70S Feature Films

Total Page:16

File Type:pdf, Size:1020Kb

70S Feature Films CINEMA CAN A D A • 1972 ~ 1988 Production, distribution, information and promotion, supported by government policy would surely develop into a viable community. It was a time when Kirwan Cox and Sandra A glance at Gathercole could write position papers to be signed by John F. Basset and submitted to the government ofOntario, proposing a strategy for Cinema Canada's '70s feature films . "We accept without question that feature film is an integral part of Canada 's cultural identity, " they wrote boldly, outlining Arigged system needs of the Canadian producer than any of the the quotas and levies necessary to create a viable Foreign films long ago assumed squatter's rights others. industry. to the captive Canadian audience. It is a control The editors, July-Aug. 1972 There was, to be sure, another film which they took by default and have come to community, centered around the Association of take for granted. As long as Canada had no film Private help Motion Picture Producers and Laboratories of industry of her own, the situation was tenable. Harold Greenberg, president of Bellevue-Pathe, Canada (AMPPLC). Here, the bread and butter But as more Canadian films are produced and recently released the list of Canadian features producers of commercials, sponsored and arrive to be marketed, the problems of this modus which received financing through the educational films gathered with service operandi become more evident and more multi-million dollar fund he set up earlier this companies - the labs, the rental and optical serious .. This places an impossible handicap year. " The Neptune Factor, The Merry Wives of companies - to chart their own course in the on the economic and artistic growth of the Tobias Rouke, Quelques arpents de neige, Mother's business of filmmaking . industry. It also reduces the Canadian Day, Simard, Slipstream, Eliza's Horoscope ... No one much argued about Canadian culture filmmaker to the soul-destroying status of Oct. -Nov. 1972 then; it was a simple given of the situation. beggar in his own home, and prevents him from The Canadian Film Development Corpora­ earning a living in a popular cinema which is Foreign experience tion, founded a fe w years before the magazine, generating over 100 million dollars a year. Don't forget 10 years ago in this country ... was structured with a consultative committee on Sandra Gathercole, May-June 1972 nobody knew what making feature films was all which sat representatives of the associations - about .... I was able, fortunately, to be with producers, distributors, unions, the CCFM - At last Genevieve (Bujold) and watch her make films and together, they hammered out an approach At the start Today it is my pleasure to meet with you and with Resnais and with Louis Malle and with de to allow Canadians to express themselves Agroup of films produced in Quebec has drawn outline the general terms of our film policy - a Broca. Before I made Isabel at least I had an through film. The goal of it all was to create a praise from the Nw York Times, which says the policy which has taken over two years to inkling of what filmmaking was ... Canadian film industry. filmmakers deserve wider recognition. develop. I hope that we have not laboured and Paul Almond, Oct. -Nov. 1972 Reviewer Roger Greenspun uses such phrases brought forth a mouse, and that the long period Meanwhile, 150 issues later as "fresh and unusual" and "evocative and ofreflection and consultation has not been spent skiillully beautiful" in describing the films in vain. The task at hand is now to come to terms with shown in New York at the Museum of Modem Gerard Pelletier, Secretary of State, July-Aug. cinema what has become of those initial efforts to build Art ... "Several of the films, expressing the 1972 an industry. concerns of French-Canadian nationalism, offer canada From the outset, the filmmakers knew they a revolutionary message," he adds. But the The trigger needed the government's help to create a space message is "generally a pragmatic plea for ... I was thinking of quitting writing and I wasn't in North America for a Canadian vision to freedom or for a chance at a better life. " able to do films. But I saw one day Le Chat dans Ie flourish. There was never any doubt that the March 1972 sac by Gilles Groulx and it was wonderful. All talent, energy and will to produce was there. my complexes disappeared. There was a film There was also a feeling of connectedness. Behind the camera that caught me from beginnning to the end and The early issues of Cinema Canada are filled with 1'd like to work with bigger dollies, 1'd like to I had no more problems. There are very few news from Quebec and the west coast, and work with cranes. You know, stuff where you films like that in your life, that give you energy features ranged over all aspects of filmmaking. can get some of the shots that you now can't to go on five or six years more, working. Debates were popular, and presidents of theatre because the budget won't allow them. 1'd love to Jean Pierre Lefebvre, July-Aug. 1972 chains met with members of production co-ops have helicopter shots. to debate Great Issues. Richard Leiterman, March 1972 Aclosed door IA TSE Local644-C raised some eyebrows in the Some simple verities The aspirants film community last month when they rejected The Canadian Film Development Corp. has cameraman Richard Leiterman's application for The great debate It has always been true that a healthy, handed out the first $10,000 of the proposed membership. My personal opinion, in case somebody is scared independent Canadian industry must have $50,000 in grants to assist aspiring feature July-Aug. 1972 to ask the question, and not representing the production, distribution and exhibition filmmakers in English-speaking Canada. Judith opinion of the industry or my corporation, in components. There are different levels of Steed, Gordon Nault and Peter Duffy each The publishing scene that I favour quotas! production, and they require different levels of received $2,000, David Troster $1,750, Erwin On the question of Cinema CmUlda being only one George Destounis, Famous Players, Feb. -March distribution and exhibition, but all must be Wiens $1,250 and Michael Asti-Rose $1,000. Sid of the trade magazines available to AMPPLC 1973 present if any are to flourish . Adilman, Morey Hamet, Don Shebib, Bob members; sure, if you count the U. S., but if you Huber and Lee Gordon formed the jury. It has also always been true that people in look at the other Canadian film publications _ Aprovince-by-province breakdown May-June 1972 business have to make money if their businesses Take One, That's Show Business, Marketing, B. C. saw 105 Chinese films last year, but only 12 are to sustain themselves. If there is no Canadian Film Digest and Impact - you must Canadian films; Albertans, 57 from Italy, seven anticipation of profit-making, then enterprises realize that Cinema Canada is better suited to the made in Canada; in Saskatchewan 59 British can opt for nonprofit status, a legal definition PAGE 6 CINEMA CANADA MARCH 19•• CINEMA CAN • A D A 1972 - 1988 pictures were shown, against 6from horne ; New had been arranged . So, except for the reviews The subject of the film is simply one of those spelling out the limits of a given undertaking. Brunswick saw 202 American movies, 6 and a few other brief mentions, the film was antiseptically repulsive, commonplace water Athird truth is that the political entity called Canadian ones ; Manitobans, 19 from Germany, received in silence. ( Robert Fulford, Aug. -Sept. fountains, stuck on an equally antiseptic, "Canada" is a vulnerable one. The part of the 9 from here ; Nova Scotians, 12 from Sweden, 8 1973 concrete-block wall, in the sterile hallway of one country which stretches three thousand miles from Canada ; Ontario 16 from France, and a of those architectural disasters we call schools . from east to west and stands two hundred miles pitiful 11 from this country ; while Quebec had That's the subject. But the content of the film is high from the U, S. border north is particularly the opportunity to see 69 from Greece but only so much more! troubled by incursions from the south . 26 from its own soil. Rick Hancox, June-July 1974 The federal government has long known that April-May 1973. the articulation of Canadian culture and its reinforcement among its citizens is the only sure The lobby defense against American aggressions, both At the past two meetings of the Council of cinema political and cultural. It has known that once Canadian Filmmakers, there was quite a bit of Canadians feel like Americans and can see no excitement, and many in the industry feel that canada difference in the two countries, then union must this newly formed group may be English-Cana­ follow for the economic promise inherent in the da's last hope in unifying filmworkers on all size of the United States would be the levels of cinema into a cohesive and powerful determinant. This union may not be a formal, voice. (The meetings were chaired by Peter total integration, but as the free trade Pearson and Richard Leiterman. ) discussions amply show, many Canadians are June-July 1973 already seduced by the promise of the "free" market and don't consider important the From one who knew cultural price we will surely pay. With a film quota, the exhibitor would have to The Canadian Broadcasting Corporation and show the films.
Recommended publications
  • Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
    Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides,
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr.
    [Show full text]
  • A Feminist Representation in Pakistani Cinema: a Case Study of “Bol” the Movie
    New Media and Mass Communication www.iiste.org ISSN 2224-3267 (Paper) ISSN 2224-3275 (Online) Vol.43, 2015 A Feminist Representation in Pakistani Cinema: A Case Study of “Bol” The Movie Aqsa Iram Shahzadi Assistant Professor Department of Communication Studies, Bahauddin Zakariya University Multan Abstract The Study analyses the Pakistani movie ‘Bol’ particularly from the feminist perspective. Qualitative discourse analysis is the method used by the researcher. To analyze feminist ideology five categories (realization of self, concept of patriarchy, challenging patriarchal ideologies, male chauvinism and reproductive rights) are constructed. Findings show that the movie is based on liberal feminist ideologies. The analysis also finds the fact that creation of ideologies and distribution of power is done through language. Study explores the ways through which ideologies are constructed and manipulated through media. Keywords: Liberal Feminism, Discourse Analysis, Movie, Bol, Introduction The role of the media, in the modern world cannot be underestimated and media is considered as a tool for the production and dissemination of the ideology that serves the interests of the group/class that exercises economic and political control over it. Media occupies a strategic place in the game of power relation with in a social formation. Film is very important media, which can bring change in society. This is best source of entertainment yet is also used for information, education and as well as a tool of propaganda to make opinion or to converse the world opinion. Every movie in the world is made on some ideology shown as reality (Buckland 2011). Ideology means ideas that form the basis of an economic or political theory or that are held by a particular group of people or person (Oxford Dictionary).
    [Show full text]
  • COURSE TITLE: Canadian Cinema OFFICE: LOCAL: SECTION NO(S): CREDITS: 3 E-MAIL: @Capilanou.Ca OFFICE HOURS: COURSE WEBSITE
    COURSE OUTLINE TERM: Fall 2018 COURSE NO: MOPA 312 INSTRUCTOR: COURSE TITLE: Canadian Cinema OFFICE: LOCAL: SECTION NO(S): CREDITS: 3 E-MAIL: @capilanou.ca OFFICE HOURS: COURSE WEBSITE: Capilano University acknowledges with respect the Lil’wat, Musqueam, Squamish, Sechelt, and Tsleil- Waututh people on whose territories our campuses are located. COURSE PREREQUISITES 45 credits of 100-level or higher coursework. COURSE FORMAT Three hours of class time, plus an additional hour delivered through on-line or other activities for a 15-week semester, which includes two weeks for final exams. CALENDAR DESCRIPTION This course is designed to explore the historical significance of the Canadian film industry and its relevance to contemporary film production and the global film community. COURSE NOTE MOPA 312 is an approved Culture and Creative Expression Course for Cap Core requirements. REQUIRED TEXTS AND/OR RESOURCES George Melnyk. One Hundred Years of Canadian Cinema. University of Toronto Press. 2004. RECOMMENDED READING Film in Canada. Jim Leach. Second Edition. Oxford University Press. 2011. The Cinema of Canada. Jerry White (editor). Wallflower Press. New York. 2006. Great Canadian Film Directors. George Melynk (editor). University of Alberta Press. Edmonton, AB. 2007. The Gendered Screen: Canadian Women Filmmakers. Brenda Austin-Smith and George Melnyk (editors). Wilfrid Laurier University Press. Waterloo, ON. 2010. Weird Sex & Snowshoes and Other Canadian Film Phenomena. Katherine Monk. Raincoast Books. Vancouver. 2001. Film and the City: The Urban Imaginary in Canadian Cinema. George Melnyk. Au Press. Edmonton. 2014. Who’s who in Canadian Film and Television 2000: Qui Est Qui Au Cinema Et a la Television Au Canada Edition 2000.
    [Show full text]
  • Film & Media Studies
    The University Press Group Film Studies & Media Studies University of California Press Columbia University Press Princeton University Press Complete Catalogue Autumn 2021 Catalogue Contents Page University of California Press New Titles ............................................ 1 The University of California Press strives to drive progressive change by seeking out and Billy Wilder .......................................... 4 cultivating the brightest minds and giving them voice, reach, and impact. We believe that scholarship is a powerful tool for fostering a deeper understanding of our world and Austrian Film Museum .................. 6 changing how people think, plan, and govern. The work of addressing society’s core challenges—whether they be persistent inequality, a failing education system, or global Best of Backlist ................................ 7 climate change—can be accelerated when scholarship assumes its role as an agent of Backlist ............................................... 11 engagement and democracy. ucpress.edu Index ................................................... 43 How to order .................................. 66 Columbia University Press Columbia University Press seeks to enhance Columbia University’s educational and research mission by publishing outstanding original works by scholars and other intellectuals that contribute to an understanding of global human concerns. The Press also reflects the importance of its location in New York City in its publishing programs. Through book, reference, electronic
    [Show full text]
  • Film and the City: the Urban Imaginary in Canadian Cinema
    FILM AND THE CITY Copyright © 2014 George Melnyk Published by AU Press, Athabasca University 1200, 10011 – 109 Street, Edmonton, AB T5J 3S8 Cover and interior design by Marvin Harder, marvinharder.com. Cover photo by Jody Shapiro. Printed and bound in Canada by Marquis Book Printers. doi: 10.15215/aupress/9781927356593.01 Library and Archives Canada Cataloguing in Publication Melnyk, George, author Film and the city : the urban imaginary in Canadian cinema / George Melnyk. Includes bibliographical references and index. Issued in print and electronic formats. ISBN 978-1-927356-59-3 (pbk.).—ISBN 978-1-927356-60-9 (pdf).— ISBN 978-1-927356-61-6 (epub) 1. Motion pictures—Canada—History. 2. City and town life in motion pictures. 3. Cities and towns in motion pictures. I. Title. PN1995.9.C513M44 2014 791.43’658209732 C2013-905401-4 C2013-905402-2 We acknowledge the financial support of the Government of Canada through the Canada Book Fund (CBF) for our publishing activities. Assistance provided by the Government of Alberta, Alberta Multimedia Development Fund. This publication is licensed under a Creative Commons licence, Attribution–Noncommercial– No Derivative Works 2.5 Canada: see www.creativecommons.org. The text may be reproduced for non-commercial purposes, provided that credit is given to the original author. To obtain permission for uses beyond those outlined in the Creative Commons licence, please contact AU Press, Athabasca University, at [email protected]. A city is not only a place but a state of mind. — Daniel Bell, The Cultural
    [Show full text]
  • Re-Evaluating Canadian Andquebec Cinemas / Boulais, Stéphane-Albert, Ed
    Document generated on 09/30/2021 9:35 p.m. International Journal of Canadian Studies Revue internationale d’études canadiennes International Successes and Domestic Policy Dilemmas: Re-Evaluating Canadian andQuebec Cinemas Boulais, Stéphane-Albert, ed. Le cinéma auQuébec : tradition et modernité (Montréal : Collection « Archives deslettres canadiennes », Fides, 2006) Loiselle, André and Tom McSorley, eds., Self-Portraits: The Cinemas of Canada since Telefilm (Ottawa: TheCanadian Film Institute, 2006) White, Jerry, ed. The Cinema ofCanada (London: 24 Frames Series, Wallflower Press,2006) Katherine Ann Roberts Culture — Natures in Canada Culture — natures au Canada Number 39-40, 2009 URI: https://id.erudit.org/iderudit/040835ar DOI: https://doi.org/10.7202/040835ar See table of contents Publisher(s) Conseil international d'études canadiennes ISSN 1180-3991 (print) 1923-5291 (digital) Explore this journal Cite this article Roberts, K. A. (2009). International Successes and Domestic Policy Dilemmas: Re-Evaluating Canadian andQuebec Cinemas / Boulais, Stéphane-Albert, ed. Le cinéma auQuébec : tradition et modernité (Montréal : Collection « Archives deslettres canadiennes », Fides, 2006) / Loiselle, André and Tom McSorley, eds., Self-Portraits: The Cinemas of Canada since Telefilm (Ottawa: TheCanadian Film Institute, 2006) / White, Jerry, ed. The Cinema ofCanada (London: 24 Frames Series, Wallflower Press,2006). International Journal of Canadian Studies / Revue internationale d’études canadiennes, (39-40), 323–330. https://doi.org/10.7202/040835ar Tous droits réservés © Conseil international d'études canadiennes, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
    [Show full text]
  • Diversity and the Film Industry an Analysis of the 2014 UIS Survey on Feature Film Statistics
    INFORMATION PAPER NO. 29 MARCH 2016 Diversity and the film industry An analysis of the 2014 UIS Survey on Feature Film Statistics UNESCO The constitution of the United Nations Educational, Scientific and Cultural Organization (UNESCO) was adopted by 20 countries at the London Conference in November 1945 and entered into effect on 4 November 1946. The Organization currently has 195 Member States and 10 Associate Members. The main objective of UNESCO is to contribute to peace and security in the world by promoting collaboration among nations through education, science, culture and communication in order to foster universal respect for justice, the rule of law, and the human rights and fundamental freedoms that are affirmed for the peoples of the world, without distinction of race, sex, language or religion, by the Charter of the United Nations. To fulfil its mandate, UNESCO performs five principal functions: 1) prospective studies on education, science, culture and communication for tomorrow's world; 2) the advancement, transfer and sharing of knowledge through research, training and teaching activities; 3) standard-setting actions for the preparation and adoption of internal instruments and statutory recommendations; 4) expertise through technical co-operation to Member States for their development policies and projects; and 5) the exchange of specialized information. UNESCO is headquartered in Paris, France. UNESCO Institute for Statistics The UNESCO Institute for Statistics (UIS) is the statistical office of UNESCO and is the UN depository for global statistics in the fields of education, science and technology, culture and communication. The UIS was established in 1999. It was created to improve UNESCO's statistical programme and to develop and deliver the timely, accurate and policy-relevant statistics needed in today’s increasingly complex and rapidly changing social, political and economic environments.
    [Show full text]
  • Bibliography
    Bibliography This is a compre hens ive bibli o graphy of the sources used for the articles in this volume. Wherever authors have used differ ent editions of the same primary source, these are listed in the same entry, separ ated by a semi colon. When differ ent editions have the same title, this title has not been repeated in the entry. Entries which can be considered both a primary and a second ary source appear under both categor ies. Each bibli o graphic entry is followed by the initials of the author who has used it, in square brack ets, as follows: Introduction: Chapter 1: Zulfikar Hirji [ZH – Intr.]; Chapter 2: Dmitry Bondarev [DB]; Chapter 3: Tal Tamari [TT]; Chapter 4: Farouk Topan [FT]; Chapter 5: Gerard C. van de Bruinhorst [GB]; Chapter 6: Ryan Skinner [RS]; Chapter 7: Ruba Kana’an [RK]; Chapter 8: Adeline Masquelier [AM]; Chapter 9: Kjersti Larsen [KL]; Chapter 10: Susan Rasmussen [SR]; Chapter 11: Joseph Hill [JH]; Chapter 12: Andrea Brigaglia [AB]; Chapter 13: Zulfikar Hirji [ZH]. Manuscripts Abd Allāh b. Fūdī [=Abdallah ͂an Fodio]. iyā al- tawīl fī macānī al- tanzīl. MS Arabe 5509, Bibliothèque Nationale de France, Paris. Fols. 1b–337b and 339a–384b [Incomplete copy]. [TT] Borno Qur’an. MS.1YM [‘Yerima Mustafa manu script’ or ‘Geidam manu script’], private collec tion of Yerima Mustafa Mukhtar, the current Waziri of Borno, Maiduguri, Nigeria. Complete, 362 folios. Old Kanembu Islamic Manuscripts, SOAS Digital Collections, SOAS University of London. [DB] ——. MS.2ShK [‘Shetima Kawo manu script’], lost; formerly in the posses sion of the Shetima Kawo family in Maiduguri, Nigeria.
    [Show full text]
  • Film and Faith: the Canadian Voice Theo 0670
    Course Syllabus SPRING SUMMER 2018 FILM AND FAITH: THE CANADIAN VOICE THEO 0670 JUNE 18 – JULY 23 MONDAYS & THURSDAYS, 6:30 – 9:20PM INSTRUCTOR: PAUL BURFORD Telephone 416-425-7222 Email: [email protected] Office Hours: By appointment To access your course material, please go to http://classes.tyndale.ca. Course emails will be sent to your @MyTyndale.ca e-mail account. For information how to access and forward emails to your personal account, see http://www.tyndale.ca/it/live-at-edu. I. COURSE DESCRIPTION This is a film survey course, designed to educate students regarding the evolution and relevance of faith perspectives specific to Canadian film and filmmakers. Culturally significant films will be presented and discussed. These films represent both theological exploration and artistic achievement derived in a Canadian context. The goals are to illuminate film narrative as an international art form, to educate an understanding of the methodology requisite to cinematic storytelling and film aesthetics, and to provide opportunity for students to engage in the task of personally exploring the use of film expression by telling their own faith-related story ideas. The experience of such tasks will take the form of two small group film projects; each and will be a group experience, exploring the production of short film. Such films are designed to activate collaborative skills and participatory knowledge relevant to creative discussion and course content. These group projects will furthermore be presented and discussed in class for the purpose of developing a hands-on understanding of the filmmaking process. (Please note: no prior production experience is required).
    [Show full text]