DOCTORAL THESIS Rethinking The
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Intra-Actions with Educational Media at the National Film Board of Canada, 1960-2016
Making Waves: Intra-actions with Educational Media at the National Film Board of Canada, 1960-2016 CAROLYN STEELE A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PRODRAM IN COMMUNICATION AND CULTURE APRIL 2017 YORK UNIVERSITY TORONTO, ONTARIO © Carolyn Steele 2017 ABSTRACT This dissertation aims to excavate the narrative of educational programming at the National Film Board of Canada (NFB) from 1960 to 2016. The producers and creative staff of Studio G – the epicentre of educational programming at the NFB for over thirty years – produced extraordinarily diverse and innovative multimedia for the classroom. ‘Multimedia’ is here understood as any media form that was not film, including filmstrips, slides, overhead projecturals, laserdiscs and CDs. To date, there have been no attempts to document the history of educational programming at the NFB generally, nor to situate the history of Studio G within that tradition. Over the course of five years, I have interviewed thirty-four NFB technicians, administrators, producers and directors in the service of creating a unique collective narrative tracing the development of educational media and programming at the NFB over the past fifty- six years and began to piece together an archive of work that has largely been forgotten. Throughout this dissertation, I argue that the forms of media engagement pioneered by Studio G and its descendants fostered a desire for, and eventually an expectation for specific media affordances, namely the ability to sequence or navigate media content, to pace one’s progress through media, to access media on demand and to modify media content. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
City Villages: More Homes, Better Communities, IPPR
CITY VILLAGES MORE HOMES, BETTER COMMUNITIES March 2015 © IPPR 2015 Edited by Andrew Adonis and Bill Davies Institute for Public Policy Research ABOUT IPPR IPPR, the Institute for Public Policy Research, is the UK’s leading progressive thinktank. We are an independent charitable organisation with more than 40 staff members, paid interns and visiting fellows. Our main office is in London, with IPPR North, IPPR’s dedicated thinktank for the North of England, operating out of offices in Newcastle and Manchester. The purpose of our work is to conduct and publish the results of research into and promote public education in the economic, social and political sciences, and in science and technology, including the effect of moral, social, political and scientific factors on public policy and on the living standards of all sections of the community. IPPR 4th Floor 14 Buckingham Street London WC2N 6DF T: +44 (0)20 7470 6100 E: [email protected] www.ippr.org Registered charity no. 800065 This book was first published in March 2015. © 2015 The contents and opinions expressed in this collection are those of the authors only. CITY VILLAGES More homes, better communities Edited by Andrew Adonis and Bill Davies March 2015 ABOUT THE EDITORS Andrew Adonis is chair of trustees of IPPR and a former Labour cabinet minister. Bill Davies is a research fellow at IPPR North. ACKNOWLEDGMENTS The editors would like to thank Peabody for generously supporting the project, with particular thanks to Stephen Howlett, who is also a contributor. The editors would also like to thank the Oak Foundation for their generous and long-standing support for IPPR’s programme of housing work. -
Silence Studies in the Cinema and the Case of Abbas Kiarostami
SILENCE STUDIES IN THE CINEMA AND THE CASE OF ABBAS KIAROSTAMI by Babak Tabarraee M.A., Tehran University of Art, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2013 © Babak Tabarraee, 2013 Abstract This thesis is an attempt to formulate a systematic framework for ‘silence studies’ in the cinema by defining silence in pragmatic terms and suggesting different forms of filmic silence. As an illustration of my model, I examine the variety of silences in the works of Abbas Kiarostami, a notable figure of Art Cinema. The analytical approach suggested here can further be applied to the works of many other Art Cinema auteurs, and, by extension, to other cinematic modes as well, for a better understanding of the functions, implications, and consequences of various forms of silence in the cinema. Chapter 1 provides a working and pragmatic description of silence, applicable to both film and other communicative forms of art. Chapter 2 represents a historical study of some of the major writings about silence in the cinema. Chapter 3 introduces, exemplifies, and analyzes the acoustic silences in the films of Kiarostami, including the five categories of complete , partial (uncovered; covered with noise, music, or perspective), character/dialogue , language , and music silences. Chapter 4 introduces the concept of meta-silence and its trans-sensorial perceptions in communication and in arts, and then defines the four categories of the visual , character/image , narrative , and political silences in Kiarostami’s oeuvre. -
Abbas Kiarostami and Film-Philosophy, by Mathew Abbott
Abbas Kiarostami and Film-Philosophy, by Mathew Abbott. Edinburgh University Press, 2016, 176 pages. Kelly Houck Mathew Abbott’s book, beautifully adorned with a now iconic still from The Wind Will Carry Us (Bād mā rā khāhad bord, 1999), explores the late Iranian filmmaker Abbas Kiarostami’s later films through the framework of film-as-philosophy. The book offers an analysis of cinema as a medium of serious philosophical production through a chronological case study of Kiarostami’s films, beginning in the introduction with Taste of Cherry (Ta’m-e gīlās, 1997). Abbott draws on the work of philosophers ranging from Ludwig Wittgenstein to Noël Carroll, as well as Middle Eastern scholars such as Hamid Dabashi, to investigate the real theoretical work Kiarostami’s films accomplish. Throughout the text he weaves two major threads of inquiry: what happens to reality when we screen it, and how film creates problems of knowledge. Abbott argues that film does not merely illustrate preexisting philosophical ideas, instead, cinema carries out a specific kind of thinking. The book’s primary concern lies in the philosophical problems, questions and abstractions that Kiarostami’s films formulate, complicate, and negotiate. The central problem Abbott explores is Kiarostami’s characteristic technique of interrupting the viewer’s relationship with the film, and how these moments of interruption function. The author investigates how the filmmaker harnesses technology and directorial techniques to confuse, but ultimately reinforce, the relationship of the spectator to the screened image. Abbott argues that these moments, where the filmmaker abruptly disorients the viewer and upsets their claims to knowledge, rather than separate the viewer from the film, actually pull the viewer in further. -
May 6–15, 2011 Festival Guide Vancouver Canada
DOCUMENTARY FILM FESTIVAL MAY 6–15, 2011 FESTIVAL GUIDE VANCOUVER CANADA www.doxafestival.ca facebook.com/DOXAfestival @doxafestival PRESENTING PARTNER ORDER TICKETS TODAY [PAGE 5] GET SERIOUSLY CREATIVE Considering a career in Art, Design or Media? At Emily Carr, our degree programs (BFA, BDes, MAA) merge critical theory with studio practice and link you to industry. You’ll gain the knowledge, tools and hands-on experience you need for a dynamic career in the creative sector. Already have a degree, looking to develop your skills or just want to experiment? Join us this summer for short courses and workshops for the public in visual art, design, media and professional development. Between May and August, Continuing Studies will off er over 180 skills-based courses, inspiring exhibits and special events for artists and designers at all levels. Registration opens March 31. SUMMER DESIGN INSTITUTE | June 18-25 SUMMER INSTITUTE FOR TEENS | July 4-29 Table of Contents Tickets and General Festival Info . 5 Special Programs . .15 The Documentary Media Society . 7 Festival Schedule . .42 Acknowledgements . 8 Don’t just stand there — get on the bus! Greetings from our Funders . .10 Essay by John Vaillant . 68. Welcome from DOXA . 11 NO! A Film of Sexual Politics — and Art Essay by Robin Morgan . 78 Awards . 13 Youth Programs . 14 SCREENINGS OPEning NigHT: Louder Than a Bomb . .17 Maria and I . 63. Closing NigHT: Cave of Forgotten Dreams . .21 The Market . .59 A Good Man . 33. My Perestroika . 73 Ahead of Time . 65. The National Parks Project . 31 Amnesty! When They Are All Free . -
Territorial Stigmatisation and Poor Housing at a London `Sink Estate'
Social Inclusion (ISSN: 2183–2803) 2020, Volume 8, Issue 1, Pages 20–33 DOI: 10.17645/si.v8i1.2395 Article Territorial Stigmatisation and Poor Housing at a London ‘Sink Estate’ Paul Watt Department of Geography, Birkbeck, University of London, London, WC1E 7HX, UK; E-Mail: [email protected] Submitted: 4 August 2019 | Accepted: 9 December 2019 | Published: 27 February 2020 Abstract This article offers a critical assessment of Loic Wacquant’s influential advanced marginality framework with reference to research undertaken on a London public/social housing estate. Following Wacquant, it has become the orthodoxy that one of the major vectors of advanced marginality is territorial stigmatisation and that this particularly affects social housing es- tates, for example via mass media deployment of the ‘sink estate’ label in the UK. This article is based upon a multi-method case study of the Aylesbury estate in south London—an archetypal stigmatised ‘sink estate.’ The article brings together three aspects of residents’ experiences of the Aylesbury estate: territorial stigmatisation and dissolution of place, both of which Wacquant focuses on, and housing conditions which he neglects. The article acknowledges the deprivation and various social problems the Aylesbury residents have faced. It argues, however, that rather than internalising the extensive and intensive media-fuelled territorial stigmatisation of their ‘notorious’ estate, as Wacquant’s analysis implies, residents have largely disregarded, rejected, or actively resisted the notion that they are living in an ‘estate from hell,’ while their sense of place belonging has not dissolved. By contrast, poor housing—in the form of heating breakdowns, leaks, infes- tation, inadequate repairs and maintenance—caused major distress and frustration and was a more important facet of their everyday lives than territorial stigmatisation. -
View Brochure
WELCOME WELCOME TO ELEPHANT PARK Lendlease welcomes you to Elephant Park and a bold new vision for living in the heart of London. Elephant Park is a new residential development designed around a leafy landscape that boasts a brand new park. This is a great opportunity to enjoy the convenience of Zone 1 London as well as a lifestyle that brings you closer to nature and your community in a vibrant city neighbourhood. West Grove is the exciting second chapter of Elephant Park – at its point stands The Highwood – the tallest building currently planned for the neighbourhood. The new homes and facilities are designed from the inside out to enable you to access everything you need to live, work, rest and play in comfort and in style. Tranquil courtyards, vibrant shopping streets and a flexible, dynamic club space create a place with the community at its heart, where there are ample opportunities for social interaction and relaxation. Elephant Park is a world-leading development and one of only 17 projects worldwide that are part of the Climate Positive Development Programme, a ground-breaking global initiative to shape the future of sustainable urban development. Through our involvement with the scheme, we are tackling the most challenging issues London is facing with clever green design, cutting-edge technology and unusual partnerships with like-minded organisations and experts. Elephant & Castle is an area rich in history with an established local community and a unique character. We aim to build on these strengths to create a place that not only enhances the local area but will also set the standard for future developments around the world. -
NFB TEAM Producer Mixing Hugues Sweeney Serge Boivin Geoffrey Mitchell Administrator Jean-Paul Vialard Manon Provencher Luc Léger
nfb.ca/mytribe An interActive documentAry thAt Allows us to experience the worlds of 8 music fAns And see how the internet trAnsforms their interpersonAl relAtionships And helps forge their identity. 8 chArActers, 8 music styles, 8 views of the web And sociAl networks. PRESS KIT An interActive documentAry thAt Allows us to experience the worlds of 8 music fAns And see how the internet trAnsforms their interpersonAl relAtionships And helps forge their identity. 8 chArActers, 8 music styles, 8 views of the web And sociAl networks. nfb.ca/mytribe from reallife? is it a powerful conversely, engine for the distinctions construction or, of new communities? Can the virtual even be dissociated apprehend the world’s diversity if they are systematically searching for what is But “the can same?” Does the the reassurance Internet offered erase cultural by this virtual social life result in isolation, even to the exclusion of reality? “safe virtual home”,aspaceinwhichtoopenupandrevealone’strueself. How do users a becomes thus Web The validated. been has identity their that proof opinions—all and approval, of signs comments, receive to for their “fellows,” they choose a tribe to which to belong. In return for expressing themselves, sharing and posting, they expect Online social networks enable people to images share and music, emotions. information, Looking vehicle for forging an identity. each To his own “tribe”: Goth, emo, reggae, rap, vampire … Music is often more than a simple cultural product; it acts as a born between1982and1996.Thispermanentconnectionnecessarilychangeshowtheyseetheworld. users “connected”)—Web (for “C” Generation is This online. week a hours twenty than more spending are Quebecers young went, goes virtual, the definition remains unchanged but the practice revolutionizesTwenty everyday years after life. -
Boundary Commission for Wales
BOUNDARY COMMISSION FOR ENGLAND PROCEEDINGS AT THE 2018 REVIEW OF PARLIAMENTARY CONSTITUENCIES IN ENGLAND HELD AT THE MAIN GUILDHALL, HIGH STREET, KINGSTON UPON THAMES ON FRIDAY 28 OCTOBER 2016 DAY TWO Before: Mr Howard Simmons, The Lead Assistant Commissioner ______________________________ Transcribed from audio by W B Gurney & Sons LLP 83 Victoria Street, London SW1H 0HW Telephone Number: 0203 585 4721/22 ______________________________ Time noted: 9.12 am THE LEAD ASSISTANT COMMISSIONER: Good morning, ladies and gentlemen. Welcome to the second day of the hearing here at Kingston. I am Howard Simmons, the Lead Assistant Commissioner responsible for chairing this session, and my colleague Tim Bowden is here from the Boundary Commission, who may want to say something about the administrative arrangements. MR BOWDEN: Thank you very much indeed, Howard, and good morning. We are scheduled to run until 5 pm today. Obviously, Howard can vary that at his discretion. We have quite a number of speakers. I think so far we have about 29 or 30 pre-booked and the first one is due to start in a couple of moments. Just a few housekeeping rules for the day. We are not expecting any fire alarms. If one does go off, it is out of this door and down the stairs and the meeting point is outside the front of the building; toilets out of the back door, please; ladies to the right, gents down the corridor to the left. Can you keep mobile phones on silent or switched off. If you want to take a call please go out of the back of the room. -
Pdf-Collections-.Pdf
1 Directors p.3 Thematic Collections p.21 Charles Chaplin • Abbas Kiarostami p.4/5 Highlights from Lobster Films p.22 François Truffaut • David Lynch p.6/7 The RKO Collection p.23 Robert Bresson • Krzysztof Kieslowski p.8/9 The Kennedy Films of Robert Drew p.24 D.W. Griffith • Sergei Eisenstein p.10/11 Yiddish Collection p.25 Olivier Assayas • Alain Resnais p.12/13 Themes p.26 Jia Zhangke • Gus Van Sant p.14/15 — Michael Haneke • Xavier Dolan p.16/17 Buster Keaton • Claude Chabrol p.18/19 Actors p.31 Directors CHARLES CHAPLIN THE COMPLETE COLLECTION AVAILABLE IN 2K “A sort of Adam, from whom we are all descended...there were two aspects of — his personality: the vagabond, but also the solitary aristocrat, the prophet, the The Kid • Modern Times • A King in New York • City Lights • The Circus priest and the poet” The Gold Rush • Monsieur Verdoux • The Great Dictator • Limelight FEDERICO FELLINI A Woman of Paris • The Chaplin Revue — Also available: short films from the First National and Keystone collections (in 2k and HD respectively) • Documentaries Charles Chaplin: the Legend of a Century (90’ & 2 x 45’) • Chaplin Today series (10 x 26’) • Charlie Chaplin’s ABC (34’) 4 ABBas KIAROSTAMI NEWLY RESTORED In 2K OR 4K “Kiarostami represents the highest level of artistry in the cinema” — MARTIN SCORSESE Like Someone in Love (in 2k) • Certified Copy (in 2k) • Taste of Cherry (soon in 4k) Shirin (in 2k) • The Wind Will Carry Us (soon in 4k) • Through the Olive Trees (soon in 4k) Ten & 10 on Ten (soon in 4k) • Five (soon in 2k) • ABC Africa (soon -
2012–2013 NFB Annual Report
Annual Report T R L REPO A NNU 20 1 2 A 201 3 TABLE 03 Governance OF CONTENTS 04 Management 01 Message from 05 Summary of the NFB Activities 02 Awards Received 06 Financial Statements Annex I NFB Across Canada Annex II Productions Annex III Independent Film Projects Supported by ACIC and FAP Photos from French Program productions are featured in the French-language version of this annual report at http://onf-nfb.gc.ca/rapports-annuels. © 2013 National Film Board of Canada ©Published 2013 National by: Film Board of Canada Corporate Communications PublishedP.O. Box 6100,by: Station Centre-ville CorporateMontreal, CommunicationsQuebec H3C 3H5 P.O. Box 6100, Station Centre-ville Montreal,Phone:© 2012 514-283-2469 NationalQuebec H3CFilm Board3H5 of Canada Fax: 514-496-4372 Phone:Internet:Published 514-283-2469 onf-nfb.gc.ca by: Fax:Corporate 514-496-4372 Communications Internet:ISBN:P.O. Box 0-7722-1272-4 onf-nfb.gc.ca 6100, Station Centre-ville Montreal, Quebec H3C 3H5 4th quarter 2013 ISBN: 0-7722-1272-4 4thPhone: quarter 514-283-2469 2013 GraphicFax: 514-496-4372 design: Oblik Communication-design GraphicInternet: design: ONF-NFB.gc.ca Oblik Communication-design ISBN: 0-7722-1271-6 4th quarter 2012 Cover: Stories We Tell, Sarah Polley Graphic design: Folio et Garetti Cover: Stories We Tell, Sarah Polley Cover: Soldier Brother Printed in Canada/100% recycled paper Printed in Canada/100% recycled paper Printed in Canada/100% recycled paper 2012–2013 NFB Annual Report 2012–2013 93 Independent film projects IN NUMBERS supported by the NFB (FAP and ACIC) 76 Original NFB films and 135 co-productions Awards 8 491 New productions on Interactive websites NFB.ca/ONF.ca 83 33,721 Digital documents supporting DVD units (and other products) interactive works sold in Canada * 7,957 2 Public installations Public and private screenings at the NFB mediatheques (Montreal and Toronto) and other community screenings 3 Applications for tablets 6,126 Television broadcasts in Canada * The NFB mediatheques were closed on September 1, 2012, and the public screening program was expanded.