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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
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. -
Film Studies (FILM) 305.10 - Lecture 01 Canadian Documentary Film Fall 2011 Lecture Wednesday 14:00 - 15:50 Lab 01 Friday 14:00 – 16:50
Film Studies (FILM) 305.10 - Lecture 01 Canadian Documentary Film Fall 2011 Lecture Wednesday 14:00 - 15:50 Lab 01 Friday 14:00 – 16:50 Dr. Brian Rusted Instructor: Office Location: SS-340 Office Phone: 220-7766 E-Mail: [email protected] Office Hours: Monday 14:00-16:00, or by appointment Additional Information Some films screened for this course may contain content that is sexually explicit, emotionally disturbing, or offensive. Please feel free to discuss this with the instructors if you have concerns. Students may find the need to attend and pay for films screened off campus in order to complete some of the assignments for this course. Course Description The course explores the contributions of Canadian filmmakers to the development of the documentary genre. Particular emphasis will be given to the history and evolution of films produced by the National Film Board with attention to the work of directors such as Colin Low, Michael Rubbo, Alanis Obomsawin, Bonnie Klein, etc Objectives of the Course This course will provide students with the opportunity to explore distinctive contributions made by Canadian directors and producers to the documentary genre. Course objectives include providing students with a sense of the following: 1. The institutional character of documentary production in Canada; 2. The historical movement from government propaganda to social action; 3. The cinematic strategies that produce realism, cinéma vérité, reflexivity, engagement and social change; 4. The technological developments that have contributed to Canadian documentary style. Internet and electronic communication device information No cell phone use during class. Laptops and pads to be used only for purposes related to the course. -
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. -
The Inside‑Out Character : Strategies for Animating Inner States of Mind
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. The inside‑out character : strategies for animating inner states of mind Wee, Mark Nai De 2017 Wee, M. N. D. (2017). The inside‑out character : strategies for animating inner states of mind. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/70251 https://doi.org/10.32657/10356/70251 Downloaded on 02 Oct 2021 20:58:43 SGT The Inside-Out Character: Strategies for Animating Inner States of Mind Thesis, M.A. (Research) - Revision Wee Nai De, Mark Supervisor: Asst. Professor Kathrin Albers Co-Supervisor: Assoc. Professor Hans Martin Rall Nanyang Technological University, School of Art, Design and Media 13th March 2017 Acknowledgements I would first begin by thanking my research supervisors, Asst. Professor Kathrin Albers and co-supervisor, Assoc. Professor Hans Martin Rall for their strict guidance, guarding, and infinite patience during my learning. They have given me the strength to continue when things seem at their bleakest, in both my journeys through academia and the animation practice. For that, I am eternally grateful to be able to have them as mentors, and friends. I would also like to thank Professor Ishu Patel for his unwavering support that first put me onto the road of academia, and now, keeping me on it; For making me love animation, and more importantly, for his allegories on life that have humbled me in my days of being wild and still is humbling to me now, as a student of animation. I would like to thank Miss Hong Bee Kuen, whose infinite patience I sincerely appreciate. -
NORMAN MCLAREN RETROSPECTIVE at Moma
The Museum of Modern Art 50th Anniversary NO. 7 no FOR IMMEDIATE RELEASE NORMAN MCLAREN RETROSPECTIVE AT MoMA As part of NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE, Norman McLaren, master animator and founder of the Board's an imation unit in 1941, will be honored with a retrospective of virtually all the films he made at NFBC. Part One of MoMA's NFBC Retrospective, ANIMATION, runs from January 22 through February 16, and presents a survey of 150 animated films. Five programs of the extraordinary and influential work of Norman McLaren will be presented from February 12 through 16. "Animation came to the National Film Board of Canada in 1941 with the person of Norman McLaren. In 1943, after having recruited George Dunning, Jim MacKay and Grant Munro, it was McLaren who was put in charge of the first animation workshop. The earliest films were craftsmanlike, having a more utilitarian than aesthetic character. After the war the time of the artist came about. The spirit and goals of the animation unit changed; the styles and techniques became more and more refined leading to today's sophisticated animation." —Louise Beaudet, Head of Animation Department, Cinematheque quebecoise, Montreal "Norman McLaren (Stirling, Scotland, 1914) completed his first abstract films in 1933 while a student at the Glasgow School of Art, Here he attracted the attention of John Grierson, who invited the young man upon graduation to make promotional films for the General Post Office in London. McLaren worked for the GPO from 1936 until 1939 when, at the onset of war, he moved to New York. -
Jack C. Ellis and Betsy A. Mclane
p A NEW HISTORY OF DOCUMENTARY FILM Jack c. Ellis and Betsy A. McLane .~ continuum NEW YOR K. L ONDON - Contents Preface ix Chapter 1 Some Ways to Think About Documentary 1 Description 1 Definition 3 Intellectual Contexts 4 Pre-documentary Origins 6 Books on Documentary Theory and General Histories of Documentary 9 Chapter 2 Beginnings: The Americans and Popular Anthropology, 1922-1929 12 The Work of Robert Flaherty 12 The Flaherty Way 22 Offshoots from Flaherty 24 Films of the Period 26 Books 011 the Period 26 Chapter 3 Beginnings: The Soviets and Political btdoctrinatioll, 1922-1929 27 Nonfiction 28 Fict ion 38 Films of the Period 42 Books on the Period 42 Chapter 4 Beginnings: The European Avant-Gardists and Artistic Experimentation, 1922-1929 44 Aesthetic Predispositions 44 Avant-Garde and Documentary 45 Three City Symphonies 48 End of the Avant-Garde 53 Films of the Period 55 Books on the Period 56 v = vi CONTENTS Chapter 5 Institutionalization: Great Britain, 1929- 1939 57 Background and Underpinnings 57 The System 60 The Films 63 Grierson and Flaherty 70 Grierson's Contribution 73 Films of the Period 74 Books on the Period 75 Chapter 6 Institutionalization: United States, /930- 1941 77 Film on the Left 77 The March of Time 78 Government Documentaries 80 Nongovernment Documentaries 92 American and British Differences 97 Denouement 101 An Aside to Conclude 102 Films of the Period 103 Books on the Period 103 Chapter 7 Expansion: Great Britain, 1939- 1945 105 Early Days 106 Indoctrination 109 Social Documentary 113 Records of Battle -
DOCUMENT RESUME ED 088 518 IR 000 359 TITLE Film Catalog of The
DOCUMENT RESUME ED 088 518 IR 000 359 TITLE Film Catalog of the New York State Library. 1973 Supplement. INSTITUTION New York State Education Dept., Albany. Div. of Library Development. PUB DATE 73 NOTE 228p. EDRS PRICE MF-$0.75 HC-$11.40 DESCRIPTORS *Catalogs; Community Organizations; *Film Libraries; *Films; *Library Collections; Public Libraries; *State Libraries; State Programs IDENTIFIERS New York State; New York State Division of Library Development; *New York State Library ABSTRACT Several hundred films contained in the New York State Division of Library Development's collection are listed in this reference work. The majority of these have only become available since the issuance of the 1970 edition of the "Catalog," although a few are older. The collection covers a wide spectrum of subjects and is intended for nonschcol use by local community groups; distribution is accomplished through local public libraries. Both alphabetical and subject listings are provided and each"citation includes information about the film's running time, whether it is in color, its source, and its date. Brief annotations are also given which describe the content of the film and the type of audience for which it is appropriate. A directory of sources is appended. (PB) em. I/ I dal 411 114 i MI1 SUPPLEMENT gilL""-iTiF "Ii" Alm k I I II 11111_M11IN mu CO r-i Le, co co FILM CATALOG ca OF THE '1-1-1 NEW YORK STATE LIBRARY 1973 SUPPLEMENT THE UNIVERSITY OF THE STATE OF NEW YORK THE STATE EDUCATION DEPARTMENT ALBANY, 1973 THE UNIVERSITY OF THE STATE OF NEW YORK Regents of the University ( with years when terms expire) 1984 JOSEPH W. -
Ng of English, Grades 8-12
--ED -072 459 _'-CS 200-348 TITLE Resources for the Teaching of English, Grades 8-12. Volumes I and II. INSTITUTION Durham County Board- of Education, N.C. PUB DATE 72 NOTE 371p. EDRS PRICE MF-$0.65 HC-$13.16 DESCRIPTORS Comniunication Skills; Composition (Literary); *Curriculum Guides; *English Programs; *Junior High Schools; *Language Arts; .Listening; Literaturel Multimedia Instruction; Oral Expression; Poetry; *Secondary Education; Social Development; Teaching ABSTRACT This -iWo volume curriculum guide describes _an_ English program -for grades eight through twelVe.- The -guide -beginS-_ with_ four essays on the teaching of English. The first essay- deals__ with _some-zof-- the--_ problems of a changing- English curriculum; the second _dismisses gOals for the language__-_arts- program;-_ the thirds_diSmiSseS the teaching of= writing tin the_ junior and:- Seniorliigh--:_-schobl fOurth --_ discusses ssrbo-M.-, The ,SecOrid---sectiOn'-of_n__ _ _ _ _the- -preseiitSf-________ reso_uideAinits, lOrt_ each -grade- evelt oristimMunicatron--fOrfs-grade--,eight-;---poetry=tor__-grade:-___ itne;_,_-=-3.1-steriingiwriting, eitpressioni__and- multimedia- for _grade en-;,:interpersbnal --relationships-ifor- gradeS- ten-and=eleven;_ -and Ite-ratiire for-,grade Thete Are=-three_ appendikesif_i_-(1):- a- list _-:-siipplemSntaryi-boOkt-Used: -12)--7--ptocedutes fOr_ ordering _ _ bibliography profess referenteS-fOr the= teachingjOf English. U.S. DEPARTMENT OF REALM_ _ EDUCATION II WELFARE- _ _ OFFICE OFEDUCATION THIS DOCUMENT HAS BEEN REPRO. DUCED- EXACTLY -
Digital Animation Workshops Teachers Pack Contents Contents
Digital Animation Workshops Teachers Pack Contents contents INTRODUCTION 3 Intro 3 About Norman Mclaren 4 What Is Animation 4 Before Your Workshop THE FILMS 5 Le Merle 5 Blinkity Blank 6 Other Valuable Mclaren Films THE EXERCISES 7 History Timeline Exercise 13 Blinkity Blank: Take A Line For A Walk 14 Blinkity Blank: Feel The Sounds 16 Le Merle: Art Activity 19 Le Merle: Song Activity 20 Blinkity Blank: Art Activity 21 Synchromy: Art Activity APPENDICES 22 Twenty-Four Still Images From Le Merle 23 Twenty-Four Still Images From Blinkity Blank 24 Extracts From The Essay: A FIlmmaker For All Seasons” 28 Release Agreement 29 Follow Up 30 Take Home Note Page 2 Introduction intro • Please introduce the idea that this workshop is coming to your class. • That we will be creating short animation films using a suite of iPads. • 2014 is the centenary of Scotlands most famous animator Norman McLaren. • This workshop will introduce his techniques and the fundamentals of animation. • A highly skilled animator will deliver the workshop. about • 2014 marks the centenary of pioneering Scottish artist Norman McLaren. He was a genius of the moving image, an experimental filmmaker, electronic music pioneer, a celebrated animator and world-renowned artist. McLaren’s animation techniques and experiments broke new ground and were described as ‘something new in the art of drawing’ by Pablo Picasso. • Norman McLaren was born on the 11th of April 1914 in Stirling, Scotland. • Whilst studying at The Glasgow School of Art, McLaren’s early films caught the attention of fellow Scot John Grierson, the first Canadian Government Film Commissioner of the National Film Board of Canada (NFB). -
Introduction À L'animation
LEÇON 2 Atelier d’animation image par image INTRODUCTION À L’anIMATION • définir le terme « animation » dans leurs propres Introduction mots; Dans le présent guide pédagogique, vous vous familiari serez avec le terme « animation » et avec le développement • parler de Norman McLaren et de son rôle dans le historique de ce genre de cinéma à l’Office national du film du développement historique du cinéma d’animation à Canada (ONF). De plus, vous explorerez les films d’animation l’ONF; de Norman McLaren et différents types de techniques utilisées par d’autres cinéastes. • discuter des meilleurs exemples de films d’animation signés Norman McLaren, et préciser leur apport à la culture canadienne; • faire la distinction entre les différents types de films Résultats pédagogiques d’animation réalisés par une variété d’artistes; Après avoir terminé cette leçon, les élèves seront en mesure d’accomplir les activités suivantes : • analyser une œuvre et discuter de l’intention de son auteur. 1 onf.ca/stopmo Atelier d’animation image par image LEÇON 2 INTRODUCTION À L’aNIMATION Faits sur l’animation StudioStopMo – L’ONF : Discours de bienvenue de Norman McLaren / Définition de l’animation pionnier de l’animation Opening Speech: McLaren, de Norman McLaren (1 min 15 s) (1961, 6 min 52 s) Avant de commencer, il importe de comprendre un peu ce LE SAVIEZ-VOUS? qu’est l’animation. Voici la définition générale du terme. onf.ca/film/discours_de_bienvenue_de_norman_mclaren] Aux premiers jours de l’animation, les cinéastes utilisent des Synopsis : Norman McLaren tente de souhaiter la a. Art ou processus de préparation de appareils comme le phénakistoscope, le zootrope, et le bienvenue à l’auditoire lors d’un festival. -
NORMAN Mclaren’S WORK in the HEART of the CITY
Wall-to-Wall MEDIA KIT McLAREN MUR À MUR 1 NORMAN McLAREN’S WORK IN THE HEART OF THE CITY DOWNTOWN MONTREAL’S ENTERTAINMENT DISTRICT, THE QUARTIER DES SPECTACLES, WILL SOON BE TRANS- FORMED INTO A VAST OUTDOOR LABORATORY FOR SEVEN EXPERIMENTAL VIDEO ARTISTS, AND A SPECTACULAR PLAYGROUND FOR PASSERS-BY, AS THE AREA HOSTS McLAREN WALL-TO-WALL, A PLAYFUL CELEBRATION OF THE TREMENDOUS HERITAGE OF THE FOUNDING FATHER OF CANADIAN ANIMATED FILM, NORMAN McLAREN. IN THIS EVENT—A JOINT INITIATIVE OF THE NATIONAL FILM BOARD OF CANADA (NFB) AND THE QUARTIER DES SPECTACLES PARTNERSHIP—SEVEN UNIQUE, SPECIALLY COMMISSIONED VIDEO WORKS INSPIRED BY McLAREN’S FILMS WILL BE PROJECTED ON THE FAÇADES OF SEVEN BUILDINGS IN THIS DISTRICT. McLaren was one of the forerunners of digital art. Throughout his career, he experimented and innovated in his chosen artistic medium, animated film. The Quartier des Spectacles, with cutting-edge architectural projection systems as part of its permanent infrastructure, is the ideal place to present these original video creations that © 1949 ONF© 1949 extend, reinterpret, and dialogue with McLaren’s films in an unforgettable way. From April 11 to June 1, 2014, the McLaren Wall-to- Wall exhibit will light up the night in the cultural heart of Montreal to mark the 100th anniversary of McLaren’s birth. The exhibit consists of seven video works in two categories: three interactive installations by Montrealers Kid Koala (in partnership with Hololabs) and Theodore Ushev (in partnership with Iregular) and Montreal design studio Daily tous les jours, as well as four films selected in an international competition especially for this event.