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FALLEN MASTERS by MAURIE ALIOFF by Exorcist—Mania, the Wicker Man Tanked at the Box Office
The Cinar story began with a horror movie. Soon after meeting for the first time in New Orleans in the early 1970s, company founders Micheline Charest and Ron Weinberg happened to see the now legendary British picture, The Wicker Man. Impressed by the film's strange power, the two movie lovers also saw an opportunity in it. Written by Anthony Shaffer (Sleuth, Frenzy), and directed by one—shot wonder Robin Hardy, The Wicker Man cooks up a delirious alternate reality that feels like it was made under the influence of a witch's spell. The story focuses on a police investigator (Edward Woodward), who travels to a remote Scottish island where he discovers that the local people, among them an aris- tocrat played by Christopher Lee, are devo- tees of a neo—pagan cult. The oddly named Sergeant Howie, a strictly orthodox Christian who intends to remain a virgin until his wedding night, is horrified by the island's un—Christian hedonism. Released in England on a double bill with Nicolas Roeg's Don't Look Now, and swamped FALLEN MASTERS BY MAURIE ALIOFF by Exorcist—mania, The Wicker Man tanked at the box office. Charest and Weinberg picked up the rights from Warner Bros., stashed a print in their car trunk and travelled the midnight—movie circuit. The Quebecoise (Charest) and the New Yorker (Weinberg) helped turn a unique film into a cult item and for their efforts netted about $250,000. Ironically, the couple's even- tual rise and fall, from hugely successful producers and distributors of wholesome children's shows to industry outcasts accused of fraud, originated with a story about moral righteousness destroyed by amoral devotion to the material world. -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Chapter 3 Heroines in a Time of War: Nelvana of the Northern Lights And
Chapter 3 Heroines in a Time of War: Nelvana of the Northern Lights and Wonder Woman as Symbols of the United States and Canada Scores of superheroes emerged in comic books just in time to defend the United States and Canada from the evil machinations of super-villains, Hitler, Mussolini, and other World War II era enemies. By 1941, War Nurse Pat Parker, Miss America, Pat Patriot, and Miss Victory were but a few of the patriotic female characters who had appeared in comics to fight villains and promote the war effort. These characters had all but disappeared by 1946, a testament to their limited wartime relevance. Though Nelvana of the Northern Lights (hereafter “Nelvana”) and Wonder Woman first appeared alongside the others in 1941, they have proven to be more enduring superheroes than their crime-fighting colleagues. In particular, Nelvana was one of five comic book characters depicted in the 1995 Canada Post Comic Book Stamp Collection, and Wonder Woman was one of ten DC Comics superheroes featured in the 2006 United States Postal Service (USPS) Commemorative Stamp Series. The uniquely enduring iconic statuses of Nelvana and Wonder Woman result from their adventures and character development in the context of World War II and the political, social, and cultural climates in their respective English-speaking areas of North America. Through a comparative analysis of Wonder Woman and Nelvana, two of their 1942 adventures, and their subsequent deployment through government-issued postage stamps, I will demonstrate how the two characters embody and reinforce what Michael Billig terms “banal nationalism” in their respective national contexts. -
Olympusat Lands Content Partnership Agreement with Cookie Jar Entertainment
For Immediate Release: Olympusat Lands Content Partnership Agreement with Cookie Jar Entertainment Business Expansion and new Programming to ¡Sorpresa! - Their 24/7 Spanish-language Children’s Network April 19, 2012 –West Palm Beach, FL – Olympusat, Inc., the country’s market leader in the development and distribution of independent Hispanic, Specialty, and Faith & Family television networks, announced today that they have signed a partnership with Cookie Jar Entertainment, a global leader in children and family entertainment, for both expanded business in the US and in Latin America as well as to carry their Spanish-language content on ¡Sorpresa!, Olympusat’s 24/7 Spanish-language children’s network. This partnership will add a portfolio of new series to ¡Sorpresa!’s existing and future lineups. Through this agreement, Olympusat will also have access to Cookie Jar’s library of over 6,000 titles, including current favorites and the classic hit series The Busy World of Richard Scarry and Mary Kate and Ashley: In Action. These leading titles among others are dubbed in Spanish. “Our partnership with Olympusat is a powerful reminder that the strength of Cookie Jar's library serves as the backbone to channels like Olympusat's ¡Sorpresa!,” said Toper Taylor, President & COO of Cookie Jar Entertainment. “We have hit series that have aired over thirty years in 160 countries. With this Olympusat deal, ¡Sorpresa! now enjoys access to the rocket fuel necessary to support the channel’s existing audience and growing distribution.” “We are very pleased -
Nelvana a All P
FEA TURE lsons Ne f o tesy r ou c tos ho Nelvana a All p , Michael Hirsh Patrick Loubert Clive Smith In 1971, when three some of the finest animated rotting away." The three got young men decided to in- and children's live-action hold of the books and acquired corporate themselves into a shows in the world. the rights to them. The CBC film company called Nelvana, helped to finance a docu- the commercial cinema scene The three first met in the late mentary on an interesting was far different than it is 1960s, a time well remem- moment in Canadian popular today in Canada. Very few bered for its funky, rebellious history; Peter Martin and features were being made in attitudes. Hirsh and Loubert Associates came on as a this country, much less started a small production firm publisher of a coffee-table Toronto, and the occasional called Laff Arts with a business book on Johnny Canuck, independently produced tele- card portraying a man in a suit Nelvana and their cohorts; and vision show created here was on the front; when the card the National Gallery of Canada rarely broadcast interna- was flipped over onto its back, agreed to support a two-year tionally. Michael Hirsh and he had dropped his pants. travelling tour of the comic Patrick Loubert, two York Hirsh admits now, "Toronto book art. These successes University graduates with a wasn't ready for that kind of helped to establish the trio. As taste for underground film- humour." The designer of the a tip of the hat to the project, making, and Clive Smith, a card was Clive Smith. -
Truth, Justice, and the Canadian Way: the War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario
Truth, Justice, and the Canadian Way: The War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario 148 What might be called the “First Age of Canadian Comics”1 began on a consum- mately Canadian political and historical foundation. Canada had entered the Second World War on September 10, 1939, nine days after Hitler invaded the Sudetenland and a week after England declared war on Germany. Just over a year after this, on December 6, 1940, William Lyon MacKenzie King led parliament in declaring the War Exchange Conservation Act (WECA) as a protectionist measure to bolster the Canadian dollar and the war economy in general. Among the paper products now labeled as restricted imports were pulp magazines and comic books.2 Those precious, four-colour, ten-cent treasure chests of American culture that had widened the eyes of youngsters from Prince Edward to Vancouver Islands immedi- ately disappeared from the corner newsstands. Within three months—indicia dates give March 1941, but these books were probably on the stands by mid-January— Anglo-American Publications in Toronto and Maple Leaf Publications in Vancouver opportunistically filled this vacuum by putting out the first issues of Robin Hood Comics and Better Comics, respectively. Of these two, the latter is widely considered by collectors to be the first true Canadian comic book becauseRobin Hood Comics Vol. 1 No. 1 seems to have been a tabloid-sized collection of reprints of daily strips from the Toronto Telegram written by Ted McCall and drawn by Charles Snelgrove. Still in Toronto, Adrian Dingle and the Kulbach twins combined forces to release the first issue of Triumph-Adventure Comics six months later (August 1941), and then publisher Cyril Bell and his artist employee Edmund T. -
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• In which the author meets three wise alie·ns and their Bionic Pet . , BY ROBERT THOMAS· ALLEN ' At 7:30 next Tuesday evening in Can one of those and one of those and one of ada, Wednesday in the United States, those'' (Mother: ''Isn't she terrible?"); TV viewers will see a Canadian-made stately organ music when the three . animated film called A CosmicChristntas, aliens step out of their craft, and one a lively modern fairy tale that includes walks over and tries to shake hands with enough science fiction to fascinate the a tree : •·we are equipped to identify, kids. spoofs it enough to amuse their comprehend and speak all languages parents, and combines it with an old known. Hello. How do you do? I am time Christmas here on earth, with fine.'' rousing all-out carols and some lovely And there's a great dance by Peter's ·music composed and sung by Sylvia pet goose, Lucy, who wears a little,-wool Tyson. Animated-film fans who haven't toque, and a sort of Bionic Pet, a friendly missed a major cartoon since the heyday little fell ow built like a cordless electric of Disney ' consider .it one of the best, if razor, the two of them doing a Shu.tfle not the best, ever to have been made in Off to Buffalo r.outine to old-time thump Canada. ing flon~y-tonk piano music. I've never beep much of an animated In one scene, Peter and Lucy hike out cartoon fan and when I'd first heard of into a moody winter forest and slide Cosmic Christnws I'd had visions of all around on some · thin ice, and this is the things that, in the old days before pretty much what the producers of A smoking in theatres, used · to send me Cosn,ic Christmas_, Michael Hirsh and he ,nen M-'hon1ade A Cosmi c Christmas can relax no~,;rhe b ailiff is not at the out to the lobby for a last cigarette before Patrick Loubert, did throughout the door.Clocktt•ise.f rom top right. -
2013 CANADIAN SCREEN AWARDS Television Nominations
2013 CANADIAN SCREEN AWARDS Television Nominations Best Animated Program or Series Almost Naked Animals YTV (Corus) (9 Story Entertainment Inc.) Vince Commisso, Tanya Green, Tristan Homer, Steven Jarosz, Noah Z. Jones Jack TVO (TVOntario) (PVP Interactif / Productions Vic Pelletier, Spark Animation -Wong Kok Cheong) François Trudel, Wong Kok Cheong, Vincent Leroux, Vic Pelletier Producing Parker TVtropolis (Shaw Media) (Breakthrough Entertainment) Ira Levy, Jun Camerino, Laura Kosterski, Peter Williamson Rated A for Awesome YTV (Corus) (Nerd Corps Entertainment) Ace Fipke, Ken Faier, Chuck Johnson Best Breaking News Coverage PEI Votes CBC (CBC) (CBC PEI) Julie Clow, Mark Bulgutch, Sharon Musgrave CBC News Now: Gadhafi Dead CBC (CBC) (CBC News) Nancy Kelly, Tania Dahiroc, Rona Martell Eaton Centre Shooting Citytv (Rogers) (Citytv) Kathleen O'Keefe, Irena Hrzina, James Shutsa, Kelly Todd CBC News Now: Jack Layton's Death CBC (CBC) (CBC) Jennifer Sheepy, Layal El Abdallah, Paul Bisson, Gerry Buffett, Patricia Craigen, Seema Patel, Marc Riddell, Bill Thornberry Global National - Johnsons Landing Slide Global TV (Shaw Media) (Global National) Doriana Temolo, Mike Gill, Bryan Grahn, Francis Silvaggio, Shelly Sorochuk Best Breaking Reportage, Local CBC News Ottawa at 5, 5:30, 6:00 - School Explosion CBC (CBC) (CBC Ottawa) Lynn Douris, Omar Dabaghi-Pacheco, Marni Kagan CBC News Toronto - CBC News Toronto - Miriam Makashvili CBC (CBC) (CBC Television) John Lancaster, Nil Koksal Best Breaking Reportage, National CBC News The National - Reports -
Affidavit of Claude Robinson Feb
500-09-020033-098 QUÉBEC COURT OF APPEAL (Montréal) On appeal from a judgment of the Superior Court, District of Montréal, rendered on August 26, 2009 by the Honourable Mr. Justice Claude Auclair. _______ No. 500-09-020033-098 C.A.M. – 500-05-021498-967 S.C.M. CINAR PRODUCTION LES FILMS CINAR INC. APPELLANTS (defendants) v. CLAUDE ROBINSON LES PRODUCTIONS NILEM INC. RESPONDENTS (plaintiffs) - and - FRANCE ANIMATION S.A. CHRISTOPHE IZARD RAVENSBURGER FILM + TV Gmbh RTV FAMILY ENTERTAINMENT AG RONALD A. WEINBERG CHRISTIAN DAVIN PETER HILLE BBC WORLDWIDE TELEVISION THERESA PLUMMER-ANDREWS HÉLÈNE CHAREST McRAW HOLDINGS INC. MIS-EN-CAUSE (defendants) RONALD WEINBERG ès qualités Liquidator of the Estate of Micheline Charest MIS-EN-CAUSE (defendant in continuance of suit) VIDEAL GESELLSCHAFT ZUR HERTELLUNG VON AUDIOVISUELLEN PRODUKTEN MHB 3918203 CANADA INC. MIS-EN-CAUSE (mis-en-cause) APPELLANTS’ FACTUM AND SCHEDULE Henri A. Lafortune Inc. 2005 Limoges Street Tel. 450 442-4080 Longueuil, Québec Fax 450 442-2040 J4G 1C4 [email protected] www.halafortune.ca - 2 - Me William Brock, Ad.E. Me Cara Cameron Me Christine Aubé-Gagnon Davies Ward Phillips & Vineberg LLP 26th Floor 1501 McGill College Avenue Montréal (Québec) H3A 3N9 Tel. : 514 841-6400 Fax : 514 841-6499 [email protected] [email protected] [email protected] Counsel for appellants Cinar Corporation, Les Films Cinar inc. and 3918203 Canada inc. Me Florence Lucas Me Francine Martel Me Jeanne Tugault-Lafleur Gowling Lafleur Henderson LLP 37th Floor 1 Place Ville-Marie Montréal (Québec) H3B 3P4 Tel. : 514 392-9590 Fax : 514 878-1450 [email protected] [email protected] [email protected] Counsel for respondents Claude Robinson and Les Productions Nilem inc. -
Proceedings of the World Summit on Television for Children. Final Report.(2Nd, London, England, March 9-13, 1998)
DOCUMENT RESUME ED 433 083 PS 027 309 AUTHOR Clarke, Genevieve, Ed. TITLE Proceedings of the World Summit on Television for Children. Final Report.(2nd, London, England, March 9-13, 1998). INSTITUTION Children's Film and Television Foundation, Herts (England). PUB DATE 1998-00-00 NOTE 127p. AVAILABLE FROM Children's Film and Television Foundation, Elstree Studios, Borehamwood, Herts WD6 1JG, United Kingdom; Tel: 44(0)181-953-0844; e-mail: [email protected] PUB TYPE Collected Works - Proceedings (021) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS Children; *Childrens Television; Computer Uses in Education; Foreign Countries; Mass Media Role; *Mass Media Use; *Programming (Broadcast); *Television; *Television Viewing ABSTRACT This report summarizes the presentations and events of the Second World Summit on Television for Children, to which over 180 speakers from 50 countries contributed, with additional delegates speaking in conference sessions and social events. The report includes the following sections:(1) production, including presentations on the child audience, family programs, the preschool audience, children's television role in human rights education, teen programs, and television by kids;(2) politics, including sessions on the v-chip in the United States, the political context for children's television, news, schools television, the use of research, boundaries of children's television, and minority-language television; (3) finance, focusing on children's television as a business;(4) new media, including presentations on computers, interactivity, the Internet, globalization, and multimedia bedrooms; and (5) the future, focusing on anticipation of events by the time of the next World Summit in 2001 and summarizing impressions from the current summit. -
Financial Reporting Frauds: a Manifestation of Hubris in the C-Suite? Some Exploratory Evidence
Cahier de recherche 2013-02 Financial Reporting Frauds: A Manifestation of Hubris in the C-Suite? Some Exploratory Evidence Michel Magnan John Molson School of Business Concordia University 1455 de Maisonneuve West Montreal, Quebec, CANADA H3G 1M8 Denis Cormier Department of Accountancy UQAM C.P. 8888, Down Town Station Montreal, Quebec, CANADA Pascale Lapointe-Antunes Department of Accounting Goodman School of Business Brock University 500, Glenridge Avenue St. Catharines, Ontario, CANADA, L2S 3A1 The authors acknowledge receiving financial support from Autorité des marches financiers, the Chair in Performance Reporting and Disclosure (UQAM), the Lawrence Bloomberg Chair in Accountancy (Concordia), the Social Sciences and Humanities Research Council of Canada, FQRSC (Quebec) and the CA/Brock University Institute for International Issues in Accounting. We thank workshop participants at Brock University, York University, Concordia University, HEC Paris, UQAM, University of Padova, University of Rennes I, ESSEC and Ivey (University of Western Ontario) for their comments and suggestions, especially Antonio Parbonetti, Sophie Audousset-Coulier, Marion Brivot, Claudine Mangen, Tim Fogarty and Darlene Bay. All usual caveats apply. Financial Misreporting: A Manifestation of Hubris in the C-Suite? Some Exploratory Evidence Abstract In this paper, we investigate if and how a firm’s managerial, governance and market oversight attributes relate with a propensity to financial misreporting. Our sample comprises both firms for which there was a regulatory allegation of financial misreporting accompanied by fines as well as firms matched on industry and size with no evidence of misreporting. Our findings suggest that proxies for managerial hubris (active mergers and acquisitions strategy, complex corporate structure, top-rated managers) fed by fawning media and financial analysts, may be a potential driver of financial misreporting. -
AWNMAG5.05 Cover
Table of Contents AUGUST 2000 VOL.5 NO.5 5 Editor’s Notebook Go Web Young (Wo)Man, Go Web 7 Letters: [email protected] InternetCOMIC BOOKS Animation 8 Your Move… Jacquie Kubin looks at how and why packaged gaming companies are adding on-line elements to their business plans. 12 Alter-Net-ive Worlds How would the world of animation be different if instead of being a new tool the Web was an old one? Get ready for some pretty wild “classics.” Martin “Dr. Toon” Goodman takes us theorizing… 16 The Aesthetics of Internet Animation Think Web tools are restrictive creatively? Think again! Chris Lanier, creator of Wildbrain’s Romanov, explains why, in the vein of comics, they are actually a source of freedom. 2000 20 Is There Life Beyond Flash? Flash is the leading tool for Internet animation, but there are a few other options for production and augmentation. Here industry leaders reveal their secrets from high tech 3D software to good, old-fashioned talent. 23 Getting Started On-Line So you want to get into this Internet game? Two of AtomStudios’ animators, Kwesi Ako Kennedy and James Dalby, not only tell you how, but offer tips for success. ComputerADULT ANIMATION Animation 25 Vancouver’s Mainframe Entertainment Since their first 3D CGI television show, the groundbreaking Reboot, Mainframe Entertainment has been producing quality children’s television. Don Perro goes for a tour and finds they are working on more than television now. 29 Writing for CGI:A Talk With Ian Boothby UGUST Ian Boothby, co-writer of Casper’s Haunted Christmas, gives us some insight on the pitfalls and joys of writing for CGI.