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NATIONAL FILM BOARD of CANADA FEATURED at Moma
The Museum off Modern Art 50th Anniversary NO. 16 ID FOR IMMEDIATE RELEASE March 3, 1981 DOCUMENTARY FILMS FROM THE NATIONAL FILM BOARD OF CANADA FEATURED AT MoMA NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE is a three-part tribute presented by The Museum of Modern Art in recog nition of NFBC's 41 years Of exceptional filmmaking. PART TWO: DOCUMENTARY FILMS, running from March 26 through May 12 in the Museum's Roy and Niuta Titus Auditorium, will trace the develop ment of the documentary form at NFBC, and will be highlighted by a selection of some of the finest films directed by Donald Brittain, whose work has won wide acclaim and numerous awards. PART TWO: DOCUMENTARY will get off to an auspicious start with twelve of Donald Brittain's powerful and unconventional portraits of exceptional individuals. Best known in this country for "Volcano: An Inquiry Into The Life and Death of Malcolm Lowry" (1976), Brittain brings his personal stamp of creative interpretation to such subjects as America's love affair with the automobile in "Henry Ford's America" (1976) ; the flamboyant Lord Thompson of Fleet Street (the newspaper baron who just sold the cornerstone of his empire, The London Times) in "Never A Backward Step" (1966); Norman Bethune, the Canadian poet/ doctor/revolutionary who became a great hero in China when he marched with Mao ("Bethune" 1964); and the phenomenal media hysteria sur rounding the famous quintuplets in "The Diorme Years" (1979) . "Memo randum" (1965) accompanies a Jewish glazier from Tcronto when he takes his son back to the concentration camp where he was interned, an emotion al and historical pilgrimage of strong impact and sensitivity. -
Northern Conference Film and Video Guide on Native and Northern Justice Issues
DOCUMENT RESUME ED 287 653 RC 016 466 TITLE Northern Conference Film and Video Guide on Native and Northern Justice Issues. INSTITUTION Simon Fraser Univ., Burnaby (British Columbia). REPORT NO ISBN-0-86491-051-7 PUB DATE 85 NOTE 247p.; Prepared by the Northern Conference Resource Centre. AVAILABLE FROM Northern Conference Film Guide, Continuing Studies, Simon Fraser University, Burnaby, British Columbia, Canada V5A 1S6 ($25.00 Canadian, $18.00 U.S. Currency). PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Adolescent Development; *American Indians; *Canada Natives; Children; Civil Rights; Community Services; Correctional Rehabilitation; Cultural Differences; *Cultural Education; *Delinquency; Drug Abuse; Economic Development; Eskimo Aleut Languages; Family Life; Family Programs; *Films; French; Government Role; Juvenile Courts; Legal Aid; Minority Groups; Slides; Social Problems; Suicide; Tribal Sovereignty; Tribes; Videotape Recordings; Young Adults; Youth; *Youth Problems; Youth Programs IDENTIFIERS Canada ABSTRACT Intended for teacheLs and practitioners, this film and video guide contains 235 entries pertaining to the administration of justice, culture and lifestyle, am: education and services in northern Canada, it is divided into eight sections: Native lifestyle (97 items); economic development (28), rights and self-government (20); education and training (14); criminal justice system (26); family services (19); youth and children (10); and alcohol and drug abuse/suicide (21). Each entry includes: title, responsible person or organization, name and address of distributor, date (1960-1984), format (16mm film, videotape, slide-tape, etc.), presence of accompanying support materials, length, sound and color information, language (predominantly English, some also French and Inuit), rental/purchase fees and preview availability, suggested use, and a brief description. -
1 Citizenship and Participatory Video Marit Kathryn Corneil
1 Citizenship and Participatory Video Marit Kathryn Corneil In Screen Media Arts: An Introduction to Concepts and Practices (Cohen, Salazar, and Barkat, 2008) participatory video is defined broadly as “a tool for individual, group and community development” and as “an iter- ative process, whereby community members use video to document in- novations and ideas, or to focus on issues that affect their environment” (pp. 348–349). Most accounts of the origins of participatory video refer to the Fogo Process or the Fogo Method as the original inspiration for these techniques. The Fogo Method originated in the Fogo Island Com- munication Experiment, one of the initial projects under the umbrella of the experimental program in ethical documentary at the National Film Board of Canada, the Challenge for Change/Société Nouvelle program (CFC/SN). CFC/SN ran from 1967 to 1980, producing more than 200 films and videos, and, since 2000, has inspired renewed interest in academic re- search circles and among media practitioners after more than 30 years of considerable neglect in the archive. It was thought for many years that the films produced under the banner of CFC/SN were too local and too aesthetically uninteresting to merit attention. Only recently have some of these films been recuperated for documentary history; they have been shown to represent revolutionary thinking about documentary politics, ethics, and aesthetics (Waugh, Baker, and Winton, 2010). CFC/SN was one of a number of programs inspired by the civil rights movements of the 1960s with a mission to tackle the sources of poverty and exclusion; to “give voice” to marginalized segments of society; to facilitate communi- cation; and to keep minorities from becoming the victims and stereotypes 19 20 / Chapter 1 of media and government. -
A SALUTE to the NATIONAL FILM BOARD of CANADA Includes Sixteen Films Made Between
he Museum of Modern Art 1^ 111 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Mo, 38 FOR IMMEDIATE RELEASE Tuesday, April 25, 1967 On the occasion of The Canadian Centennial Week in New York, the Department of Film of The Museum of Modem Art will present A SALUTE TO THE NATIONAL FILM BOARD OF CANADA. Sixteen films produced by the National Film Board will be shown daily at the Museum from May U through May V->, except on Wednesdays. The program will be inaugu rated with a special screening for an invited audience on the evening of May 3j pre sented by The Consul General of Canada and The Canada Week Committee in association with the Museum. The National Film Board of Canada was established in 1939, with John Grierson, director of the British General Post Office film unit and leading documentary film producer, as Canada's first Government Film Commissioner, Its purpose is-to Jjiitdate and promote the production and distribution of films in the-uational int^rest^ \i\ par« ticular, films designed to interpret Canada to -Canadians and to other nations. Uniquely, each of its productions is available for showing in Canada as well as . abroad* Experimentation in all aspects of film-making has been actively continued and encouraged by the National Film Board. Funds are set aside for experiments, and all filmmakers are encouraged to attempt new techniques. Today the National Film Board of Canada produces more than 100 motion pictures each year with every film made in both English and French versions. -
{PDF EPUB} the Little Prince the Coloring Portfolio by Antoine De Saint-Exupéry the Little Prince
Read Ebook {PDF EPUB} The Little Prince The Coloring Portfolio by Antoine de Saint-Exupéry The Little Prince. Our editors will review what you’ve submitted and determine whether to revise the article. The Little Prince , French Le Petit Prince , fable and modern classic by French aviator and writer Antoine de Saint-Exupéry that was published with his own illustrations in French as Le Petit Prince in 1943. The simple tale tells the story of a child, the little prince, who travels the universe gaining wisdom. The novella has been translated into hundreds of languages and has sold some 200 million copies worldwide, making it one of the best-selling books in publishing history. Plot summary. The narrator introduces himself as a man who learned when he was a child that adults lack imagination and understanding. He is now a pilot who has crash-landed in a desert. He encounters a small boy who asks him for a drawing of a sheep, and the narrator obliges. The narrator, who calls the child the little prince, learns that the boy comes from a very small planet, which the narrator believes to be asteroid B-612. Over the course of the next few days, the little prince tells the narrator about his life. On his asteroid-planet, which is no bigger than a house, the prince spends his time pulling up baobab seedlings, lest they grow big enough to engulf the tiny planet. One day an anthropomorphic rose grows on the planet, and the prince loves her with all his heart. However, her vanity and demands become too much for the prince, and he leaves. -
Grown-Ups Were Children First. but Few of Them
ark p the of Map opeNING CaLeNDar SeaSoN PASS The best way to enjoy the park all year APRIL MAY round is the season pass. M T w T F S S M T w T F S S 1 2 3 4 5 1 2 3 chIlD 6 7 8 9 10 11 12 4 5 6 7 8 9 10 (-1 meter) free 13 14 15 16 17 18 19 11 12 13 14 15 16 17 20 21 22 23 24 25 26 18 19 20 21 22 23 24 chIlD (+1 meter, 27 28 29 30 25 26 27 28 29 30 31 less than 12 years old) 35 € JUNE JULY ADUlT (12 years old and more) 49 € M T w T F S S M T w T F S S 1 2 3 4 5 6 7 1 2 3 4 5 FAMIly* € 8 9 10 11 12 13 14 6 7 8 9 10 11 12 99 15 16 17 18 19 20 21 13 14 15 16 17 18 19 22 23 24 25 26 27 28 20 21 22 23 24 25 26 29 30 27 28 29 30 31 ADVANTAGES Unlimited access all year round AUGUST SEPTEMBER -10% discount in the shop M T w T F S S M T w T F S S -10% in the restaurants 1 2 1 2 3 4 5 6 No queue access 3 4 5 6 7 8 9 7 8 9 10 11 12 13 10 11 12 13 14 15 16 14 15 16 17 18 19 20 TIP** 17 18 19 20 21 22 23 21 22 23 24 25 26 27 24 25 26 27 28 29 30 28 29 30 The day of your visit, deduct the price of your entrance ticket of the price 31 of the season pass! *Offer valid for a family of 4 persons (2 adults/ 2 children under 17 years old). -
Ing Lonely Boy
If the word documentary is synonymous with Canada, and the NFB is synonymous with Canadian documentary, it is impossible to consider the NFB, and particularly its fabled Unit B team, without one of its core members, Wolf Koenig. An integral part of the "dream team," he worked with, among others, Colin Low, Roman Kroitor, Terence Macartney-Filgate and unit head Tom Daly, as part of the NFB's most prolific and innovative ensemble. Koenig began his career as a splicer before moving on to animator, cameraman, director and producer, responsible for much of the output of the renowned Candid Eye series produced for CBC-TV between 1958 and 1961. Among Unit B's greatest achievements is Lonely Boy (1962), which bril- liantly captured the phenomenon of megastar mania before anyone else, and con- tinues to be screened worldwide. I had the opportunity to "speak" to Wolf Koenig in his first Internet interview, a fitting format for a self-professed tinkerer who made a career out of embracing the latest technologies. He reflects on his days as part of Unit B, what the term documentary means to him and the process of mak- ing Lonely Boy. What was your background before joining the NFB? One day, in early May 1948, my father got a call from a neighbour down the road — Mr. Merritt, the local agricultur- In 1937, my family fled Nazi Germany and came to Canada, al representative for the federal department of agriculture — just in the nick of time. After a couple of years of wonder- who asked if "the boy" could come over with the tractor to ing what he should do, my father decided that we should try out a new tree—planting machine. -
Founded in 1939 Under the Aegis of Scotsman John Grierson, Pioneering Theorist and Practitioner of the Documentary Form, The
Founded in 1939 under the aegis of Scotsman John Grierson , pioneering theorist and practitioner of the documentary form, the National Film Board was initially put in the service of war propaganda. Two years later, the addition to its ranks of Grierson’s countryman Norman McLaren would instigate the NFB’s second elemental thrust: technically adventurous, audaciously whimsical animation. These two interwoven threads have permeated the Film Board’s productions ever since, giving us formally innovative works that nonetheless edify. NFB films are fun, entertaining, and favor the dramatic over the didactic. We present, drawn from the shelves of Oddball Archives, what can only pretend at a cross-section of NFB’s voluminous output: explorations from the subatomic to the outer reaches of space, with a dose of human-scale drama and sheer flights of fancy. Pas de deux (1968) B+W 13 min. by Norman McLaren Set against a black ground, two graceful dancers become pure embodiments of light. Using optical superimposition, McLaren multiplies the figures, transforming live action into his own brand of kinetics. Beautifully choreographed and shot, hauntingly scored (featuring the United Folk Orchestra of Romania ), hypnotic and unforgettable. Cosmic Zoom (1968) Color 8 min. by Eva Szasz A fantastic, “continuous” voyage from a rowboat on the Ottawa river, upward and outward to a grand view of galactic flotsam, then back inwards through a rivulet of blood in the tip of a mosquito’s proboscis, to examine an atomic nucleus. Remade a decade later by Charles and Ray Eames (Powers of Ten ) with narration (and its jumping-off point moved to Chicago), then again as an Imax movie ( Cosmic Voyage ) with Morgan Freeman , Cosmic Zoom is where it all began. -
Outside the Circus
A CLOWN .-----Outside the Circus------. ous close-up faces dissolve one into the by Lois Siegel other). A politician can promise them anything, and they will not remember o most people Arthur Lipsett will al- , later what he has promised." ways be an enigma. He was unique. The film is fllied with contradictions: THis idiosyncracies bred myths,. and (stuttering voice) " ... and the game is re these myths were so strong that they. ally nice to look at..." (we see a collage pass on, like fairy-tales. of wrestling photos picturing grimacing During the last week of April, 1986, faces and hefty men tugging and pulling Arthur Lipsett ended his life, two weeks at each other in agony). A bomb before his birthday. He would have explodes: "Everyone wonders what the been 50 on May 13. future will behold." This is intercut with people having fun and smiling: smiling A Glimpse of Lipsett mouths, smiling eyes ... then another He loved simple things: chocolate-co shot of the bomb... (man's voice) "This vered M&M peanuts; National Lam is my line, and I love it." Later we see poon's film Vacation, and his own, orig shots of newspapers: "There's sort of a inal spaghetti sauce which he garnished passing interest in things." (followed by with pickles and olives. c: a shot of a pastry-shop window and a He discovered the power of mm at a ~ cake in the shape of a smiling cat). "But young age and set about creating high {l there's no real concern." "People seem () voltage collages. -
A Study of Canada's Centennial Celebration Helen Davies a Thesis
The Politics of Participation: A Study of Canada's Centennial Celebration BY Helen Davies A Thesis Subrnitted to the Facuity of Graduate Studies in Partial Fultiiment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department of Histop University of Manitoba Winnipeg, Manitoba G Copyright September 1999 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Weilington Street 395. rue Wellington Ottawa ON KIA ON4 Cntawa ON Kf A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of ths thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be p~tedor otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES ***** COPYRIGHT PERMISSION PAGE The Poiitics of Participation: A Study of Camdi's Centennid Celebntion by Helen Davies A Thesis/Practicum submitted to the Facalty of Gnduate Studics of The University of Manitoba in partial fiilfillment of the requirements of the degree of Doctor of Pbüosophy Helen Davies O 1999 Permission bas been gnnted to the Librrry of The University of Manitoba to lend or seIl copies of this thesis/practicum, to the National Librrry of Canada to microfilm this thesis/practicum and to lend or seil copies of the film, and to Dissertations Abstracts International to publish an abstrrct of this thesidpracticum. -
The Godfathers of Fogo:: Donald Snowden, Fred Earle and the Roots of the Fogo Island Films, 1964-1967
Document généré le 28 sept. 2021 20:17 Newfoundland Studies The Godfathers of Fogo: Donald Snowden, Fred Earle and the Roots of the Fogo Island Films, 1964-1967 Susan Newhook Volume 24, numéro 2, fall 2009 URI : https://id.erudit.org/iderudit/nflds24_2art01 Aller au sommaire du numéro Éditeur(s) Faculty of Arts, Memorial University ISSN 0823-1737 (imprimé) 1715-1430 (numérique) Découvrir la revue Citer cet article Newhook, S. (2009). The Godfathers of Fogo:: Donald Snowden, Fred Earle and the Roots of the Fogo Island Films, 1964-1967. Newfoundland Studies, 24(2), 171–197. All rights reserved © Memorial University, 2009 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ The Godfathers of Fogo: Donald Snowden, Fred Earle and the Roots of the Fogo Island Films, 1964-1967 SUSAN NEWHOOK In 1965, and in the years which follow, the rural Newfoundlander faces an environ- ment in which he will have growing mobility, greater purchasing power, greater edu- cational opportunities, and a growing involvement by governments in the way he makes his living, retains his health, and takes his leisure. -
Images of Flight and Aviation and Their Relation to Soviet Identity in Soviet Film 1926-1945
‘Air-mindedness’ and Air Parades: Images of Flight and Aviation and Their Relation to Soviet Identity in Soviet Film 1926-1945 Candyce Veal, UCL PhD Thesis 2 I, Candyce L. Veal, declare that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract Taking Soviet films from 1926 to 1945 as its frame of reference, this thesis seeks to answer the question: is autonomous voicing possible in film during a period defined by Stalin’s concentration of power and his authoritarian influence on the arts? Aviation and flight imaging in these films shares characteristics of language, and the examination of the use of aviation and flight as an expressive means reveals nuances in messaging which go beyond the official demand of Soviet Socialist Realism to show life in its revolutionary movement towards socialism. Reviewing the films chronologically, it is shown how they are unified by a metaphor of ‘gaining wings’. In filmic representations of air-shows, Arctic flights, aviation schools, aviation circus-acts, and aircraft invention, the Soviet peoples’ identity in the 1930s became constructed as being metaphorically ‘winged’. This metaphor links to the fundamental Icarian precursor myth and, in turn, speaks to sub-structuring semantic spheres of freedom, transformation, creativity, love and transcendence. Air-parade film communicates symbolically, but refers to real events; like an icon, it visualizes the word of Stalinist- Leninist scriptures. Piloted by heroic ‘falcons’, Soviet destiny was perceived to be a miraculous ‘flight’ which realised the political and technological dreams of centuries.