HIGHLIGHTS … They Have Created a Public Event You Could No More Cancel Than You Could Cancel Valentine’S Day
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Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY
Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY CHRONOLOGICAL LIST OF CANADIAN FEATURE FILMS, FEATURE DOCUMENTARIES AND MADE-FOR-TELEVISION FILMS, 1945-2011 COMPILED BY PAUL GRATTON MAY, 2012 2 5.Fast Ones, The (Ivy League Killers) 1945 6.Il était une guerre (There Once Was a War)* 1.Père Chopin, Le 1960 1946 1.Canadians, The 1.Bush Pilot 2.Désoeuvrés, Les (The Mis-Works)# 1947 1961 1.Forteresse, La (Whispering City) 1.Aventures de Ti-Ken, Les* 2.Hired Gun, The (The Last Gunfighter) (The Devil’s Spawn) 1948 3.It Happened in Canada 1.Butler’s Night Off, The 4.Mask, The (Eyes of Hell) 2.Sins of the Fathers 5.Nikki, Wild Dog of the North 1949 6.One Plus One (Exploring the Kinsey Report)# 7.Wings of Chance (Kirby’s Gander) 1.Gros Bill, Le (The Grand Bill) 2. Homme et son péché, Un (A Man and His Sin) 1962 3.On ne triche pas avec la vie (You Can’t Cheat Life) 1.Big Red 2.Seul ou avec d’autres (Alone or With Others)# 1950 3.Ten Girls Ago 1.Curé du village (The Village Priest) 2.Forbidden Journey 1963 3.Inconnue de Montréal, L’ (Son Copain) (The Unknown 1.A tout prendre (Take It All) Montreal Woman) 2.Amanita Pestilens 4.Lumières de ma ville (Lights of My City) 3.Bitter Ash, The 5.Séraphin 4.Drylanders 1951 5.Have Figure, Will Travel# 6.Incredible Journey, The 1.Docteur Louise (Story of Dr.Louise) 7.Pour la suite du monde (So That the World Goes On)# 1952 8.Young Adventurers.The 1.Etienne Brûlé, gibier de potence (The Immortal 1964 Scoundrel) 1.Caressed (Sweet Substitute) 2.Petite Aurore, l’enfant martyre, La (Little Aurore’s 2.Chat dans -
Kennedy Matthew C 2016 Ma
BLIND DATE MATTHEW KENNEDY A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERISTY TORONTO, ONTARIO June 2016 © Matthew Kennedy, 2016 Abstract Blind Date is a documentary film about a young woman from rural China named Chun Cao Zhao who is pressured into marriage through a tradition known as “blind dating.” The film begins in Guangzhou, a sprawling metropolis in Southern China, where she has been living for the past ten years, and is just days away from returning home for her wedding. As she slowly says goodbye to city life, the life she wants to keep, she reveals to the camera her feelings toward her fiancé, her thoughts on the impending wedding and her own struggles to find a boyfriend. As the film follows her back home we intimately witness the sacrifices she is forced to make in order to appease her parents and the greater instrument of Chinese culture. The film examines and contrasts contemporary China with traditional China and displays the varying roles of each gender in both rural and urban settings. The film concludes with her arranged marriage and a short follow-up with her new husband six months after the wedding. ii Acknowledgements Throughout the entire process of making this film I have several people to which I owe a tremendous amount of gratitude. Firstly, to my supervisor Barbara Evans, making this film was a long journey and it could not have been done without her patience, encouragement and unwavering support. -
Jeff Watson - Curriculum Vitae - Update: Saturday, September 24, 2011 - Page 1 of 8
Jeff Watson - Curriculum Vitae - Update: Saturday, September 24, 2011 - Page 1 of 8 Jeff Watson 1745 Winona Boulevard, #14 Los Angeles, CA 90027 (323) 384-7209 [email protected] twitter: @remotedevice http://remotedevice.net Areas of Interest Transmedia interaction design, mobile and environmental media, applied game design, participatory media, urban interventionist art practice, ice hockey Education PhD in Media Arts and Practice, University of Southern California, May 2012 (expected). Committee: Tara McPherson (chair), Steve Anderson, Scott Fisher, Tracy Fullerton, Henry Jenkins. Alliance Atlantis Film Residency, Canadian Film Centre, December 2005. M.F.A. in Film and Video, York University, May 2002. Advisor: Amnon Buchbinder. B.A. in English (Communications & Cultural Studies), McGill University, May 1997. Experience Director, Reality Ends Here, USC School of Cinematic Arts (USC Game Innovation Lab/ Institute for Multimedia Literacy). March 2011 - present. Researcher, Intel People and Practices Lab. Mobile media and civic engagement commission. February - April 2011. Research Assistant/Designer, USC Mobile and Environmental Media Lab. October 2008 - present. Research Assistant, USC Interactive Media Division. August - December 2010. Chair, IndieCade Big Games Exhibition. With Colleen Macklin. March - October 2010. Founder and Organizer, Pervasive and Environmental Gaming Los Angeles (PEG-LA). With Sarah Brin and Celia Pearce (Georgia Tech). June 2010 - present. [email protected] | twitter: @remotedevice | http://remotedevice.net Jeff Watson - Curriculum Vitae - Update: Saturday, September 24, 2011 - Page 2 of 8 Teaching Assistant, USC Institute for Multimedia Literacy. August 2009 - December 2010. Screenwriter and Filmmaker. Freelance. Clients, funders, and partners include Telefilm Canada, January Films, Canada Council for the Arts, BRAVO, and MuchMusic. January 1999 to July 2008. -
Reconfiguring Home Movies in Experimental Cinema Kelsey Haas a Thesis in the Mel Hoppenheim School of Cinema
Inherited Images: Reconfiguring Home Movies in Experimental Cinema Kelsey Haas A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements For the Degree of Masters of Art (Film Studies) at Concordia University Montreal, Quebec, Canada July 2013 © Kelsey Haas, 2013 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Kelsey Haas Entitled: Inherited Images: Reconfiguring Home Movies in Experimental Cinema and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film 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: ______________________________________ Chair Daniel Cross ______________________________________ Examiner Peter Rist ______________________________________ Examiner Rick Hancox ______________________________________ Supervisor Catherine Russell Approved by ______________________________________________________ Luca Caminati Graduate Program Director ______________________________________________________ Catherine Wild Dean of the Faculty of Fine Arts Date ______________________________________________________ ABSTRACT Inherited Images: Reconfiguring Home Movies in Experimental Cinema Kelsey Haas This thesis examines a subset of contemporary experimental filmmakers who incorporate their own home movies into their films and videos. Close analysis of Helen Hill’s Mouseholes (1999), Richard Fung’s Sea in the Blood (2000), Philip Hoffman’s What these Ashes Wanted (2001), and Jay Rosenblatt’s Phantom Limb (2005) reveals tensions between the private and public functions of home movies as well as key differences between the reconfigurations of home movies and the appropriation of found footage. When experimental filmmakers use home movies, it is often a means of confronting issues of memory; also, the filmmakers most often strive to preserve the home movies because of their personal connection to them. -
Blue Banner, Is Published Two Times Per Year
bbllue banner HAEL’S COLLEGE SC ST. MIC HOOL Volume 13 ~ Fall/Winter 2012 SPECIAL POLITICS ISSUE 16 Making Our Mark In Public Service 18 St. Mike’s and Party Politics 20 All Politics is Local lettersbb tol theu editore banner HAEL’S COLLEGE S ST. MIC CHOOL The St. Michael’s College School alumni magazine, Blue Banner, is published two times per year. It reflects the history, accomplishments and stories of graduates and its purpose is to promote collegiality, respect and Christian values under the direction of the Basilian Fathers. TABLE OF CONTENTS USEFUL WEBSITES PRESIDENT: Terence M. Sheridan ’89 Message from the President 4 St. Michael’s College School: www.stmichaelscollegeschool.com EDITOR: Gavin Davidson ’93 Message from the Alumni President 5 Blue Banner Online: www.mybluebanner.com CO-EDITOR: Michael De Pellegrin ’94 Letter from the Editor 6 Basilian Fathers: www.basilian.org CISAA (Varsity Athletic Schedule): www.cisaa.ca Tel: 416-653-3180 ext. 292 Fax: 416-653-8789 Letters to the Editor 7 Twitter: www.twitter.com/smcs1852 E-mail: [email protected] Alumni E-mail: [email protected] Open Letter to Alumni: Canada Publications Mail Agreement #40006997 One Mission, One Thousand Options 8 CONTACT DIRECTORY Welcoming the New Alumni Executive 9 CONTRIBUTING EDITORS Tel: 416-653-3180 ext. 292 Paul Forbes Retires After 36 Years and 29 Titles 10 Kimberley Bailey, Fr. Lawrence Hyginus ’00, Jillian Kaster, Pat Mancuso ’90, Richard McQuade, E-mail: [email protected] Rick Naranowicz ’73, Joe Younder ’56 A Major Renewal 12 Web: www.stmichaelscollegeschool.com • Admissions (ext. 195) Securing our Future by Giving Back 13 ALUMNI EXECUTIVE 2012-2015 • Advancement (ext. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Getting a on Transmedia
® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SPRING 2014 Getting a STATE OF SYN MAKES THE LEAP GRIon transmediaP + NEW RIVALRIES AT THE CSAs MUCH TURNS 30 | EXIT INTERVIEW: TOM PERLMUTTER | ACCT’S BIG BIRTHDAY PB.24462.CMPA.Ad.indd 1 2014-02-05 1:17 PM SPRING 2014 table of contents Behind-the-scenes on-set of Global’s new drama series Remedy with Dillon Casey shooting on location in Hamilton, ON (Photo: Jan Thijs) 8 Upfront 26 Unconventional and on the rise 34 Cultivating cult Brilliant biz ideas, Fort McMoney, Blue Changing media trends drive new rivalries How superfans build buzz and drive Ant’s Vanessa Case, and an exit interview at the 2014 CSAs international appeal for TV series with the NFB’s Tom Perlmutter 28 Indie and Indigenous 36 (Still) intimate & interactive 20 Transmedia: Bloody good business? Aboriginal-created content’s big year at A look back at MuchMusic’s three Canadian producers and mediacos are the Canadian Screen Awards decades of innovation building business strategies around multi- platform entertainment 30 Best picture, better box offi ce? 40 The ACCT celebrates its legacy Do the new CSA fi lm guidelines affect A tribute to the Academy of Canadian 24 Synful business marketing impact? Cinema and Television and 65 years of Going inside Smokebomb’s new Canadian screen achievements transmedia property State of Syn 32 The awards effect From books to music to TV and fi lm, 46 The Back Page a look at what cultural awards Got an idea for a transmedia project? mean for the business bottom line Arcana’s Sean Patrick O’Reilly charts a course for success Cover note: This issue’s cover features Smokebomb Entertainment’s State of Syn. -
Meditation Park
Presents MEDITATION PARK A film by Mina Shum (94 min., Canada, 2017) Language: English, Cantonese, Mandarin w/ English Subtitles Canadian Distribution International Sales 1352 Dundas St. West 1352 Dundas Street West Toronto, Ontario, Canada, M6J 1Y2 Toronto, Ontario, Canada, M6J 1Y2 Tel: 416-516-9775 Fax: 416-516-0651 Caroline Habib E-mail: [email protected] Tel: 416-516-9775 Ext. 221 www.mongrelmedia.com [email protected] Canadian & International Publicity Bonne Smith Star PR Tel: 416-488-4436 Twitter: @starpr2 E-mail: [email protected] @MongrelMedia MongrelMedia MEDITATION PARK LOGLINE & SYNOPSIS Devoted wife and mother, 60-year-old Maria Wang’s life is altered when she discovers an orange thong in her husband’s pants pocket, forcing her to confront how powerless she truly is. Her efforts to find out the truth send her on an unexpected journey of liberation. LONG SYNOPSIS East Vancouver: an immigrant mix, old and new. We witness Maria (60) hanging the laundry; we meet her neighbours, and see her exercising in the park with her charming soulful husband, Bing (65). Epic landscapes and the hint of loneliness. It’s Bing’s 65th birthday, and their grown daughter Ava (40s), her husband Jonathan (40s) and their biracial kids, baby Milly and Max (6), come home to honour him. Tipsy, Bing makes a heartfelt ode to his gal Maria, and is restrained and sweet. The day after, Maria is alone doing her usual tidying when she reaches into Bing’s suit pocket and discovers an orange g-string thong. We watch her reaction and her full range of emotions morphing between disbelief, shock, anger and fear. -
Journey to the Academy Awards: an Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY
Journey to the Academy Awards: An Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY FINDINGS By Caty Borum Chattoo, Co-Director, Center for Media & Social Impact American University School of Communication | Washington, D.C. February 2016 OVERVIEW For a documentary filmmaker, being recognized by the Academy of Motion Picture Arts & Sciences for an Oscar nomination in the Best Documentary Feature category is often the pinnacle moment in a career. Beyond the celebratory achievement, the acknowledgment can open up doors for funding and opportunities for next films and career opportunities. The formal recognition happens in three phases: It begins in December with the Academy’s announcement of a shortlist—15 films that advance to a formal nomination for the Academy’s Best Documentary Feature Award. Then, in mid-January, the final list of five official nominations is announced. Finally, at the end of February each year, the one winner is announced at the Academy Awards ceremony. Beyond a film’s narrative and technical prowess, the marketing campaigns that help a documentary make it to the shortlist and then the final nomination list are increasingly expensive and insular, from advertisements in entertainment trade outlets to lavish events to build buzz among Academy members and industry influencers. What does it take for a documentary film and its director and producer to make it to the top—the Oscars shortlist, the nomination and the win? Which film directors are recognized—in terms of race and gender? -
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. -
Peter Mettler
The End of Time A film by Peter Mettler 114 min, English, Digital (DCP, Blu-ray), Canada, 2012, DoCumentary FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] www.firstrunfeatures.Com/endoftime Synopsis "Recalling the work of Terrence Malick, Werner Herzog and the late Chris Marker" (Hollywood Reporter), Peter Mettler’s enthralling new film combines elements of documentary, essay, and experimental cinema to create a tour de force that challenges our conception of time — and perhaps the very fabric of our existence. With stunning cinematography and a knack for capturing astonishing moments, The End of Time travels the planet — from the CERN particle accelerator outside Geneva to the lava flows of Hawaii; from a disintegrating Detroit where Henry Ford Built his first factory to the tree where Buddha was enlightened. Both mind-expanding and eerily familiar, Mettler's provocative film explores the links between renewal and destruction, between primordial mysticism and the furthest reaches of modern science, giving the viewer a transcendent cinematic experience. Praise for The End of Time "Recalling the work of Terrence Malick, Werner Herzog and the late Chris Marker...THE END OF TIME Becomes immersive and hypnotic...a ravishingly Beautiful experience." – Stephen Dalton, The Hollywood Reporter "A work of vision...A gloBe-trotting cine-essay about time...poetic and lovely." – Adam Nayman, POV "Mettler's trippy -
Truth Commission Discourse and the Aesthetics of Reconciliation
LCH0010.1177/1743872115603665Law, Culture and the HumanitiesVallee 603665research-article2015 LAW, CULTURE AND THE HUMANITIES Article Law, Culture and the Humanities 1 –16 Truth Commission Discourse © The Author(s) 2015 Reprints and permissions: and the Aesthetics of sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1743872115603665 Reconciliation lch.sagepub.com Mickey Vallee University of Lethbridge, Canada Abstract Truth Commissions have come to be regarded as a turning point for post-conflict and post- authoritarian states in transition. In this article, I argue that truth commission testimony, broadly defined to include artistic, cultural, and media productions, must be experienced as forms of affective materiality over discursive inscription. Using as an instrumental case study the Truth and Reconciliation Commission of Canada (2008–2015), I conceptualize testimony as a necessary re-fictionalization of the past, present, and future of a nation. The truth commission discourse, especially in Canada, works to protect the perpetrators by (1) disallowing their identities from entering into the public record, and (2) creating bystanders out of those perpetrators that allows for an innocent and ineffective witnessing. The push for forgiveness harnesses an imperative for truth commissions to idealize and idolize the emotional moment of testimony. It is imperative to resist the spectacle of confession and testimony. But the witness must not be discarded. The witness must be found in those cultural institutions beyond truth commission events to include the aesthetics of reconciliation. Keywords Truth and Reconciliation Commission of Canada; transitional justice; testimony; voice I. Inarticulate Voice This research originated in the classroom. It grows from a course in social problems I teach at the University of Lethbridge, traditional land of the Kaínaí Indian Reserve No.