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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. -
News Release for Immediate Release
NEWS RELEASE FOR IMMEDIATE RELEASE First-year progress on NFB’s 2017–2020 Indigenous Action Plan On June 21, National Indigenous Peoples Day, Canada’s public producer and distributor announces year 1 results on Indigenous equity commitments (Image provided by Eruoma Awashish) June 20, 2018 – Montreal – National Film Board of Canada (NFB) One year into the National Film Board of Canada’s three-year Indigenous Action Plan, Canada’s public producer and distributor is reporting on progress made to date and outlining key actions for the year ahead, in an announcement made by NFB Commissioner Claude Joli-Coeur on June 21, National Indigenous Peoples Day. First announced by Joli-Coeur on June 17, 2017, the NFB plan responds to the work and recommendations of the Truth and Reconciliation Commission of Canada and Indigenous creators’ longstanding concerns about systemic inequities in the existing Canadian production landscape. First-year highlights include: • Development/production work on 35 Indigenous-directed projects, representing 10% of overall production spending. By 2020, the NFB is committed to reaching 15% in overall production spending on Indigenous-led projects. • Almost 900 community screenings as part of the Aabiziingwashi (Wide Awake) Indigenous Cinema Tour, held in every province and territory, working with TIFF, APTN, imagineNATIVE, the Canadian Commission for UNESCO and local partners. • A new Indigenous Cinema section at NFB.ca, offering free streaming of more than 200 new and classic NFB Indigenous titles, including newly digitized titles added annually. • Development of a new Indigenous Voices and Reconciliation (IVR) Learning Program for students, educators and lifelong learners, which will launch in 2019. -
Fieldnotes Seth Feldman Interviewed by Janine Ma... (Completed 06/30/18) Page 1 of 14 Transcript by Rev.Com
Janine M: Hello, my name is Janine Marchessault. I'm a professor in the Department of Cinema and Media Arts at York University. Today is March 17, 2018. We are at the SCMS Conference in Toronto at the beautiful Sheraton. I have the great honor today of interviewing one of the Founders of Canadian Film studies, Seth Feldman. Seth is my colleague at York University. I have taken courses with Seth Feldman. I am involved in an ongoing research project to excavate the lost films of Expo 67, a project which Seth helped to initiate. Janine M: He is an author, a broadcaster, a film programmer and a professor, as I said, at York University. He graduated from Johns Hopkins University with a degree in History. Before going on to study at SUNY Buffalo and help to manage the legendary Center for Media Studies, which was founded by the great Jerry O'Grady. He wrote the first, or one of the first, doctoral dissertations in English, on the films of Dziga Vertov. While working at the University of Western Ontario, he co-edited with Joyce Nelson, the first book devoted to Canadian cinema, the Canadian Film Reader. He is a founder and a past president of the Film Studies Association of Canada. He's published widely on Canadian Cinema, including Take Two, a second anthology on Canadian film. He also published Allan King, documentary filmmaker. Janine M: In addition to all of this activity, helping to found Canadian film studies as a field of study, Seth was also an author and broadcaster of 26 radio documentaries for the Canadian broadcasting corporation, and for the program ideas. -
Issue No. 6 Raven
TheIssue No. 6 Raven First Nations & Indigenous Studies Annual Publication Indigenous New Media Collective • Race, Gender and Decolonization Addressing Sexual Violence at UBC • Student Profiles + More Table of Contents Issue No.6, 2018 1. 21. Letters from the Editors Student Profile Michael Norris 2. Chair Address 22. Race, Gender, and Colonization 4. Addressing Sexual Violence at UBC Faculty Reflections 24. 8. Dechinta Faculty Publications Deepening Partnerships & Expanding Opportunities 9. CIS Staff Update 26. Indigenous New Media Collective 10. Carving Space & Generating Indigenous-Focused Content, An Overdue Sabbatical reflection by Autumn Schnell Farewell to Linc Kesler 27. 11. Birth of a Family with Tasha Hubbard Global Indigenous Rights Lecture Building Connection and Enacting Conversation with Victoria Tauli-Corpuz 28. 12. Journal of First Peoples Writing Indian Residential School History Centring Indigenous and Decolonial Voices and Dialogue Centre Opening in Undergraduate Writings 14. 30. A Subtle Revolution Student Profile What lies ahead for Indigenous rights? Marie Weeks 16. 31. Speaker Series First Nations Studies In Conversation with Billy-Ray Belcourt and Karyn Recollet Student Association 17. 32. Student Profile Student Art Nicole Cardinal Melissa West Morrison 18. 33. Practicum Summary Student Profile Reflections from Melissa Haberl Adina Williams and Samantha Myran contributors Tanya Bob, Sage Broomfield, Nicole Cardinal, Glen Coulthard, Emma Feltes, David Gaertner, Melissa Haberl, Sarah Hunt, Daniel Heath Justice, Linc Kesler, Sheryl Lightfoot, Beverly Ma, Alexa McPhee, Samantha Myran, To request physical copies of Matthew Norris, Sarah Siska, Candice Yu, Melissa Webb, Marie Weeks, Melissa The Raven please e-mail West Morrison, Adina Williams [email protected]. about our logo FNIS would like to thank Dempsey Bob (Thaltan / Tlingit) for the You can also find the digital PDF at design of our program logo. -
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. -
In-Person Screening
THE NFB FILM CLUB FALL/WINTER 2020–2021 CONTACT Florence François, Programming Agent 514-914-9253 | [email protected] JOIN THE CLUB! The NFB Film Club gives public libraries the opportunity to offer their patrons free screenings of films from the NFB’s rich collection. In each Film Club program, you’ll find films for both adults and children: new releases exploring hot topics, timely and thought-provoking documentaries, award-winning animation, and a few timeless classics as well. The NFB Film Club offers free memberships to all Canadian public libraries. ORGANIZING A SCREENING STEP 3 Organize your advertising for the event—promote IN YOUR LIBRARY the screening(s) in your networks. (To organize a virtual screening, STEP 4 please refer to our online program.) Prior to your event, test the film format that was delivered to you (digitally or by mail) using your equipment (you have two weeks to download your STEP 1 film(s) from the day you receive the link). Decide which film(s) you’re interested in from the available titles, which can be found by clicking on the NFB Film Club page. STEP 2 Send your selection(s) by e-mail to [email protected] and include your screening date(s), time(s), and location(s), as well as the film format required for your venue. We can supply an electronic file (MP3, MOV) or can ship a physical copy. PROMOTIONAL MATERIALS ATTENDANCE FIGURES To help you promote your screenings, you’ll To assist us in tracking the outreach of the NFB’s also have access to our media space and all films, please make note of the number of people archived promotional materials (photos, posters, who attended each library or virtual screening. -
Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned from Selected Jurisdic- Tions and a Strategy for Growth
Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned From Selected Jurisdic- tions and a Strategy For Growth PREPARED FOR SUBMITTED BY imagineNATIVE Maria De Rosa 401 Richmond St. West, Suite 446 Marilyn Burgess Toronto, Ontario M5V 3A8 Communications MDR 503 Victoria Avenue Westmount, Québec H3Y 2R3 www.communicationsmdr.com December 5, 2018 1 Pathways to the International Market for Indigenous Screen Content Contents ACKNOWLEDGEMENTS ............................................................................................... 2 FOREWORD ................................................................................................................... 3 INTRODUCTION ............................................................................................................. 4 I. THE NEW CONTEXT: A RISING TIDE OF INDIGENOUS PRODUCTION ................. 6 II. SUCCESS STORIES: CASE STUDIES OF CANADIAN AND INTERNATIONAL FILMS, TELEVISION PROGRAMS AND DIGITAL MEDIA .......................................... 14 III. LESSONS LEARNED FROM THE SUCCESS OF INTERNATIONAL INDIGENOUS SCREEN CONTENT ..................................................................................................... 43 IV. PATHWAYS TO THE INTERNATIONAL MARKET FOR CONSIDERATION BY THE INDIGENOUS SCREEN SECTOR IN CANADA ................................................... 57 ANNEX 1: SELECTED BIBLIOGRAPHY ..................................................................... 71 ANNEX 2: SUMMARY OF RESULTS OF ON-LINE QUESTIONNAIRE -
Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. -
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Historical Studies in Education / Revue d'histoire de l'éducation Book Reviews / Comptes rendus 207 In this sense, as Diggins says, pragmatism “offered the promise that modern man could somehow study the world scientifically and live it spiritually” (The Promise of Pragmatism: Crisis of Knowledge and Authority, University of Chicago Press, 1994, pp. 10-11). Biographical studies of Dewey seem to be becoming increasingly elaborate on the intellectual, political, and social contexts as well as his personal relationships. Moreover, they are becoming increasingly focused on the contexts of the work of some individuals from whom Dewey borrowed ideas. Dalton’s work is no exception; in some places Dewey’s figure becomes too weak against such contextual information on various scientific and philosophical ideas, and interpretations of Dewey’s ideas. Dalton’s book may not appeal to many readers other than Dewey specialists. Those who are interested in the history of developmental theories but not so keen on the details of Dewey’s philosophy and life would not find this book particularly accessible. Having said that, as I suggested earlier, Dalton’s work deserves credit for taking up a question which should have occurred to many of Dewey’s readers, and yet few took up seriously. For anyone who has had this question, reading this book will be very rewarding. It should be noticed that the book gives a serious account of how speculative philosophy and experimental science played together in the mind of a figure who arguably has the strongest influence on the way we think of philosophy, education, and social issues today in North America. -
Learning Guide Learning Guide
LEARNING GUIDE LEARNING GUIDE TABLE OF CONTENTS Recommended Age Level and Subject Areas 3 Film Synopsis 3 Emotional Impact of the Film 3 Learning Objectives 4 Teaching Philosophy and Pedagogy 4 Module I: Historical Roots 5 - 8 Module II: Colonialism and Anti-Indigenous Racism 8 - 12 Module III: Indigenous Resistance, Solidarity and Allyship 12 - 15 About the Authors 15 2 LEARNING GUIDE OVERVIEW As Hubbard uncovers the systemic racism that marks the investigation, the trial and the public response, she Recommended Age Level also shines a light on the powerful voices of Indigenous and Subject Area women that emerge from the process. Finding strength in the memory of their beloved son and brother, Colten’s nîpawistamâsowin: We Will Stand Up is rated PG. The film mother, Debbie Baptiste, and sister/cousin Jade Tootoosis and learning guide are suitable for middle-year and high- take their search for justice to the highest echelons of school students (Grades 7–12) and relevant to courses in power and vow to stand up to the colonial judicial and Indigenous Studies, History, Social Studies, Anthropology, policing systems that have been the instruments of Political Science, Geography, English Language Arts, Indigenous oppression for centuries. Journalism, Communications, Media Studies, Creative Writing, Health Sciences & Wellness, Psychology, Law, Sociology, and Career Education. Emotional Impact of the Film We want to acknowledge that the content of the film will Film Synopsis have a different level of impact on Indigenous people than it will on non-Indigenous people, given our context of colonialism and differential treatment. While the topics of racism and racialized violence can be discomforting for everyone, some may respond to them more intensely than others. -
Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned from Selected Jurisdictions and a Strategy for Growth
PATHWAYS TO THE INTERNATIONAL MARKET FOR INDIGENOUS SCREEN CONTENT: SUCCEss STORIES, LEssONS LEARNED FROM SELECTED JURISDICTIONS AND A STRATEGY FOR GROWTH Jan. 31st, 2019 PREPARED FOR SUBMITTED BY imagineNATIVE Maria De Rosa 401 Richmond St. West, Suite 446 Marilyn Burgess Toronto, Ontario M5V 3A8 www.communicationsmdr.com CONTENTS Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned From Selected Jurisdic-tions and a Strategy For Growth ACKNOWLEDGEMENTS P. 6 FOREWORD P. 8 INTRODUCTION P. 10 I. THE NEW CONTEXT: A RISING TIDE OF INDIGENOUS PRODUCTION P. 12 II. SUCCESS STORIES: CASE STUDIES OF CANADIAN AND INTERNATIONAL FILMS, TELEVISION PROGRAMS AND DIGITAL MEDIA P. 22 III. LESSONS LEARNED FROM THE SUCCESS OF INTERNATIONAL INDIGENOUS SCREEN CONTENT P. 42 IV. PATHWAYS TO THE INTERNATIONAL MARKET FOR CONSIDERATION BY THE INDIGENOUS SCREEN SECTOR IN CANADA P. 56 ANNEX 1: SELECTED BIBLIOGRAPHY P. 72 ANNEX 2: SUMMARY OF RESULTS OF ON-LINE QUESTIONNAIRE WITH FESTIVALS P. 78 ANNEX 3: LIST OF INTERVIEWEES P. 90 ACKNOWLEDGEMENTS Pathways to the International Market for Indigenous Screen Content: Success Stories, Lessons Learned From Selected Jurisdic-tions and a Strategy For Growth WE WISH TO THANK ADRIANA CHARTRAND, INSTITUTE COORDINATOR FOR IMAGINENATIVE FOR HER CONTRIBUTION TO THIS REPORT. AS AN INTERN ON THE CONSULTING TEAM, ADRIANA’S PROFESSIONALISM, DEEP KNOWLEDGE OF THE INDIGENOUS SCREEN-BASED SECTOR AND HER DEDICATION WERE INSTRUMENTAL TO THE SUCCESS OF THIS REPORT. SHE CONTRIBUTED TO THE RESEARCH AND WRITING OF THE CASE STUDY ANALYSIS OF THE SUCCESS STORIES FEA-TURED IN THIS REPORT, PROFILES OF CANADIAN CREATORS, THE ANALYSIS OF THE ON-LINE SURVEY, AS WELL AS GENERAL OTHER RESEARCH. -
Cine-Tracts 4, Vol. 1, No. 4, Spring-Summer
# 4 CINÉ-TRACTS A JOURNAL OF FILM AND CULTURAL STUDIES $2.50/£1.50 NUMBER 4 BACK ISSUES CINE-TRACTS, # 1 FILM/TECHNOLOGY/IDEOLOGY JOHN BERGER STEPHEN HEATH Unavailable DUSAN MAKAVEJEV IDEOLOGY & MEDIA MESSAGES ETHNO-HERMENEUTICS CINE-TRACTS, # 2 "THEORETICAL PERSPECTIVES IN CINEMA" FILM AND PERFORMANCE THE FUNDAMENTAL REPROACH (BRECHT) SOME PROBLEMS OF TECHNOLOGY, PERCEPTION AND REPRESENTATION Unavailable IN CAMERA MOVEMENT REFLEXIVITY IN FILM AND BROADCAST DOCUMENTARY KINO-TRUTH AND KINO-PRAXIS, VERTOV'S MAN WITH A MOVIE CAMERA THE CONCEPT OF CINEMATIC EXCESS CINE-TRACTS, # 3 PSYCHOANALYSIS AND THE CINEMA SAUL LANDAU: THE TRUTH LIES ON THE CUTTING ROOM FLOOR RAYMOND WILLIAMS ON REALISM $5.00 JOHN BERGER ON JONAH ARTICLES ON WALTER BENJAMIN & JACQUES RIVETTE LEFT CURVE Magazine published by artists on the role of culture in the struggle for liberation. Issue # 7 includes: analysis of mural movement photography of Lester Balog camera obscura history of Artist's International Italy today including photos of daily life (Provisional) Art & Language: Auckland 1976 contemporary appalacian poetry practice of architecture - from positivism to dialectics video on the left: a Critique critique of Harvey Swados Teamsters Graphic Group Radical Elders Oral History Project plus reviews, documents, letters, etc. $2.50/copy Subs, $7 (3 issues) $10 Institutions 1230 Grant Ave. Box 302 San Francisco, Ca. 94133 art & revolution CINE-TRACTS VOLUME 1 NUMBER 4 SPRING - SUMMER 1978 DOUBLE ISSUE CONTENTS Cine-Tracts, A Journal of Film and Cultural Questions of Property; Film and Nationhood Studies is published four times a year (on an Stephen Heath ....................................... 2 irregular basis) and is a non-profit publication Editorial Office: 4227 Esplanade Avenue, Montreal, Quebec, Canada H2W 1T1.