in programming which was deliberately
introduced, and promoted, by the executives in charge of 22
the Distribution Division at NFB headquarters. In most
cases policy decision in such matters were the result of
a consensus of opinion between the Distribution Headquarter1s
staff and the Regional Supervisor's and their staff. For
example, one province would develop a new idea in program•
ming which they found to be successful in their own area.
Once a year, when all the Regional Supervisors from each
province met with the Distribution executives at headquarters
they discussed these new ideas with each other. Usually,
on the basis of these discussions they would all agree to
try out the new program in other provinces. If they proved
successful then a trend towards this kind of programming
would develop naturally throughout the rest of Canada.
The Film in Adult Education programs developed in this
informal way, beginning in one province and then spreading
across the country to become a national trend. However,
in the case of FAE, the trend towards this kind of program• ming evolved: simultaneously out of work being done both 23 in B.C. and Ontario. The Challenge For Change program was a different matter. It originated as an experiment supported by departments and agencies of the Federal govern ment "to explore in more depth the role of film and com- 24 munications in social change". It was initiated and promoted by the executive branch of the Film Board.
Challenge For Change has been in effect for over six years and already it has had a profound effect on the
Film Board. It has resulted in a number of significant innovations in programming, the most significant being an attempt by the Board to become actively involved in
Community Development work. Programming From 1966 to 1968
During the early stages of the Challenge For Change program in B.C. the Distribution Representatives tended to create programs which were structured like their Adult
Education programs. They tended to rely mostly on the film-discussion type of format which had been successful 25 for them in other programs. A good example of this kind was one called "Discover, Your Community and You" which was held on an Indian Reservation in Chilliwack B.C. in
1967. It was the first Challenge For Change program in B.C and was co-sponsored by the Chilliwack Night School and the
NFB. The theme was "an explanation into the nature and 2 6 meaning of our Canadian community". The purpose was as follows: It attempted to reveal those qualities which trans form a 'collection' of people into a 'community' of peoples.
In doing so we [the program co-ordinators] focus on two important groups within our community, the Indian and non-Indian peoples and invite participation from both.
In a word, Discover is an attempt to revive an ancient tradition here in the [Fraser] Valley, that of Chilliwack as a 'Tsill-wakh' or 'meeting place' as the natives called it.
The program used the standard type of format for this type of adult education activity, mainly lectures and film-discussions. The program lasted ten weeks and covered a broad range of topics: the Civil Rights Movement
Immigrants, the Viet Nam war, racial prejudice against
Indians in Canada, and Canada's role in international affairs. The only major difference between this and other adult education programs was that "Discover" was one of the first of its type which was conducted outside of the night school environment on an Indian Reservation and it was one of the first on Indians in which half of the par- 27 ticipants were Indian and half were non-Indian.
Was this kind of program a success? Jan Clemson, the District Representative who organized the "Discover,
Your Community and You" felt that this program and others like it did not really accomplish what was intended by
Challenge For Change. The purpose of Challenge For Change was to motivate people to take an active part in helping 2 8 to effect some form of social action and change: 116
The result of using film-discussion techniques was that people tended to intellectualize the issues being dealt with and the result was a lack of action. These films [such as RELOCATION: ELLIOT LAKE and the SAUL ALINSKY SERIES] were not designed for comfortable middle-class audiences to intellectualize over. Some of these films had direct challenges or direct appeal for such people as poverty groups with whom we had previously had little contact. 2 9
On the basis of this kind of experience, Clemson and the other NFB Representatives decided, to change their approach. New types of programs were needed which called for more active participation by the people involved in the course. The Representative tended to move away from instructional type programs:
We did do some very successful programs with various adult education departments, but I think it's safe to say that a lot of adult education people with whom we had been working [found that the Challenge For Change programs] didn't fit into their present format. There• fore, they tended to pass them by. 3 0
Programming From 1968 to 1971
The transition from adult education courses to com• munity development work was not sudden or arbitrary. Nor was there one point where the Representatives stopped working with adult education departments. In fact, many of the Representatives continued to do so, but they modified the type of programs they: offered. Instead of producing adult education programs directed towards general interest groups within the community, the Representatives began to create specialized types of Leadership programs-for groups and individuals who were directly interested in becoming 117
Community Development workers. A good example was one produced for a group of teachers in the Greater Victoria area (see Appendix M). It was called "Challenge For Change -
Summer 1970" and was designed to teach these people how to operate cameras, editors and other audio-visual equipment which could assist them in studying their community. One session was devoted to the study of the legal aspects of shooting film; where a film unit could operate legally and where it could not. In another session a representative from a local radio station briefed the participants on how to conduct an interview and the final session was devoted to a discussion of "ethics and [the] film maker's [sic] responsibility". The rest of the time was devoted to shoot• ing film in the community and interviewing the residents.
The products were then analyzed in terms of their style and content. The Distribution Representative's role remained largely the same as it had been in previous Leadership pro• grams. He acted as co-ordinator and resource person by conducting discussion sessions and lecturing on certain aspects of film studies.
Recently, NFB Representatives have taken their
Leadership courses out into the community where they have been offered to selected interest groups such as poverty groups. This move represents a significant change in the role of the Distribution Representative. Whereas previously in Leadership courses the Representative had been concerned 118
with training people who were already leaders who would
take the knowledge they learned back to their communities
and include it in their own programs, now the Representative was dealing directly with community groups himself. He
was no longer a distribution agent who would "go out with 32
a product - a film - and try to get people to look at it",
or an instructor who taught other instructors how to use
film as a communication device. Now he did the Community
Development work by going into the community and working
with disadvantaged groups to help them organize some positive
change in their community. To help him in this task the
Representative acquired a new tool: portable half-inch
video tape equipment.
The capacity of VTR equipment to record events and
then immediately play them back has made it a far more
useful tool than film which requires much time and very
complex processing equipment before it is a usable product.
Portable equipment is simple to operate. It does not
require complicated sound equipment, lighting and so on, as
film does. Community groups can use video tape to record
events in their community or they can use it as an organi•
zational device to record people's thoughts and feelings
about a particular community problem. The recordings can
be played back immediately and analyzed. The tapes can
also be used as a device to communicate with other people
in other parts of the country who have similar problems. 119
A good example of such a program was the "Inner City Project" held in Vancouver during the summer of 1970. VTR equipment was used "with lower income groups [so] they could express 33 themselves" and their problems. The tapes were used by the group for self-analysis and later were shown to a similar group in Ottawa. The self-analysis served to make the people in the Vancouver project aware that they shared common problems with each other. By sending the tape to a similar group in Ottawa the Vancouver group realized that their problems were not unique. In turn both, groups could share their ideas and a communication link was created.
However, another important feature of encouraging the groups themselves to produce their own programs was that in doing so they would have complete control over a subject with which they were '.intimately1 familiar. They could select topics which they were concerned with, rather than being supplied with information which had already been produced by agencies such as the NFB, who, because they were un• familiar with the community, might tend to present a biased or incomplete view. The Board had anticipated this prob• lem of interpretation in the early stages of the Challenge For Change program during the "Fogo Island Project" in 34
Newfoundland. Their approach to the problem at that time was to form a liaison with a Community Development worker from the Extension Department of Memorial University who was familiar with the Island and its people. Because of 120
the high costs of film production the NFB maintained control over the production of materials while the community con• trolled the content. This reduced the chance that the NFB directors, cameramen and editors might introduce some personal biases into the films. Later, the Board began to purchase half-inch video tape equipment which was so simple and inexpensive to use that it could be turned over to a community for its own use. In this way the people had complete control over the production of materials.
Besides changing the role of the Distribution Repre• sentative, Challenge For Change has also affected the NFB1s film distribution policy to some extent. Generally speak• ing, in the past the Board has been concerned with producing films which would appeal to all Canadians. Films such as NOBODY WAVED GOODBYE35 and PHOEBE36 deal with social issues which are relevant to all sections of Canadian society. However, under Challenge For Change many of the productions (especially those done on video tape) are being produced for special purposes for special groups and often they would be meaningless to any other group in any other area. The Fogo Island Series is a good example of this type of special production. Films such as BILLY CRANE 37
MOVES AWAY were especially shot for the "Fogo Island
Project". They were not the type of film which could be used very successfully in any other part of Canada. It is impossible to say at this point whether or not this trend towards the production of special material will con• tinue to grow in the Film Board. The expense of film production makes the plan unreasonable, but with the use of less expensive VTR equipment it is possible that another specialized type of distribution system might evolve to supplement the regular system.
IV. PROGRAM EVALUATION
The Role of the NFB Representative in - Program Evaluation
\ Evaluation data for all of the programs dealt with in this chapter are scarce. The Distribution Repre• sentatives do not appear to have attempted any formal evalu ation of their own. programs, but in a few cases, some evalu ation was attempted by adult education departments when they were involved with the NFB in co-sponsoring adult programs. Sometimes program evaluation was done auto• matically by the local adult education departments par• ticularly when the course was a new one and the department wanted to know if it was successful enough to warrant 3 8 being offered again the next year. If the NFB Repre• sentative was interested in evaluating the course himself he would do so by discussing the program with the local adult education director or with the program co-ordinator who was directly responsible for choosing the resource 3 people and administering the course from beginning to end.
Often the NFB Representative would appear in the program 122
as one of the resource people himself in which case he would carry out his own informal type of evaluation by interviewing the participants. In cases where the Repre• sentative himself was not actively involved in the program he might make a special point of visiting the program at various stages to discuss the success of the course with the participants. It appears that in most cases evaluation by the Representative himself went no further than attempt• ing to find out whether or not people enjoyed themselves and whether they felt they had learned something. It does not appear to have gone as far as trying to find out whether or not their attitudes had been changed or modified, as a result of the course. Most of the Representatives don't know precisely what effect their programs are having on 4 0 the participants. As one Representative put it: This is one of the big unknowns with us. Are our films changing people's attitudes? I think one thing we can safely say is that we're providing them with more information about the country. You'd have to be pretty blind not to make that assumption. But the real changes in the educational process and how effec• tive are films in that area, that's one thing I'm. not competent to say. We go on the blind assumption that they are.
Assumptions such as the one given here are based on the Representative's personal experience. The equation for program planning might best be expressed as "success 41 breeds success". If a program is popular in one area with one group of people then often it is tried in another area. If it succeeds in the new area, then so much the 123
better; if it fails then something else is attempted.
One program which did fail was called "A Festival
of Humour on Film", a night school program offered by the
Chilliwack Adult Education Department in honour of Canada's
Centennial. The series was made up of a number of popular,
humorous NFB films such as MY FINANCIAL CAREER and THE 42 43 RAILRODDER. The advertisement for the program read:
Here is an opportunity to see how Canadian film• makers can make us laugh. A series of National Film Board films on the lighter side. Some are just non• sense; others poke fun at our way of life and traditions, while others present history, travel and everyday life in a light-hearted, amusing manner and often a touch of satire.
The series was offered as a bonus to a group of Chilliwack
residents who had been attending another series of docu• mentary films. Only two people came; The local adult
education program co-ordinator was so puzzled at the results
that he conducted a survey of the participants who attended
the earlier series to find out why they did not attend
"A Festival of Humour on Film". The results of his survey
were quite revealing. Out of 16 couples interviewed, all
stated that they were not interested in a series which 44
had a theme like "People are Funny". Their primary
reason for not attending was that they preferred to attend
programs which featured "educational films". In this
case the term "educational" meant travel films, films with
lots of "scenery" and documentary films about life in
Canada and life throughout the world. There were other 124
reasons given for not attending: three people felt that
the poor quality of the sound in the hall:;where the first
series was held contributed to their decision not to attend
the second series. Three people cited the distance which
they had to travel to the series as the factor affecting
their participation. Two complained that advertising
for the program had been so inadequate that they did not
know there was such a program being offered. Two people
stated that personal commitments kept them from attending while one stated that the night of the week chosen was
inconvenient for him. Finally, one person reported that
a factor affecting his participation was the time of the
year Cthe series was offered in November and December).
The failure of "A Festival of Humour on Film" to
draw an audience illustrates an important assumption which
many Distribution Representatives worked under when plan•
ning film programs for adults. It was one. of the few
programs of its type which was attempted outside of the
Greater Vancouver area. Generally speaking, the Repre•
sentatives felt that people in the smaller communities
attended adult education programs because they wanted
to feel they were "being educated".' If a program was
presented as being strictly entertainment people would not
attend it. The general feeling was that if one wanted
to go to a film program to be. entertained, one went to
a commercial theatre but when attending an adult education 125
program, one went to be educated. The validity of such an assumption may be questionable. Apart from this one example there is no real evidence to support such a hypo• thesis. Nevertheless, some Representatives did accept this hypothesis based on their personal experience working in the field and such assumptions did affect the kinds 45 of programs they attempted: There's something about using films in adult edu• cation programs - a kind of mystique which is built up. If you use capital 'E' education this creates an atmosphere where the participant feels he is going to learn something. I even think you get a different kind of audience out to these programs. There's a certain amount of status that it provides for people to say that 'I'm going to night school'. It's a matter of prestige.
Program Evaluation
by Adult Education. Departments
Occasionally, the adult education departments who were involved in co-sponsoring film programs with the NFB would attempt to evaluate them. Appendix N contains an example of an evaluation form created for a program called
"Challenge For Change - Summer 197 0" which has been de• scribed earlier in this chapter. Eighteen teachers par• ticipated in the program.- The data collected on these evaluation forms indicates that the learners felt the program was a success. In answer to the question about their reasons for participating in the course, ten said they were there to develop new skills in order to produce their own materials and eight said they were interested 126
in developing courses in media study for their high school students. Among the secondary reasons for attending seven said they were also interested in studying the effects of mass media on society to be used as a basis for later study with their classes, two said they had come to the course to study film as an art form, one stated that he attended the course because "my principal sent me" and one. other gave his reason for attending as "no fee - no credits - I couldn't lose".
On a four point rating scale from, "bad" to "ex• cellent", 15 rated the program as "excellent", three rated it as favourable, while no one. rated it as "un• favourable" or "bad". When an explanation of their rating was requested in the second half of the question, 14 out of the 18 participants gave as their reason.for rating the program so highly that they felt it achieved what it set out to achieve. They agreed that there was a satisfactory blend of theory and practice and that the information and skills which they acquired as a result of the program were relevant to their needs. Twenty-two percent expressed their reasons for rating the program so highly in the form of a philosophical statement. In essence they felt the program had created an awareness of the im• portance of communications study which they could use as a basis for "the personal acquisition of new insights into teaching". 127
In answer to the question, "in your view, what were the strengths of the program?" the responses were as follows:
77% agreed that there were five major strengths of the program, the calibre of the personnel conducting it, the variety of topics which were covered, the amount of "in• volvement" and interaction amongst the participants during the practical parts of the program devoted to the production of audio-visual materials and finally, the abundance of materials and equipment which were made available for the participants to use. When asked "what were the weaknesses of the program?" the majority of the participants (66%) replied that the program had been too short and that they had not had enough time to explore in depth all the topics which were dealt with in the course.
In answer to the question, "how would you rate your own and your group's participation/accomplishment in the program?", 61% of the participants said they par• ticipated fully in the program and both'they and their groups accomplished everything they set out to do. Twenty-two percent rated their level of participation and accomplishment as "fair to good" or "satisfactory". The main reason given for the "fair to good" rating was that they encountered some, difficulties as well as some advantages while working on their group projects.
A paradox appears'to exist in these data. While
61% of the participants seem to feel that they were able 128
to accomplish all they set out, to do, they also seem to have felt that the course was not long enough to allow them to explore all the topics in depth. It is impossible to say at this point what the paradox indicates. Either the questionaire is invalid or the participants were an• ticipating the attitudes of the evaluators and so answered each question by first considering what they felt the evaluators wanted to hear. Possibly the paradox might be explained as the result of a sense of euphoria over the program on the part of the learners. They might have tem• pered their criticism about the lack of time with their sense of enjoyment over the course. However, on the basis of the available data it is impossible to make any decision about the significance of the paradox. For that matter it is difficult even to contend that a paradox does', in fact, exist; the data are too questionable.
In replying to the question, "would you be in• terested in participating in future programs of this type?",
15 answered "yes", one answere "no" and two were unsure.
When asked what philosophical changes needed to be made to improve the program, six replied that no changes were needed and nine gave no response. When asked what changes should be made in the organization of the work groups, eight participants replied that they were satisfied with the work groups and eight gave no response. When asked to recommend if any change should be made either in the 129
location of the course or the physical facilities which were offered (workroom, editing rooms and screening room), nine participants recommended no change in the present structure and six participants gave no response. There appeared to be no general consensus of opinion among the remainder of the people who felt some changes were ne• cessary. Some recommendations for future programming included:
(i) add a session on videotaping (ii) supply more equipment (iii) restrict course to English teachers (iv) assume registrant's know nothing:,.-; (v.) supply more work tables (vi) send notice to participants before the course that it is to be an intensive course re• quiring full commitment of the learner
As an evaluation instrument this questionaire leaves much to be desired. Its validity is highly question• able and it would be extremely dangerous to make any assump• tions as to what the participants learned and how much they learned. About all the instrument can tell us with any sort of reliability is that the participants enjoyed the course. This might very well have been the intention of those who designed the instrument. Many NFB programs pro• duced in conjunction with local adult education departments were evaluated on the basis of their popularity. Success was one of the major criteria on which the NFB Representatives based their decisions to produce similar programs and the same criterion appears to have been used by the adult education departments. CHAPTER V
FOOTNOTES
"''Marshall, op. cit. , interview.
2Ibid.
3Ibid. 4 ... Clemson, op. cit., interview.
5Ibid.
6Ibid. 7 Personal correspondence between Mr. Peter Grant, District Representative for the National Film Board in Victoria, B.C> and the author, May 31, 1971. Clemson, op. cit., interview.
9Ibid.
10 T,., Ibid.
11T,. , Ibid.
12TV. , Ibid. 13 ... Marshall, op. cit., interview.
14TV ., Ibid.
15T, . , Ibid. 16 Clemson, op. cit., interview. 17 Promotional brochure printed by the Ashcroft Film Service and the National Film Board, 1963. Ibid. 19 Langley Adult Education Department promotional brochure. 131
2^Clemson, op. cit., interview. 21 Personal conversation with Miss Rhoda Baxter of the Fine Arts and Music Division of the Vancouver Public Library. Miss Baxter was one of the founders of the FAE. 22 Marshall, op. cit., interview. 23 "ibid. 24 Fogo Island Film and Community Development Project, National Film Board (May, 1968). Preface.' 25 Clemson, op. cit., interview. 2 6 Chilliwack Adult Education Department promotional brochure. 27
Clemson, op. cit., interview.
Ibid. 29 See Filmography for descriptions of the films, RELOCATION: ELLIOT LAKE and SAUL ALINSKY SERIES. 30 Clemson, op. cit., interview. 31 This is an arbitrary decision made for convenience. Such a time division is not necessarily true. There was some overlapping in the programs. 32 Clemson, op. cit., interview. 33TV. , Ibid. 34 Fogo Island Film and Community Development Project, op. cit., p. 10. 35 See Filmography for a description of the film, NOBODY WAVED GOODBYE. 3 6 See Filmography for a description of the film, PHOEBE. 37 See Filmography for a description of the film, BILLY CRAN3 8 E MOVES AWAY. Clemson, op. cit., interview. 39 Ibid. 132
41_, . , Ibid. 42 See Filmography for descriptions of the films, MY FINANCIAL CAREER and THE RAILRODDER. 43 Chilliwack Adult Education Department promotional brochure. 44 This phrase was used by the people who were in• terviewed. " 45 Clemson, op. cit., interview. CHAPTER VI
I. SUMMARY
In its way the National Film Board has made a con• siderable contribution to the development of adult edu• cation programs in this province. Not only has it active• ly promoted the use of films, it has also promoted the idea of film programs for adults through courses which it has initiated itself and through courses which were co- produced with various adult education organizations in• cluding the FAE, certain public sbhool adult education departments, the Extension Department at U.B.C. and others.
The Board has been responsible for creating six major different kinds of programming for adults:
General Interest Film Series, designed to entertain people and to promote the use of film.
Enrichment Programs, which were largely.informational in nature and used the film-lecture as a technique to sup• plement the program making it appear to be a more formal learning situation than the General Interest Film Series.
In both of the above categories films were the primary reason for people attending the programs.
Instructional Programs,-'were a more sophisticated type of program than the first two and were either initiated by the Film Board, or, as was usually the case, co-produced by the Board and a local adult education department. Each 134
course was characterized by the fact that in all cases resource people were used who were experts in the topic being dealt with, and in all cases films were used in the programs merely as supplementary devices and not as the major focus of the program.
Package Program Kits were an important contribution but they were a device which was unique to the FAE. Each kit contained a listing of films on a particular subject, descriptions of the films, discussion questions, and de• tailed guides on how to use the program. They were de• signed for adult groups in the metropolitan Vancouver area who were interested in developing their own adult education programs:
Leadership Training Programs. It is in this area where the
NFB made some of its greatest contributions to the devel• opment of adult education programs. In the early years' these programs were designed to instruct leaders in the proper care and maintenance of audio-visual equipment.
Later, the programs began to deal with the functional use of film, for example, how leaders might develop film dis• cussions and how they might use film more effectively in their own courses. Within the last few years there has been a trend beyond the functional use of films towards a concern with training leaders in the production of their own materials for use in their courses.
Community Development Programs are largely an extension 135
of the Leadership type of program except that now the
Representatives themselves go out to work in a community rather than training other people to do so. The most significant difference in these programs is that the NFB has changed its clientele. Instead of working with the kinds of groups who attend night school programs, the
Representatives are now seeking out special interest groups in the community such as poverty groups. The NFB men are attempting to teach these groups how to use various communications devices, for example portable video-tape equipment, as a means towards organizing themselves and their community to effect some form of social change.
Generally speaking, the Distribution Representative has been the individual most responsible for initiating adult film programs. It is he who made the contacts with the adult education departments and the people within the community to find out their needs. He played a major part in organizing the courses and in many instances took part in teaching them as well. . He worked under various as• sumptions when initiating programs, assumptions based on his personal experience with programs in the community.
If he tried a particular type of program and it failed to draw participants, he would then try another until he found one which worked. In general, the only kind of program evaluation attempted by the Representative was interviews with participants taking the courses. In this 136
way he could discover what kinds of programs were best for the community. In some cases when he produced programs in conjunction with Public School adtilt education departments, some type of formal evaluation was attempted by the de• partment. For the most part the Representatives assumed that their programs were having a beneficial effect on the community. They felt that film programs were an ef• fective means of disseminating information and affecting attitudes.
The role of the Distribution Representative has undergone three major changes in the last 28 years. From
1943 to 1947, he was merely an exhibitor who travelled around the province screening Film Board films in various communities. From 1948 onwards his role changed and he. became more of an educator. He organized various types of film programs for adults in which he used many tech• niques common to other, more formal types of instructional activities. He also played an active part in creating
Leadership programs designed to train other adult edu• cators in the functional use of film.
Recently the role of the Distribution Representative has begun to change again. Now he is more actively in• volved in Community Development work, assisting various special interest groups to organize some form of change within their community. It must be noted that none, of the changes in the role of the Representative occured 137
abruptly. At no time did he deliberately stop one kind of work and begin another. The change was subtle; his role evolved over a period of time.
Besides creating film programs for adults, the
National Film Board has also been concerned with dis• tributing films which would "interpret Canada to Canadians" and its methods of distribution have reflected this phil• osophy. Four major methods of distribution have been employed in the province of B.C. during the last 28 years: the Film Circuits, the Film Councils, the Libraries (both.
Public and Deposit) and Direct Distribution. The purpose behind initiating each method was to make films available to as many people as possible. Like the changes in pro• gramming, there was no clear-cut division between the changes in distribution methods. One did not stop abruptly and the other begin. Each overlapped the other so that as one system decreased in importance the other increased.
In general, the trend in film distribution has moved from a concern in the early years for giving the community control of the films towards a point where the NFB itself now controls distribution.
In the early years, when the Board was a small operation, it had to rely heavily on groups within the community to handle the distribution of its films. The philosophy at that time^was to 'get films to the people by letting the people control the films'. However, as 138
the Board grew it began to take over control of the films from some groups which it felt were not meeting the needs of all of the people. The Direct Distribution system, introduced in 1967, represents a significant change in this direction. Now the Board itself controls most of the distribution of films. Thus it hopes to be able to serve more Canadians than ever before.
II. CONCLUSION
There are a number of conclusions that may be drawn about the role of the National Film Board in adult edu• cation in B.C. According to Verner's definition, given in Chapter I, neither the General Interest programs nor the Enrichment programs can be called adult education activities. Neither involved a "purposeful ordering of behavior into planned systematic experience that [could] result in learning".''' Both were primarily concerned with entertaining people and any learning which took place was more a matter of chance than intention. The same holds true for the Package programs sponsored by the FAE.
These kits may have been very effective as devices to assist in learning, but there is no way of knowing how effective they were. Each was designed to be distributed to adult groups which were interested in creating their own film programs and neither the Film Board norethe FAE had any control over how they were used. 139
Unlike the first three categories, the Instructional programs and the Leadership programs did fulfill the basic requirements of adult education activities. Each was organized into a number of "planned systematic experiences", the learning process was "under constant supervision and direction", and, in most cases there was ample opportunity 2 for interaction between the learners and the instructors.
The major flaw in both these categories, however, lay in their evaluation. In most cases, little or no attempt was made to discover how effective they were as learning experiences; some evaluation instruments were created and used, but their validity is questionable. Except for this flaw, however, both the Instructional and Leadership programs were valid adult education activities.
The Community Development programs, initiated by the Film Board, may also be classified as adult education activities. The Board's role in these was to act as an outside agency which entered a community to instruct its members in the proper methods of organizing themselves towards effecting change. It was not the Board's intention to take an active part themselves in that change. The
NFB was only concerned with giving people the necessary tools and skills to handle their own social action pro- 3 grams.
Any discussion of the role of the NFB in adult education must also include a discussion of the role of 140
the Distribution Representatives, because they were largely
responsible for organizing the programs and, in many cases,
they acted as instructors in them as well. According to
Verner's definition of an adult educator, which appears
in Chapter I of this study, the NFB Representatives could
be included in this classification, particularly when
they became involved in producing Instructional, Leader??
ship, and Community Development programs. In these cases
they controlled the learning situation and organized their
work around certain principles of adult education. One
point, however, must be stressed. At no time can the
Representative be legitimately referred to as professional
educators. Their level of involvement in adult education
activities places them more on the level of Houle's part- 4
time leader. Most had a background in psychology or
sociology because it was one of the requirements of the
job, but they received little or no training in adult
education methods or practices either before joining the
Board or after. Their role as adult educators was marginal.
Their main concern was to devise ways and means of pro• moting Film Board films and all their activities were
directed towards this end.
It is important to note that even the Representatives
themselves recognized the marginality of their activities.
When one was asked for his own definition of an adult 141
educator,, he replied:
Somebody who is concerned with the further education of adults, whether formal or informal. Somebody who is concerned with making life richer for his fellow man. Somebody who is concerned, and has the ability to extend people's thinking and keep people exposed to new ideas and issues in our society.
When asked whether or not he thought of himself as an adult educator, he replied:
Yes, in a very informal way we::are adult education people, but we are not adult educators in the formal sense. Very few of us have any formal experience or training at a university level with adult education studies. I think there are only one or two in the entire Board. It has, however, occured the other way round - a number of Film Board people have gone into adult education.-
In fact, most Representatives tend to think of themselves first as "film consultants"; people who know about films, what they can do, and how they can contribute to a learn• ing situation. The Representative1s estimate of his role appears to support Verner's statement in Chapter I that most adult educators do not see themselves primarily as adult educators, but accept the role as being part of another, larger job.
The entire structure of the National Film Board tends to reflect its marginal involvement in educational activities. It is an example of an "institution for which adult education is a means of achieving a primary function", and that function is to produce films which will "interpret
Canada to Canadians". The NFB has a strong commitment to produce information films which will appeal to all 142
Canadians and help them to understand themselves and their relationship to the rest of the world. The Board has made an important contribution to education by producing ma• terials which can be used by all people and especially educators. C. W. Marshall summed it up well in an inter• view with the author. Mr. Marshall, who is now retired from the NFB, began with the Board in 194 3 as a Regional
Agent, and remained to become the Director of Film Dis• tribution for Canada. When asked what he felt was the single, most important accomplishment of the Film Board, he replied: "I think the greatest strength of the National
Film Board is the fact that it has proven itself to be the most successful information film operation in the world".
III. THE FUTURE OF THE NFB
It is impossible at this point to say what direction the National Film Board will take in the future. Even its employees are reluctant to commit themselves on this point. For many years now the Board has maintained its position as the largest producer of non-theatrical films in the world. It has been the envy of many other countries; some have tried to copy it, but few have been successful.
It has suffered a number of crises throughout its history, including the austerity program which it is presently under, but it still continues to produce films and it still con• tinues to develop new programs for Canadians. Recently, the Board has begun to move more and more into the area of Community Development work through its Challenge For
Change program and possibly it is in this area where the
Board's future lies. If so, the Board might be wise to consider training its Representatives in the principles and practices of adult education; how to manage the learn• ing experience, how to plan programs and how better to facilitate learning in adults. 144
CHAPTER VI
FOOTNOTES
Coolie Verner, Adult Education Theory and Method: A Conceptual Scheme for the Identification and Classification of Processes; Chicago: Adult Education Association of the United States of America, 1962.
2Ibid. 3 cf. Coolie Verner, "Community Action and Learning: A Concept Analysis", in Citizen Participation: Canada, edited by James A. Diaper, Toronto: New Press, 1971 Tin press) 4 Coolie Verner and Alan Booth, Adult Education, New York: Center for Applied Research and Education, T965, p. 37. ^Clemson, op. cit., interview. c Verner, op. cit., Adult Education, p. 14. 145
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ANNOTATED FILMOGRAPHY
BILLY CRANE MOVES AWAY, 17 minutes 40 seconds, b&w, NFB 16mm 106B 0167 162, (1967).
One of a series of ten films made on Fogo Island, Newfoundland. The Challenge for Change program carried out a piibdt experiment in the use of film as a direct means of communication and as a catalyst for social change. Some twenty hours of film were shot over a two-month period, in which the people of Eogo Island discussed problems of daily concern and their thoughts about the future. In the process of committing their problems to film, the people of this island were helped to express them in more concrete terms and, in some' measure, to face them. In this film, fisherman Billy Crane tells why he is being forced to leave and seek employment in Toronto.
CASE OF CHARLIE GORDON (THE), 20 minutes, b&w, NFB 16mm: archive print, Stuart Legg,• producer, (1939).
One of the first socially oriented documentaries made at the National Film Board. It is a dramatized documentary about the employment of youth, acted out by the people actually involved in the story. It looks very real, with just the right settings.
CHAIRY TALE, 9 minutes 50 seconds, b&w,, NFB 16mm: 106B 0157 016, Norman McLaren, producer and director, (1957)
A fairy tale in the modern manner, told without words by film artist Norman McLaren. The film is a pas de deux, of a youth and a chair that declines to be sat upon. (Seven awards including: British Film Academy; Oscar nomination, Hollywood)
INDIAN RELOCATION: ELLIOT LAKE - A REPORT, 29 minutes 55 seconds, b&w NFB 16mm: 106B 0167 075, John. Kemeny, producer; D'Arcy Marsh, director, (1967).
An experiment to prepare Indians for city life, through a program of vocational and academic education carried out with families who were moved to the town, of Elliot Lake in northern Ontario from neighbouring reserves. The film listens in on classes and discussions, and interviews some families who stayed, some who went back 154
It offers insights into the kind of adjustments that the Indians face in this kind of "programmed" inte• gration.
MY FINANCIAL CAREER, 6 minutes 38 seconds, colour NFB 16mm: 105C 0162 010, Tom Daly and Colin Low, pro• ducers; Grant Munro and Gerald Potterton, directors (1962).
An animated cartoon film from Stephen Leacock's witty account of a young man's first brush with bank• ing. When he goes to make his deposit he is so over• awed with the institution that nothing he intends to say comes out right. (Awards: Oscar nomination, Hollywood; San Francisco, California; New York.)
Nature of Work Series: CLERK (THE), 29 minutes 25 seconds, b&w NFB 16mm: 106B 0158 048, Nicholas Balla, pro• ducer; Morten Parker, director (1958).
This film explores the conflict between what a man (in this case an office clerk) wants from his job and what his job or, in fact, the industry,"wants from him. It raises the question of how far an industry ought to be expected to go in relieving dull, repetitive work for the sake of employee satisfaction. -
Nature of Work Series: DEPARTMENT MANAGER (THE), 29 min• utes 25 seconds, b&w NFB 16mm: 106B 0158 049, Nicholas Balla, producer; Morten Parker, director (1958).
An examination of the emphasis placed, in our' in• dustrial society, oh the rewards of "success" and how these become a questionable good when they force a man up the ladder despite his genuine desire to remain in what, for him, is the better, more' satisfying job.
Nature of Work Series: GENERAL FOREMAN (THE), 2 9 minutes 25 seconds, b&w NFB 16mm: 106B 0158 050, Morten Parker, producer and director (1958).
Here is a classic example of "the man in the middle", subject to pressures from above and pressures from below, and divided in loyalty to the enterprise and to the men under it.
Nature of Work Series: MAN ON THE ASSEMBLY LINE (THE), 2 9 minutes 3 seconds, b&w NFB 16mm: 106B 0158 051, 155
Nicholas Balla, producer; Morten Parker, director (1958).
A dramatized look at the man who ultimately pays the price for the benefits associated with our mass pro• duction - in this case a worker in an automobile factory who performs one operation with relentless monotony so that the assembly line may keep moving at top efficiency. (Awards: Stockholm)
Nature of Work Series: SKILLED WORKER (THE), 29 minutes 32 seconds, b&w NFB 16mm: 106B 0158 052, Nicholas Balla, producer; Morten Parker, director (1958).
This film examines the inroads of automation on whole, areas of satisfaction and reward in work, as exemplified in the story of a craftsman who found his carefully acquired manual skills displaced by a machine. (Award: Stockholm)
Nature of Work Series: VICE-PRESIDENT (THE), 29 minutes 27 seconds, b&w NFB 16mm: 106B 0158 084, Nicholas Balla, producer; Morten Parker, director (1958).
A dramatized account of the isolation that usually accompanies top executive positions, often engendered by a conflict between loyalty to past associations and the compulsions of the new role.
NOBODY WAVED GOODBYE, 80 minutes, b&w NFB 16mm: 105B 0164 llO, Tom Daly and Roman Kroiter, producers; Don Owen, director (1964).
A story of teenage conflict - the predicament of a youth who rebels against his parent's middle-class goals and conventions but finds the world, away from home and high school, a cold place to go it alone, and ideals no defense when the need for money leads to shady practices. This feature film is a study of the sources of delinquency in an affluent society, mirroring many of the problems and frustrations of young people. (Awards: Robert J. Flaherty; London; Mannheim, Germany; Addis Ababa, Ethiopia.)
Organizing for Power: the Alinsky Approach. Series: BUILD• ING AN ORGANIZATION, 37 minutes 28 seconds, b&w NFB 16mm: 106B 0168 070, Barrie Howells, producer; Bonny Klein, director (1968).
The obstacles encountered by a new community action organization in Buffalo, N.Y., as it begins to work for recognition. 156
Organizing for Power: The Alinsky Approach Series: A CON• TINUING RESPONSIBILITY, 4 2 minutes 35 seconds, b&w NFB 16mm: 106B 0168 072, Barrie Howells, producer, Bonny Klein, director (1968).
As demonstrated in the Woodlawn Organization in Chicago, Alinsky's technique created on-going organizations firmly rooted in the community.
Organizing for Power: The.Alinsky Approach Series: DECIDING TO ORGANIZE, 34 minutes 5 seconds, b&w NFB 16mm: 106B 0168 069, Barrie Howells, producer; Bonny Klein, director (1968).
A group of concerned citizens from Dayton, Ohio, con• sult Alinsky on the means of creating an effective organization.
Organizing for Power: The Alinsky Approach Series: PEOPLE AND POWER, 17 minutes 21 seconds, b&w NFB 16mm: 106B 0168 068, Barrie Howells, producer; Bonny Klein, director (1968).
Conflict and controversy are an integral part of Alinsky's approach to organizing communities. Here he talks about his philosophy and the dynamics of organization.
Organizing for Power:.: The Alinsky Approach Series: THROUGH CONFLICT TO NEGOTIATION, 45 minutes 3 6 seconds, b&w NFB 16mm: 106B 0168 071, Barrie Howells, producer; Bonny Klein, director (1968).
A community action group in Rochester, New York, confronts the community's largest employer on the issue of corporate responsibility and the employment of minority groups.
PHOEBE, 27 minutes 38 seconds, b&w NFB 16mm: 106B 0166 054, Julian Biggs, producer; George Kaczender, di• rector (1966) .
A film story exploring the state of mind of a teen• age girl when she realizes she is pregnant. The film slips in and out of the present, past and future in a way that communicates her feelings in an almost subjective way. Her need to tell her parents, her boy friend, her school principal, and to find some help in her predicament is the heart of the film. (Five awards, including: Montreal; New York.) 157
RAILRODDER (THE), 24 minutes 47 seconds, colour NFB 16mm: 106C 0165 062, Julian Biggs, producer; Gerald Potterton, director (1965) .
A screen short with Buster Keaton, one of the last films of the comedian's long career. As ".the rail- rodder" he crosses Canada from east to west on a railway track speeder. As might be expected, the film is full of sight gags as Keaton putt-putts his way to British Columbia. Not a word is spoken through• out and Keaton is as spry and ingenious at fetching laughs as he was in the days of the silent slapstick. (Awards: Canadian; Berlin; Brussels.)
THINGS I CANNOT CHANGE, 55 minutes 5 seconds, b&w NFB 16mm: 106B 0166 071, John Kemeny, producer; Tanya Ballantyne, director (1966).
This film is considered to be the forerunner to the Challenge for Change Program. It is a look at a family in trouble, seen from the inside. There is trouble with the police, the begging for stale bread at the convent, the birth of another child, and the father who explains his family's predicament. Al• though filmed in Montreal, this is the anatomy of poverty as it occurs in North America, seen by a camera that became part of family life for several weeks. (Awards: Robert J. Flaherty; Montreal; San Francisco; London; Oberhausen, Germany.)
V FOR VICTORY, 2 minutes, colour NFB 16mm: archive print, Norman McLaren, producer and director (1941).
An animation film made without the use of a camera by etching directly on the film. It is a promotion film to encourage viewers to buy Victory Bonds.
WAR FOR MEN'S MINDS, 4 5 minutes, b&w NFB 16mm: archive print, Stuart Legg, producer (193 9).
In this film Legg gives a definite example of the policy to be adopted by the Film Board with regards to the War Effort. Using actual news footage, and giving a complete background of all information media, Legg has made with this film a very powerful docu• mentary. He has particularly made a very efficient use of some footage from Leni Riefenstahl's TRIUMPH OF THE WILL. Narration is by Lome Greene.
WILDLIFE IN THE ROCKIES, 13 minutes 20 seconds, colour NFB 16mm: 106C 0157 015, Nicholas Balla, producer; 158
William Carrick, director (1957).
After many years of careful conservation, Banff and Jasper National Parks have become vast zoological gardens. Deer, moose, bear, bighorn sheep,.birds, and the small animals that live above the tree line are natural subjects of the closeup camera, with a backdrop of snowy peaks. Produced for the Department of Northern Affairs and Natural Resources. A to N 160
APPENDIX A
Description of Types of Membership in
Greater Vancouver Audio-Visual Co-ordinating Committee
Individual A. Includes subscription to Audio-Visual Guide (4 issues October-June). B. Voting privilege in Association.also entitles individ• ual to
1. Personal satisfaction from supporting this pro• fessional Audio-Visual organization which has been playing a leading role in development in the film field;
2. Opportunity through personal interchange and uni• fied effort to work for the advancement of educa• tion through improved use of AV resources;
3. Service Kits — selected material on current topics; mental health, citizenship, and industrial fields for small service charge rate;
4. Knowledge of current trends and events in AV field;
5. Consultative services through individual corres• pondence;
6. Evaluations of new material.
Industrial
1. Same services as above under Individual membership A and B.
2. Firms and organizations wishing to provide mater• ial for kits and distribution to key film people may do so at the rate of $30.00 per annum. (300 Industrial Kits will be mailed under separate cover to management, training and other related groups). This service thus provides top adver• tising potential. Companies may also support the Greater Vancouver Audio-Visual Co-ordinating Committee through donations. 161
Organizations
1. Same services as above under Individual member• ship A and B.
2. Film Kits produced for your organization may be obtained at twenty-five (25C) per kit. This is a handling charge only.
3. Donations to the Greater Vancouver Audio-Visual Co-ordinating Committee from those groups inter• ested in its aims and objects will be gratefully accepted. 162
APPENDIX B
ORGANIZATION STRUCTURE
MEMBERSHIP;
Agency or Organizational membership representation shall be limited to one person who has the following common bond of occupation, namely: or who has the common bond of association, namely: or who in the field of audio visual interest forms a group of the following description:
Every application for membership shall be in writing in the form prescribed by the Directors and shall be signed by the applicant and endorsed by the Directorate.
Every applicant for membership shall at the time of making application make payment of an entrance fee of $ (entrance and annual fees shall be determined by the Directorate).
The Directors shall consider every application for membership at a regular or special meeting of the Directors, and shall at that or subsequent meetings, accept or reject the applications.
MEETINGS:
Meetings of the committee shall be held on the second Tuesday of January, February, March, May,.June, August, September, and October. The annual meeting of the committee shall be held on the second Tuesday of March.
DIRECTORS:
The number of Directors shall be not less than five. At the first annual meeting a full Board of Directors shall be elected; of these Directors two shall be elected to hold office until the following annual meeting. At each annual meeting Directors shall be appointed to replace those retiring. A retiring Director shall be eligible for re-election.
There shall be at least six meetings of the Directors during the committee year; Special meetings may be called by the Chairman at any time. A majority of the Directors shall constitute a quorum.
The Directors shall meet immediately after the first annual meeting and immediately after each subsequent annual meeting and shall elect as officers from their own number a chairman, vice-chairman and secretary-treasurer. 163
It shall be the duty of the Chairman to preside at all meetings of the Audio Visual Committee and of its Directors. He shall sign all cheques,.on behalf of the Audio Visual Committee.
In the case of absence of the Chairman or his inability for any cause to act, the Vice Chairman shall discharge the duties of the Chairman; and in case the office of Chairman becomes vacant the Vice Chairman shall act as Chairman until the vacancy is filled at the next annual meeting.
The Secretary-Treasurer shall be the general manager of the Committee. He shall countersign all cheques on behalf of the Committee. He shall have the custody of the cash and shall record and be responsible for all minutes, reports etc. of the committee.
The Directors shall establish such sub-committees as necessary for the efficient carrying out of the committee's business. 164
APPENDIX C
Audio-Visual Coordinating Committee
Audio-Visual Coordinating Committee is an organization working with the National Film Board of Canada (Greater Vancouver
Area) to provide information on the development of film in the
Adult Education field and to present programs with depth. We will attempt to keep the public abreast of 'Canadiana' and to give each an opportunity to use and view films for their specific purpose.
Committee Representatives:
Mrs. C. Fleming, Pacific National Exhibition.
Mr. W. Begg, Documentary Showcase.
Dr. Bert Wales, Vancouver School Board.
Mr. A. Parry, Industry.
Mr. P. Skinner, Industry.
Mr. J. Ward, Mental Health.
Dr. W. Black, Citizenship.
Mr. T. Ainsworth, Museum.
Mr. J. Alexander, Documentary Showcase.
Mr. N. Henderson, Religious Visual Education.
Miss Belinda MacDonald, Community Arts Council.
Mr. J. Leonard, Business.
Mr. A. James, P.N.E., Honourary Member.
Mr. W. Orr, Advisor. 165
APPENDIX D
FAE Package Programs (Listed in alphabetical order)
Title: Africa Theme: Series of 3 films dealing with three African nations. A study of these 3 emerging Third World Nations.
Title: Aging in Today's World Theme: Series of 5 films dealing with elderly people, and their role in today's society.
Title: Alcohol and the Drugs Theme: Series of 4 films on drug addiction and alcoholism. Title: Theme: The Atomic Age 3 films dealing with the scientific advances in the field of atomic energy research and its application to the Canadian scene. Title: British Columbia Theme: Series of 6 travel films on B.C. Title: Theme: Canadian Arctic
Title: 4 films on the Canadian Arctic and its people. Theme: The Canadian History Collection Series of 7 films about Canadian history. The films Title: deaCanada'l wits h Nethw e FrontieFathersr of Confederation. Theme: Series of 5 films on the Yukon and Northwest Territories,
Title: Children Theme: Series of 4 films on the nature of children.
Title: The Citizen in Action Theme: Series of 7 films on citizenship in Canada. Title: Theme: The Citizen and the Community 6 films which examine the role of the citizen in society. Title: Commonwealth Affairs Theme; 4 films on four different Commonwealth countries.
Title: Comparisons: Contrasts in Human Behavior Theme: 5 films. Crossroads of the World 7 films which give a detailed study of the social and political scene in the Middle East and North Africa.
Distinguished Canadians 3 films which profile three great Canadians— Vincent Massey, Glenn Gould and Doctors Banting and Best.
The Earth and Mankind 6 films from NFB series of same name, which study the social,,cultural and economic position of man• kind.
The Face of Asia 3 films on the economic and social development of Southeast Asia.
The Family of Man 3 films on the nature of mankind.
Festival of Canadiana
Eight, award-winning Documentary Films.
Great Religions of the World 2 films analysing the five great religions in the world today. Group of Seven 4 films paying tribute to the famous Group of Seven artists.
The Indian 4 films on the Canadian Indian, his life and his culture.
Industrial Design
5 international films on industrial design.
The Inquiring Mind A series of 8 science-oriented films on subjects worth exploring. Intergroup Tensions Film-discussion series on the nature of racial prejudice.
Masters of Cinematic Art Series of 7 films available for persons or groups interested in the study of film as an art form. 167
Title: Moments in the Life of a Man Theme: 4 films dealing with 4 great men, their work and their way of life.
Title: New Nation in the West Indies Theme: 4 films on the emerging Commonwealth nation, The Federation of the West Indies.
Title: Our New Citizens Theme: 5 films under the general heading of citizenship and immigration.
Title: Parents, Children and Education, Part I, Part II Theme: A look at the life and behavior of children, teen• agers and parents.
Title: Racial Intolerance Theme: A study of the elements of intolerance and prejudice. Three related films.
Title: Science and Life Theme: A series of three films on the natural sciences.
Title: Searchlight on Delinquency Theme: Three films on juvenile delinquency.
Title: Understanding the Young Child Theme: Series of 8 films designed for parents or others who are involved with young children.
Title: The Victim is Man Theme: A variety of 5 films dealing broadly with the sub• ject of man as the victim of his own fate.
Title: The World of Business and Industry Theme: Series of 6 films profiling different careers and jobs in the business world. 168
APPENDIX E Please complete on each film used
Vancouver Public Library - Date: National Film Board Organization Film Evaluation Notes. No. adults present Students
Title of Film:
How did you use this film? For information? Teaching? Was it introduced? Was introduction adequate?
What happened after the film was shown? Did you plan for discussion following the film?
What aspects captured attention?
How can we help you further the film programming?
Suggestions for improving our film service:
Please complete, and help us develop an Evaluated Film Service to assist in better film use.
Form No. 16A 169
APPENDIX F
Film Evaluation Form
FESTIVAL OF CANADIANA NFB - ODEON PRODUCTION
Your comments on the program would be appreciated. Please rate the films you viewed and mail to the address on the reverse side.
Exc. Good Fair Poor
THE JOLIFOU INN ___ THE LAST ANGRY MAN
ROYAL RIVER FERRY TO HONG KONG
ROMANCE OF TRANSPORTATION ON THE BEACH
HIGH ARCTIC OPERATION PETTICOAT
TREASURE OF THE FOREST CARRY ON TEACHER
GOLD WHO WAS THAT LADY?
CORRAL SOLOMON AND SHEBA
QUEBEC WINTER CARNIVAL SUDDENLY LAST SUMMER
What do you think of this idea of presenting Award-winning Canadian documentary films with, each feature?
Name;
Address: 170 APPENDIX G
TITLE; ALL ABOUT CANADA
THEME: To help people broaden their knowledge about Canada and its people.
PURPOSE: To help people broaden their knowledge about Canada and its people.
PROMOTION: Extensive newspaper coverage for each programme and through Adult Education Flyers.
SPONSORS: Department of Adult Education, School District No. 34 (Abbotsford) National Film Board of Canada.
PROGRAMME PLANNERS: Mr. R.W. Dobie, Director of Adult Education School District No. 34 (Abbotsford) Mr. Henry Klassen, Canadian Social Studies teacher Mr. Jan Clemson, Representative, National Film Board of Canada, Abbotsford.
LOCATION: Abbotsford Senior Secondary School Auditorium
COST: $4.00 single $6.00 couple
DATES: January 11 to March 14 on Thursday evenings.
REACTIONS: Well received with an attendance of 9 0 to 12 0 for various programmes.
CONTENT: Programme No. 1 - THE LANDSCAPE - Physical Features
Films: CANADA: LANDFORM REGIONS LAND OF THE LONG DAY CANADIAN SHIELD: SAGUENAY REGION CATTLE RANCH
Programme No. 2 - THE CLIMATE
Films: CLIMATES OF NORTH AMERICA ABOVE THE HORIZON CHANGE IN THE WESTERN MOUNTAINS HENRY LARSEN Programme No. 3 - THE PEOPLE, Part I
Films: CANADIANS CIRCLE OF THE SUN SEA GOT IN YOUR BLOOD
Programme No. 4 - THE PEOPLE, Part II
Films: THE HUTTERITES ARCTIC OUTPOST WHEAT COUNTRY CELEBRATION
Programme No. 5 - CANADIANS AT WORK, Part I
Films: THREE FARMERS MINER HERRING HUNT PERPETUAL HARVEST
Programme No. 6 - CANADIANS AT WORK, Part II
Films: ROUGHNECKS THE EVER-CHANGING LOWLANDS MANOUANE RIVER LUMBERJACKS HIGH STEEL
Programme No. 7 - JACK IS NOT A DULL BOY
Films: 6 0 CYCLES SPRINGBOARD TO THE SUN RUNNER GONE CURLING SKI THE RINK
Programme No. 8 - CREATIVE CANADIANS
Films: WHY CANADA KLEE WYCK KENOJUAK SELECTIONS FROM THE CHRISTMAS ORATORIO
Programme No. 9 - THE HARDY ONES
Films: THE CHANGING WHEAT BELT THE DRYLANDERS
Programme No. 10 - THEN AND NOW Films: ROMANCE OF TRANSPORTATION IN CANADA LORD OF THE NORTH: ALEXANDER MACKENZIE HELICOPTER CANADA 172
APPENDIX H
TITLE: MCLAREN FESTIVAL
THEME; Canadian experimental films.
PURPOSE: To present to the people of a small community the impressive art of a world renowned Canadian film maker and to describe how the films were made by a film animation artist.
PROMOTION; Publicity in local papers, advertising in local papers. Poster contest for art students in the Elphinstone Secondary School, Gibsons (all posters were used to publicize the event). Display of some of the winning film award trophies in Royal Bank of Canada, Gibsons. Brochures placed in many locations of the Sechelt Peninsula.
SPONSORS: School District No. 46 (Sechelt) National Film Board of Canada Vancouver International Film Festival Royal Bank of Canada.
PROGRAMME PLANNERS; Peter C. Wilson, Secretary-Treasurer, School District No. 46 (Sechelt); Marguerite Roozeboom, free-lance film artist, Vancouver; Colin Neale, National Film Board of Canada; Jan Clemson, National Film Board of Canada.
LOCATION: Gibsons Landing Elementary School, Gibsons
COST; $1.50 for two nights of festival.
DATES: September 21 and 22, 1965 - 8:00 p.m.
RESPONSE: Excellent. An attendance of 90 was recorded for each night which was over the expectation of most involved in the programme. Audience enthusiasm was good, many expressed a keen interest in how the films were made. The winner of the best poster received 25 silver dol• lars on the first night from the Vancouver Internat• ional Film Festival president. The three honourable mentions received two tickets each to any Vancouver Film Festival presentations held shortly afterwards. The display of film awards (including Oscar) in the Royal Bank, Gibsons, received much attention. 173
CONTENT: Tuesday, September 21
Introductory Remarks: School Board & N.F.B. Representative. Introduced and presented by Marguerite Roozeboom.
Films: OPENING SPEECH FIDDLE DE DEE BOOGIE DOODLE BEGONE DULL CARE CHANTS POPULAIRES A PHANTASY RYTHMETIC A CHAIRY TALE CHRISTMAS CRACKER
Wednesday, September 22
Introductory Remarks: N.F.B. Representative. Introduced and presented by Marguerite Roozeboom.
Films: SHORT AND SUITE SERENAL TWO BAGATELLES NEIGHBOURS LINES HORIZONTAL LINES VERTICAL CANON CHRISTMAS CRACKER 174
APPENDIX
TITLE; THE FAMILY — WHERE ARE WE GOING
THEME: Trends, problems, developments, and complexities of the modern family.
PURPOSE: To encourage curious and interested parents to explore by way of film and discussion what makes family life work, why it breaks down and how family relationships can be preserved in our complex society.
PROMOTION: Publicity in local press, brochure mailed to numerous people, poster in regular adult education display, radio announcements, outline of course in adult edu• cation flyer.
SPONSORS: Department of Adult Education, School'District No. 3 3 (Chilliwack), National Film Board of Canada, Chilliwack Ministerial Association.
PROGRAMME PLANNERS: E.H. Woodroff, Director of Adult Education, School District No. 33 (Chilliwack) Jan Clemson, Representative, National Film Board, Abbotsford Rev. Edward L. Wilkin, Chilliwack Ministerial Association Rev. Lowell Welker, Chilliwack Ministerial Association Rev. R.W. Bray, Chilliwack Ministerial Association Rev. Ian Dingwall, Vancouver.
LOCATION: A.D. Rundle Jr, Secondary School, Chilliwack 8-10 p.m.
COST: $1.00 registration for whole' series.
DATES: Commenced October 4 and continued weekly until November 15, 1966.
RESPONSE: Good turnout with approximately 60 membership. The moderator formed discussion groups after the presentation of.each film and had the particular speaker for the evening supply directive questions to the group. Involvement in discussion was good and some mature ideas and reasoning was experienced. The success of this series has prompted a future programme on comparative religions by the same sponsors. 175
CONTENT: Programme No. 1. Film: WEDDING DAY
Moderator: Arthur C. Rutledge, Chilliwack
Speaker: Reverend Ian Dingwall, Vancouver
Programme No. 2. Film: COURTSHIP
Moderator: Arthur C. Rutledge, Chilliwack
Speaker: Reverend H. Warkentin
Programme No. 3. Film: FOUR FAMILIES
Moderator: Arthur C. Rutledge
Speaker: Roy Whitehead
Programme No. 4. Film: DAVID AND HAZEL
Moderator: Arthur C. Rutledge
Speakers: Rev. R.W. Bray, Chilliwack R.C. Stanbrooke, Dept. of Social Welfare Rev. R. Janzen, Provincial Probation Dept. Programme No. 5. Film: PHOEBE
Moderator: Arthur C. Rutledge
Speaker: Dr. Allan S. Arniel, Director, Upper
Fraser Valley Health Unit
Programme No. 6. Film: JOEY
Moderator: Arthur C. Rutledge Speakers: Bunty Branson, Dept. of Social Welfare David D. Hinds, Barrister & Solicitor, Chilliwack
Programme No. 7. Film: NOBODY WAVED GOODBYE
Moderator: Arthur C. Rutledge 176
APPENDIX J
TITLE: MASS MEDIA AND YOU
THEME: Communication Arts.
PURPOSE: To acquaint those interested in the communication arts with the personal and social consequences of film and television.
PROMOTION: Adult Education Fall flyer and separate promotion sheets publicizing the series.
SPONSORS: New Westminster Adult Education, National Film Board - Mr. Doug Eliuk.
PROGRAMME PLANNERS: Mr. Gordon Hambrooke Director of New Westminster Adult Education Dept.
LOCATION: Lester Pearson High School.
COST: $2.00 for 4 sessions.
DATES: September 26, October 3, 10, 17, 1967.
REACTIONS: Subsequent workshops and sessions incorporating many ideas used in this programme have proven very popular and indicates a rising interest from the general pub• lic in film study and elementary production methods. About 15 people attended each of the sessions. A large response was not anticipated or wanted since the subject is best explored in a seminar format. Those attending included teachers and students. Re• sponse was enthusiastic with many participants re• questing information regarding future workshops or courses on Communications. We goofed in anticipat• ing our audience - we later discovered that a con• siderable number of high school students were disap• pointed that they had not been informed about the course when it started.
CONTENT: Programme No. 1. THE MEDIUM IS THE MASSAGE
A thumb nail sketch of current media experiments and a discussion of Marshal McLuhan's ideas.
Programme No. 2. THE INVISIBLE AUDIENCE.
Speaker and discussion leader. Art Hives conducted a session on the personal consequences of communica• tions . 177
Programme No. 3. THE UNDERGROUND INTELLECTUAL.
Film Producer Peter Jones gave a comparative dis• cussion on some of his productions and on some recent underground films.
Programme No. 4. AN INVENTORY OF SUCCESS.
A summation of the many recent changes in media and communication arts and some of their effects on society. 178
APPENDIX K
TITLE: THE MEDIUM, THE MESSAGE AND YOU
THEME: Communications and Its Effect Upon Social Change
PURPOSE: To foster creativity. To better perceive and analyze the 20th century environment through the medium of film. To be aware of the "Big Con" of film and how its methods are used to manipulate.
PROMOTION: Paid advertising - Vancouver Sun and Vancouver Province. Radio spot announcements - all Van• couver radio stations.
SPONSORS: Central Y.M.C.A., Vancouver National Film Board.
PROGRAMME PLANNERS: Mr. Larry Goble, Adult Education Director, Central Y.M.C.A.; Mr. Peter W. Grant, Representative, National Film Board.
LOCATION: Central Y.M.C.A., Vancouver.
COST: $20.00 per person.
DATES: January 11, 18, 25, February 1, 8, 15, 22, 29, March 7, 14. Duration - approximately three hours per session.
REACTIONS: A class of six to eight people is preferable. Participants in evaluations appeared to be well pleased with course.
CONTENT: Programme No. 1 - NEED FOR SCREEN STUDY
A. Propaganda Awareness B. Perceiving of Environments C. Development of Creative Action and Thought
Programme No. 2 - HOW THE MEDIUM WORKS AND CREATES ENVIRONMENT
Films: HEART BEAT TELEMPATHY FLATLAND 179
Programme No. 3 - COMPONENTS OF FILM
A. Visual Communications B. Music as Communications
Programme No. 4 - MORE COMPONENTS OF FILM
A. Camera Angles B. Time and Space in Film (using selected clips from NFB material)
Programme No. 5 - EDITING
Screening and discussion of "three versions of GUNSMOKE"
Programme No. 6 - EDITING PRACTICE ) Using viewer editors and clips of MINER film Programme No. 7 - EDITING PRACTICE ) 5 min. to be edited down to 2 min. to Programme No. 8 - EDITING PRACTICE ) create a visual state• ment . Programme No. 9 - 8MM SHOOTING
Using rented cameras "to present a silent visual statement"
Programme No. 10 - PREVIEW OF 8MM MATERIAL AND ANALYSE IT AS A MEANS OF COMMUNICATIONS. 180
APPENDIX
TITLE: EXPLORATIONS IN SOUND
THEME: Changing values in music.
PURPOSE: To demonstrate and discuss changing attitudes to the Arts.
PROMOTION: A good many rabble-rousing techniques were used to encourage public participants. Flyers, radio an• nouncements and interviews, T.V. announcements, - articles in the local papers, plus a full page paid ad paid for by locally interested merchants.
SPONSORS: Dept. of Adult Education, School District No. 23 (Kelowna) and National Film Board of Canada.
PROGRAMME S. Gowland, Director of Adult Education, School PLANNERS: District No. 23 (Kelowna) Doug Eliuk, Representative, National Film Board LOCATION: Kelowna Senior Secondary School. COST: Silver collection. DATES: January 12, 19, 26, February 2, 9, 1966. RESPONSE: Open line radio programmes gave people a chance to air their reactions which ranged from enthusiasm to outright hostility. Reviews and letters to the editor plus many phone calls.1 indicated that the purpose of the programmes - to involve and make people react either pro or con to contemp• orary art forms - was achieved.
CONTENT: Programme No. 1: IS THIS MUSIC? Variety of new sounds interpreted through live performance, films and speaker.
Panel: eight musicians interpreting a painting with conventional instruments.
Films: Norman McLaren's DOTS, LOOPS & PEN POINT PERCUSSION (shown on 5 screens simultan• eously) synthetic sound.
Speaker: C. Hultberg, Professor, Dept. of Music, U.B.C. 181
Programme No. 2; BACK TO BACH - J.S. Bach in controversy or Baroque in the Twentieth century.
Recordings: Bach - (Gould, Swingle Singers, Brubeck, Simone). Discussion.
Film: GLENN GOULD: OFF THE RECORD
Panel: Al Jensen, Moderator Mrs. Silvester, Penticton Mrs. J. Pritchard, Vernon Peter Bulman, Vernon Judy Johnson, Kelowna
Programme No. 3: JAZZ AND POP - Pop music as an influence on contemporary values.
Films: TORONTO JAZZ (spirit of improvisation) LONELY BOY- (Paul Anka, the Star Idol)
Panel: Al Jensen, Moderator Louis Monroe, Vernon Bob Rebagliati, Kelowna Jill Pittendrigh, Kelowna Rod Burns, Kelowna " Maurleen McCarthy, Rutland
Programme No. 4: THE ENDURING TRADITION - Comparison in great vocal music.
Films: TOSCANANI (Jan Pearce, soloist) FESTIVAL IN PUERTO RICO (Maureen Forrester, soloist, first performance of lost Scarlatti manuscript in over two hundred years at Pablo Casals Festival).
Panel: Al Jensen, Moderator Miss H.M. Duke,. Kelowna Mrs. L. McAllister, Vernon Wilma Hartley, Kelowna Lloyd Burritt, Rutland
Programme No. 5: THE MODERN TRADITION - Revealing Twentieth Century Idoms' (established) using Stravinsky's styles for chronological development. Live performance by musicians on the panel.
Speaker: Lloyd Burritt (Recordings on tape). Panel: Al Jensen, Moderator Wilma Dohier, Kelowna Duane Dates, Penticton Jean Bulman, Vernon Peter Lofts, Kelowna 182
APPENDIX M
CHALLENGE FOR CHANGE: SCHOOL DISTRICT 61
Schedule of Events, Names of Resource Personnel & Equipment Requirements for Participants.
June 15: Organizational Meeting - Adult Institute: Room 310 - 8:00 p.m.
This meeting will outline philosophy of program and provide the opportunity for participants to meet informally with film makers who will later act as liaison & technical advisors to each film making unit. It is hoped that participants can form their group or unit and arrange for a film maker to work with them. Discussions can be carried out once a group is formed about the film subject & what kind of equipment the group might wish to use for the project.
June 17: National Film Board Offices: 811 Wharf St. - 8:00 p.m.
Session on legal' aspects as they pertain to the project. How far can a film unit go before legal action might be raised? Can film be shot in hospitals, welfare offices? What consti• tutes a public place? Libel? Slander?
Dr. J.J. Gow, Barrister.
June 20: National Film Board Offices - 9:30 a.m.
Session with Walter Donald and C-FAX staff on audio equipment, operation and interview techniques. Participants please bring portable tape recorders and tapes.
Noon: Lunch - on your own.
1:15 p.m.: Film and Camera Session: Karl Spreitz - Channel 6 & 8 CTV Peter Jones - NFB Vancouver Bob Metcalf - E.A. Morris
Equipment familiarization, light meters, creative camera work & field trip. Please note: each unit of 4 will use the camera they have chosen under the direction of the film maker on the field trip. Film will be provided for this purpose. Rushes can be screened after processing & commented upon by the group & their film maker. Please bring: 1 camera per group 1 light meter lots of questions tripod - optional
June 24: N.F.B., 811 Wharf St. - 8:00 p.m.
Session on ethics & film makers' responsibility: Pat Ratchford - Thomas More' Centre Len Lythgoe - First United Church
FILM MAKERS: Karl Spreitz, Tony Hubner, Murrough O'Brien, Wilf Hatch, Ron Nordli, David Brougham, Ron Bennett, R.A. Marquis. 184
APPENDIX N
National Film Board 811 Wharf Street
EVALUATION: CHALLENGE FOR CHANGE PROGRAM - SUMMER 1970
1. Reasons for participating in this program?
2. How would you rate this program? Generally: bad unfavourable favourable excellent Please explain ,
3. In your view, what were the strengths of the program?
the weaknesses?
4. How would you rate your own and your group's participation/ accomplishment in the program?
5. Would you be interested in participationg in future programs of this type? 185
What changes would you recommend in future programs? b) Philosophy
c) Organization of Groups
d) Location of Physical Facilities (editing and screening room
e) technical training
f) Other changes
g) Additional comments?