Canada's 150 Definitive Works
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The State of Quebec
le cinema quebecois the state of quebec Quebec is at a crossroads, and the deci sions - both federal and provincial - which will be made in the coming months are crucial. Taking stock of the situation of feature filming in the province, Jean-Pierre Tadros traces a sombre portrait. by Jean-Pierre Tadros The election of the Parti Quebecois has created a sort of been given. It remains to be seen whether the government 'before and after' effect, a temptation to evaluate what had can and will take the proper steps to help the industry out come before in order to better measure what is to come of its economic and spiritual depression. Perhaps it is al afterwards. One would like to look back and say that the ready too late. state of cinema in Quebec on November 15 was strong and For the last few years, there's been an uneasy feeling, healthy, that the directors and producers, not to mention the sense of something going wrong. The 'cinema' milieu the technicians, were in good form. Alas! Nothing could be reflected the malaise which ran through Quebec and which, farther from the truth. To be fair, le cinema quebecois finally, brought in the new government. Perhaps it should is still struggling along but its condition has become have been expected that a generation which was brought up critical. The months ahead will tell whether the illness is during the 'quiet revolution' would have grown up thinking terminal. big. Too big! La folic des grandeurs. Quebec's cinema was to pay dearly for trying to embody those dreams. -
Claude Jutra Filmographie Et Témoignages D EZE RO COPIEIIRC 3| E Z I RC D I= 7 E R O
SEPTEMBRE 1987 • NO 33 Claude Jutra filmographie et témoignages D EZE RO C O PIEIIRC 3| E z i RC d i = 7 E R O Direction:/ / Pierre Jutras, Pierre Véronneau. Remerciements pour leur collaboration spé ciale: Louise Beaudet, Jacques Blanchette, Toute reproduction (textes ou photos) est interdite sans autorisation de l’éditeur. Gisèle Côté, Marc-Antoine Daudelin, Carmelle Les auteurs conservent l’entière responsabilité de leurs textes et ne représentent pas nécessairement les opinions de la revue. Gaudet, Luc Gauvreau, Suzanne Guèvremont, COPIE ZÉRO est publié par la Cinémathèque québécoise avec l’aide du Ministère des Affaires culturelles du Québec Gilles Janson, Lucie Joyal, Mimi Jutras, Jacques et du Conseil des Arts du Canada. * * * * * * COPIE ZÉRO est membre de l’Association des éditeurs de périodiques culturels québécois et est distribué par Diffu Larocque, Nicole Laurin, Bernard Lutz, D. John sion Parallèle. Tumer. Composition et impression: Les Presses Solidaires. Dépôt légal: Bibliothèque nationale du Québec. Troisième trimestre 1987. ISSN 0709-0471. Et un merci particulier à tous les auteurs des Courrier de deuxième classe. Enregistrement no: 1688 textes qui figurent dans ce numéro. COPIE ZÉRO est indexé dans l’International Index to Film Periodicals publié par la Fédération internationale des Archives du Film et dans le Film Literature Index. Choix des photos: Alain Gauthier. Adresse: COPIE ZÉRO Conception graphique: Andrée Brochu. Cnémfhèque québéco^^^^^^HjjH 335, boulevard de Maisonneuve est Montréal, Québec H2X 1 Kl - Tél. (514) 842-9763 m m m m m m m m m j „ i.V - ’jF ' - - . ,,-^ÊÊÊJÊÊSSÈÊËÊki^.. En couverture: Claude Jutra. Photo Guy Schiele, 1979 En couverture dos: Photogramme de PIERROT DES BOIS Intérieur de la couverture dos: Photo Paul Gélinas. -
A Film by DENYS ARCAND Produced by DENISE ROBERT DANIEL LOUIS
ÉRIC MÉLANIE MELANIE MARIE-JOSÉE BRUNEAU THIERRY MERKOSKY CROZE AN EYE FOR BEAUTY A film by DENYS ARCAND Produced by DENISE ROBERT DANIEL LOUIS before An Eye for Beauty written and directed by Denys Arcand producers DENISE ROBERT DANIEL LOUIS THEATRICAL RELEASE May 2014 synopsis We spoke of those times, painful and lamented, when passion is the joy and martyrdom of youth. - Chateaubriand, Memoirs from Beyond the Tomb Luc, a talented young architect, lives a peaceful life with his wife Stephanie in the stunning area of Charlevoix. Beautiful house, pretty wife, dinner with friends, golf, tennis, hunting... a perfect life, one might say! One day, he accepts to be a member of an architectural Jury in Toronto. There, he meets Lindsay, a mysterious woman who will turn his life upside down. AN EYE FOR BEAUTY | PRESS KIT cast Luc Éric Bruneau Stéphanie Mélanie Thierry Lindsay Melanie Merkosky Isabelle Marie-Josée Croze Nicolas Mathieu Quesnel Roger Michel Forget Mélissa Geneviève Boivin-Roussy Karine Magalie Lépine-Blondeau Museum Director Yves Jacques Juana Juana Acosta Élise Johanne-Marie Tremblay 3 AN EYE FOR BEAUTY | PRESS KIT crew Director Denys Arcand Producers Denise Robert Daniel Louis Screenwriter Denys Arcand Director of Photography Nathalie Moliavko-Visotzky Production Designer Patrice Bengle Costumes Marie-Chantale Vaillancourt Editor Isabelle Dedieu Music Pierre-Philippe Côté Sound Creation Marie-Claude Gagné Sound Mario Auclair Simon Brien Louis Gignac 1st Assistant Director Anne Sirois Production manager Michelle Quinn Post-Production Manager Pierre Thériault Canadian Distribution Les Films Séville AN EYE FOR BEAUTY | PRESS KIT 4 SCREENWRITER / DIRECTOR DENYS ARCAND An Academy Award winning director, Denys Arcand's films have won over 100 prestigious awards around the world. -
DOCUMENT RESUME ED 299 948 IR 013 461 TITLE TV Tips for Parents
DOCUMENT RESUME ED 299 948 IR 013 461 TITLE TV Tips for Parents: Using Television To Help Your Child Learn. INSTITUTION Corporation for Public Broadcasting, Washington, D.C. PUB DATE 88 NOTE 24p. PUB TYPE Guides - Non-Classroom Use (055) -- Reports - Descriptive (141) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Commercial Television; *Latchkey Children; Mathematics; *Parent Child Relationship; *Parent Teacher Cooperation; Programing (Broadcast); *Public Television; Reading; *Television Viewing; Writing (Composition) ABSTRACT Recognizing that children watch an average of 25 hours of television per week, this booklet is designed to help parents redirect their children's television viewing to higher quality programs. Ten "tips" are provided to help parents guide their children's television (TV) viewing: (1) set your child's TV schedule; (2) get involved (in the child's viewing); (3) don't be concerned if children of differing ages will be watching at the same time, as they can help each other learn; (4) make public TV a "special friend" for children who are at home alone; (5) consult your child's teacher and other available resources; (6) use TV to spur an interest in reading; (7) use TV to promote writing; (8) help your child explore the world, on-screen and off; (9) help children see math as fun and practical; and (10) set your own pace for family involvement. A list of children's series available on public television is included. (EW) Reproductions supplied by EDRS are the best that can be made from the original document. U S. DEPARTMENT OF EDUCATION Ofha of EducatbwmResearch and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) ATLAS document has been reproduced as received from the person or organization oronetunp it Minor changes nave been made to improve reproduction Quality Points of view or opinions stated in this docu mn, no not necessarily represent official OERI position or policy TV,0N* r,0% Tips for Laica Parents Using Television To Help Your Child Learn I "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY P.C. -
Francis Mankiewicz
francis mankiewicz to berlin with love by joan irving It is a fight to the finish, but the following interviews with director Francis Mankiewicz, and producers Marcia Couelle and Claude Godbout suggest that they may be winning with their film Les bons debarras (Good Rid dance), selected to represent Canada at the 1980 Berlin Film Festival. Director of Les bons debarras, Francis Mankiewicz with Marie Tifo — pointing the way to Berlin! Cinema Canada/11 really didn't know what to think of it, so 1 of my universe. You might find something The year 1980 marks a revival in just set it aside while I finished the other for yourself in it.' Quebecois films. Following the slump of film. But 1 found that 1 was continually the late-seventies — when directors like thinking of Le bons debarras. There was Cinema Canada: It is surprising how Claude Jutra, Gilles Carle, Francis Man •something in that script that haunted me. much in Les bons debarras resembles kiewicz, and others, left Montreal to work At the time there were a lot of opportu the world you created in Le temps d'une in Toronto— several directors, including nities to work in Toronto. What brought chasse. Carle, Mankiewicz, Jean-Claude Labrec- me back to Quebec was Rejean's script. Francis Mankiewicz: It would be difficult que, Andre Forcier and Jean-Guy Noel for me to direct a film in which I didn't find are now completing new features. First to Cinema Canada: Ducharme has pub something I could feel close to. The be released is Mankiewicz's Les bons de lished several novels, but this was his first resemblance is partly style, but mostly, I barras (Good Riddance). -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
Cinemati • TRADE NEWS • Full Implementation of Law Due in 0C Private Labs Suffer From
CINEMAti • TRADE NEWS • Full Implementation of law due in 0C Private labs suffer from MONTREAL - By the end of gross; and the factors which Once the regulations are ap NF B IT Fproductions October, the Quebec Cabinet should determine the 'house proved, the Cabinet will then 15 projects since the begin is expected to have approved nut' or the cost of operating a promulgate the articles of the MONTREAL - Figures recently the final version of the regula theatre. law which are pertinent. released by the National Film ning of the Broadcast Fund for tions of the Cinema Law. Ap Guerin does not foresee any Board to Sonolab's president budgets totalling 532,528,000. proval of the 140 articles of the parts of the law being set aside, Andre Fleury reveal for the Of this amount, the NFB spent regulations will permit prom For articles concerning film and commented that the first time the ventilation of in $4,399,000 internally on tech ulgation of the remaining arti distribution as defined in the cinema dossier is one of the vestments made by the NFB on nical services while it spent cles of the law which was pass regulations see page 44, minister's priorities. Richard productions involving Telefilm only 565,000 on the same ser ed by the National Assembly has already announced that he Canada and are sure to fuel the vices in the private sector. on June 22, 1983. will not stand for re-election, long-standing battle involving Emo explains in her letter to The final, public consulta Other briefs presented at the but has promised to see the the Board and the private-sec Fleury that the Board's policy tion on the regulations took hearings dealt with video-cas Cinema Law completed before tor service houses. -
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. -
Graeme Ferguson
Ontario Place - home of IMAX Ferguson: It's a film about what it's hke film in Cinesphere? to join the circus, to be a Ferguson: Not for the pubhc. We'll Graeme performer in the circus. The film is pro probably be doing our pre duced and directed by my partner views there. It's the only existing theatre Roman Kroitor, and will probably be Ferguson called "This Way to the Big Show." where we can look at an IMAX film. Ques: Will IMAX be part of all world Ques: Did he use actors in the fUm? — by Shelby M. Gregory and Phyllis Expos to come? Wilson. Ferguson: No, he used only circus per Ferguson: There is an Expo taking place sonnel. Roman took the cam Graeme Ferguson is the Director- in Spokane in 1974, and the era right into the circus, and filmed Cameraman-Producer of "North of United States PaviUon will feature an during actual performances. It was very Superior". He is also president of Multi- IMAX theatre. Screen Corporation Limited, located in difficult because they could only get Gait-Cambridge, Ontario (developers of about two or three shots in any one Ques: Are they paying for the produc IMAX). performance. tion of a film? Ques: Was this filmed with the standard Ferguson: Yes, Paramount Pictures is Ques: What have you been doing since IMAX camera? producing, and Roman and I North of Superior? are involved. Ferguson: Yes, John Spotton was the Ferguson: We're just finishing a film for cameraman. Eldon Rathburn, Ques: Is it a feature film? Ringhng Brothers and Bar- who did the music for Labyrinth, is num and Bailey. -
9. IMAX Technology and the Tourist Gaze
Charles R. Acland IMAX TECHNOLOGY AND THE TOURIST GAZE Abstract IMAX grew out of the large and multiple screen lm experiments pro- duced for Expo ’67 in Montréal. Since then, it has become the most suc- cessful large format cinema technology.IMAX is a multiple articulation of technological system, corporate entity and cinema practice. This article shows how IMAX is reintroducing a technologically mediated form of ‘tourist gaze’, as elaborated by John Urry,into the context of the insti- tutions of museums and theme parks. IMAX is seen as a powerful exem- plar of the changing role of cinema-going in contemporary post-Fordist culture, revealing new congurations of older cultural forms and practices. In particular,the growth of this brand of commercial cinema runs parallel to a blurring of the realms of social and cultural activity,referred to as a process of ‘dedifferentiation’. This article gives special attention to the espistemological dimensions of IMAX’s conditions of spectatorship. Keywords cinema; epistemology; postmodernism; technology; tourism; spectatorship Technologies and institutional locations of IMAX N E O F T H E rst things you notice at the start of an IMAX lm, after the suspenseful atmosphere created by the mufed acoustics of the theatre, andO after you sink into one of the steeply sloped seats and become aware of the immense screen so close to you, is the clarity of the image. As cinema-goers, we are accustomed to celluloid scratches, to dirty or dim projections, and to oddly ubiquitous focus problems. The IMAX image astonishes with its vibrant colours and ne details. -
May 6–15, 2011 Festival Guide Vancouver Canada
DOCUMENTARY FILM FESTIVAL MAY 6–15, 2011 FESTIVAL GUIDE VANCOUVER CANADA www.doxafestival.ca facebook.com/DOXAfestival @doxafestival PRESENTING PARTNER ORDER TICKETS TODAY [PAGE 5] GET SERIOUSLY CREATIVE Considering a career in Art, Design or Media? At Emily Carr, our degree programs (BFA, BDes, MAA) merge critical theory with studio practice and link you to industry. You’ll gain the knowledge, tools and hands-on experience you need for a dynamic career in the creative sector. Already have a degree, looking to develop your skills or just want to experiment? Join us this summer for short courses and workshops for the public in visual art, design, media and professional development. Between May and August, Continuing Studies will off er over 180 skills-based courses, inspiring exhibits and special events for artists and designers at all levels. Registration opens March 31. SUMMER DESIGN INSTITUTE | June 18-25 SUMMER INSTITUTE FOR TEENS | July 4-29 Table of Contents Tickets and General Festival Info . 5 Special Programs . .15 The Documentary Media Society . 7 Festival Schedule . .42 Acknowledgements . 8 Don’t just stand there — get on the bus! Greetings from our Funders . .10 Essay by John Vaillant . 68. Welcome from DOXA . 11 NO! A Film of Sexual Politics — and Art Essay by Robin Morgan . 78 Awards . 13 Youth Programs . 14 SCREENINGS OPEning NigHT: Louder Than a Bomb . .17 Maria and I . 63. Closing NigHT: Cave of Forgotten Dreams . .21 The Market . .59 A Good Man . 33. My Perestroika . 73 Ahead of Time . 65. The National Parks Project . 31 Amnesty! When They Are All Free . -
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.