DOCSLIB.ORG

We Will Stand up Key Bios

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
We Will Stand up Key Bios nîpawistamâsowin: We Will Stand Up Key Bios Tasha Hubbard – Producer, Director, Writer Dr. Tasha Hubbard is a writer, filmmaker and associate professor at the University of Alberta. She is from Peepeekisis First Nation in Treaty Four Territory and has ties to Thunderchild First Nation in Treaty Six Territory. She is also the mother of a 12-year-old son. Her academic research has focussed on Indigenous efforts to return the buffalo to the lands and Indigenous film in North America. Her first solo writing/directing project, Two Worlds Colliding (NFB), about Saskatoon’s infamous “starlight tours,” premiered at imagineNATIVE in 2004 and won the Canada Award at the Gemini Awards in 2005. In 2017, Tasha directed the NFB-produced feature documentary Birth of a Family, about a Sixties Scoop family coming together for the first time during a holiday in Banff. It premiered at Hot Docs and landed on the top-ten audience favourites list. It also won the Audience Favourite for Feature Documentary at the Edmonton International Film Festival and the Moon Jury prize at imagineNATIVE. Her latest feature documentary is nîpawistamâsowin: We Will Stand Up, a personal exploration of the cost of the death of Colten Boushie. George Hupka – Producer, Director of Photography A graduate of Ryerson University’s School of Radio and Television Arts, George Hupka started as a staff director at CTV, where he directed the CanPro Award winning documentary Obmin, which followed a student exchange group to Soviet Ukraine in the months before the fall of the Berlin Wall. He has been a freelance director and DP since 1992, shooting several projects with the UK’s Windfall Films, including a documentary in Egypt entitled Rescuing Ramesses, Canadian portions of PBS Nova: Making North America, episodes of Rise of the Machines, and episodes of the NSA-nominated series Strip the City. He has served as cinematographer on the NFB films Gift of the Grandfathers, Donna’s Story, Two Worlds Colliding, Flight from Darkness, First Stories, and Twixt Heaven and Earth. For CBC’s Witness, he contributed to Quints and Quads: A New Baby Boom and The Season. In 2012-2013, he co-produced the Rogers Sportsnet series On the Edge with Toronto’s Fadoo Productions. Most recently he was a cinematographer for two documentaries on the Humboldt Broncos tragedy, for TSN and ESPN. George has also won a Promax Screen Award, a Gemini Award and a National Screen Award. Jon Montes – Producer, NFB Based in Winnipeg, Jon has been a producer with the NFB’s North West Studio since 2016, working on themes of social justice, identity, and culture with filmmakers in Manitoba, Saskatchewan, and the Northwest Territories. His projects include the short documentaries Stories Are in Our Bones (Janine Windolph), Talking at Night (Eric Thiessen), To Wake Up the Nakota Language (Louise BigEagle), and Ride (Kristin Catherwood), the last three produced through the Doc Lab Saskatchewan project. Additionally, the short docs Breaths (Nyla Innuksuk) and Music in the Prairie Night (Mike Maryniuk) were produced for the Governor General’s Performing Arts Awards. As associate producer with the NFB in St. John’s and Montreal, his work included the feature docs Gun Runners (Hot Docs 2016) and Danny (Hot Docs 2015), the animated short 54 Hours, the interactive documentary Bubble Dancers, and the 10th and 11th editions of the acclaimed Hothouse animation mentorship program. Bonnie Thompson – Producer, NFB Veteran National Film Board producer Bonnie Thompson has worked on more than 70 documentary, interactive, and animation productions out of the North West Studio. Her work has aired on national and international television and online, and has screened at prestigious festivals in Canada and worldwide. Bonnie’s credits include Birth of A Family, which premiered at the 2017 Hot Docs film festival; Skin for Skin, an animated short that premiered at 2017 Fantasia; the feature documentary Angry Inuk, which won the Hot Docs Audience Award, the People’s Choice Award at TIFF’s annual Canada’s Top 10 Festival, and several other honours; the Oscar-nominated animated short Wild Life; and the online interactive documentary Bear 71, which won a Webby and was named FWA Site of the Year. Janice Dawe and Kathy Avrich-Johnson – Executive Producers Janice Dawe and Kathy Avrich-Johnson formed Toronto-based Bizable Media in 2015 to provide business and strategic support to creative producers working in film, television and digital media. Through Bizable, they have served as executive producers on a diverse group of projects, including the acclaimed feature doc A Better Man (Hot Docs 2017), three seasons of the Inuktitut-language comedy series Qanurli?, and the quirky CBC comedy series Crawford. Both Kathy and Janice have owned their own production companies and held key roles in established production and distribution companies. They’ve each produced hundreds of hours of dramatic, documentary and digital-media content for television, film and the web. Janice was Vice-President of Production at White Pine Pictures where, for eight years, she oversaw their active documentary and drama slate. Subsequently, she executive produced Sugar Coated, winner of the 2016 Donald Brittain Award for Best Social/Political Documentary, and Sponsorland, among other feature docs. Kathy is a senior entertainment lawyer and she executive produced Allan King’s last three feature documentaries, Dying at Grace, Memory for Max, Claire, Ida and Company and Empz for Life. David Christensen – Executive Producer, NFB David Christensen is an Executive Producer at the National Film Board of Canada. He manages the North West Studio, which oversees NFB documentary, animation, and interactive production in Manitoba, Saskatchewan, Alberta, the Northwest Territories and Nunavut. Recent films from the North West Studio include Tasha Hubbard’s We Will Stand Up, Supreme Law directed by Katerina Cizek, Alethea Arnaquq- Baril’s Angry Inuk, WALL, directed by Cam Christiansen, and Metamorphosis, directed by Nova Ami and Velcrow Ripper. In total, the NWS has about 25-30 projects in development and production at any one time. Hans Olson - Editor Hans Olson is a film editor with a passion for observational storytelling. He has edited the NFB documentaries Birth of a Family, directed by Tasha Hubbard, and Things Arab Men Say, directed by Nisreen Baker. In addition to editing work for several Edmonton production companies, Hans’s credits include the independent feature films Until First Light (dir. Kyle Armstrong) and Figurine, which he also produced and directed. Other directing credits include the NFB documentary The Auctioneer (Hot Docs 2013, documentary Channel) and the short drama Champagne (TIFF 2010, CBC Reflections). Hans studied screenwriting at Langara College and was a Directors’ Lab resident at the Canadian Film Centre. He is a recipient of the Lieutenant Governor of Alberta Emerging Artist Award and an alumnus of Berlinale Talents. Trudy Stewart – Associate Producer Trudy Stewart is a Cree storyteller based in Regina, Saskatchewan, and a proud member of the Flying Dust First Nation. She co-wrote, co-directed and produced the documentary RIIS from Amnesia (2015) and wrote and directed the short documentary From Up North (2017), which won the International Indigenous Award at the Wairoa Maori Film Festival in New Zealand. Trudy is also a film programmer for the imagineNATIVE festival, and is currently writing her first feature film. .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Saskatoon Freezing Deaths
    Saskatoon freezing deaths The Saskatoon freezing deaths were a series of premeditated murders of Canadian Aboriginal people in Saskatoon, Saskatchewan in the 2000s. Their deaths were caused by members of the Saskatoon Police Service, officers of which arrested Aboriginal men (usually for drunkenness and/or disorderly behavior), drove them out of the city in the dead of winter, and abandoned them there. The practice was known as taking Aboriginal people for starlight tours.[1] Contents Incidents In media Film Music Book See also References External links Incidents Victims who died from hypothermia include Rodney Naistus, Lawrence Wegner, and Neil Stonechild. Naistus and Wegner died in 2000 and their bodies were discovered on the outskirts of Saskatoon. Inquests in 2001 and 2002 into their deaths determined their deaths were due to hypothermia, with no evidence of police involvement.[2] The inquest jury's recommendations all related to police policies and police/Aboriginal relations.[3] Neil Stonechild's body was found in 1990 in a field outside Saskatoon. A 2003 inquest was not able to determine the circumstances that led to his death.[2][4][5] In January 2000, Darrell Night was dropped off on the outskirts of Saskatoon but was able to call a taxi from the nearby Queen Elizabeth Power Station and suffered no ill effects. The two officers involved, constables Dan Hatchen and Ken Munson of the Saskatoon Police Service, claimed that they had simply given Night a ride home and dropped him off at his own request, but were convicted of unlawful confinement in September 2001 and sentenced to eight months in prison.[6][7] The incident was the subject of the National Film Board of Canada documentary Two Worlds Colliding by Tasha Hubbard.[8] The Saskatoon police initially insisted these were isolated incidents.
    [Show full text]
  • Community Engagement Guide
    COMMUNITY ENGAGEMENT GUIDE ... 1 TABLE OF CONTENTS How to Use This Guide Synopsis of the Film Awards & Recognition Intentions of the Guide Colonial Context Covered in the Film Media Representation & Anti-Indigenous Racism Pre-Screening Considerations & Audience Support Post-Discussion Allyship & Taking Action Community Partnerships Event Preparation Checklist Resource List Dedication HOW TO USE THIS GUIDE The purpose of the guide is to provide an opportunity for deeper engagement with the film as well as the experiences of the people in the film. The guide provides further background regarding colonialism and anti- Indigenous racism, in particular experiences that the filmmaker and family have shared with audiences after screenings. Given that the filmmaker and family cannot attend every screening, our hope is that the guide will help organizers create a supportive viewing environment. ABOUT THE AUTHORS: The guide draws from many sources of community and scholarly work. Jade Tootoosis (B.A.) is a nehiyaw iskwew from the Red Pheasant Cree Nation in Treaty 6 territory and the Rocky Boy Chippewa Cree Nation in Montana. She is the sister/cousin of the late Colten Boushie and has been one of the spokespersons for her family in their international pursuit of justice for their relative. #JusticeForColten became a movement and call to action for change to canada’s legal systems. Her family’s stance is that no other Indigenous family should suffer a loss and endure the injustices and systemic racism that they did. Jade has committed her words and actions to this movement, as she continues to advocate for justice for Indigenous people in canada.
    [Show full text]
  • Indigenous Catalogue 2020-2021 Oscar Louis-Charles Nathalie Grace Rangel Mignot-Grenier Bourdon Marzella
    CONTACTS INDIGENOUS CATALOGUE 2020-2021 OSCAR LOUIS-CHARLES NATHALIE GRACE RANGEL MIGNOT-GRENIER BOURDON MARZELLA AGENT, SALES & MARKET AGENT, SALES & MARKET DIRECTOR, DISTRIBUTION AGENT, SALES & MARKET DEVELOPMENT, DEVELOPMENT, & MARKET DEVELOPMENT DEVELOPMENT, US / LATIN AMERICA / IBERIA CANADA / EUROPE / VR / DIGITAL PLATFORMS, +1-514-995-0095 / AFRICA / MIDDLE EAST / INFLIGHT [email protected] WORLDWIDE ASIA-PACIFIC +1-514-242-6264 +1-438-990-1537 +1-514-629-5174 [email protected] [email protected] [email protected] NFB.CA/DISTRIBUTION © 2020 National Film Board of Canada. Printed in Canada. NOW IS THE TIME | CHRISTOPHER AUCHTER TIME | CHRISTOPHER THE IS NOW FREEDOM ROAD NOW IS THE TIME THE ROAD FORWARD THE MOUNTAIN OF SGAANA 5 SHORT FILMS | 2019 | ANGELINA MCLEOD | NFB 16 MIN | 2019 | CHRISTOPHER AUCHTER | NFB 101 MIN | 2017 | MARIE CLEMENTS | NFB 10 MIN | 2017 | CHRISTOPHER AUCHTER | NFB Freedom Road is a five-part documentary When internationally renowned Haida carver Marie Clements’ musical documentary connects A magical tale of a young man who is stolen series that tells the inspiring story of one Robert Davidson was only 22 years old, he a pivotal moment in Canada’s civil rights away to the Haida spirit world, and the young First Nation’s battle to resolve a brutal colonial carved the first new totem pole on British history—the beginnings of Indian Nationalism woman who rescues him. Without words. legacy that uprooted and transformed a self- Columbia’s Haida Gwaii in almost a century. in the 1930s—with the powerful momentum of sustaining community into an isolated island, On the 50th anniversary of the pole’s raising, First Nations activism today.
    [Show full text]
  • Festival Program
    METRO VANCOUVER’S PREMIER SOCIAL JUSTICE FILM FESTIVAL TRUTH IN A POST-TRUTH WORLD — FESTIVAL GUIDE 2020 — SIGNATURE PRESENTING PARTNER Social Justice Film Festival | 2020 Social Justice Film Festival | 2020 PROGRAM OF EVENTS Uniting learners through social justice, global citizenship, and creative solution-building * Rated for Youth FEBRUARY 4:00 pm 6:15 pm KDocs is led by learners and educators from Over 1500 people will attend KDocs Welcome and Introductions 12 Beyond Climate * all of Kwantlen Polytechnic University's 2020, including students, faculty, staff, Special Guest: Lekeyten Special Guest: David Suzuki (KPU) communities. KDocs contributes to alumni, and community partners, as well Q&A with David Suzuki and Ian Mauro KPU’s engagement of various and varied as the larger KPU community and general 10 Inventing Tomorrow * 20 Opening Night Reception (Atrium) communities, through documentary public. With this audience, KDocs provokes screenings and community dialogue, in engagement, dialogue, and creativity, critical thinking and understanding about stimulating a critical examination of our FEBRUARY 11:45 am 5:35 pm ourselves, our communities, and our world. complex world. Indeed, it is this kind of interdisciplinary dialogue—within and 14 Because We Are Girls * 20 Toxic Beauty * As the premier social justice film festival Keynote Address: Jeeti Pooni Keynote Address: Bruce Lanphear across KPU’s many communities—that in Metro Vancouver, KDocs celebrates the Q&A/Panel Discussion Q&A/Panel Discussion makes KPU exactly the kind of institution power of documentary film, showcasing where critical debate flourishes and global 21 2:45 pm 8:40 pm award-winning documentary films, citizenship takes flight.
    [Show full text]
  • Submission to the Government of Canada on Police Abuse Of
    H U M A N R I G H T S W A T C H SUBMISSION TO THE GOVERNMENT OF CANADA Police Abuse of Indigenous Women in Saskatchewan and Failures to Protect Indigenous Women from Violence Methodology .............................................................................................................. 1 I. The Landscape of Policing in Saskatchewan ........................................................... 3 II. Systemic Discrimination against Indigenous Women, Vulnerability to Violence .... 6 III. Police Abuses against Indigenous Women in Saskatchewan ................................ 8 IV. Inadequate Police Abuse Accountability Mechanisms ........................................ 16 V. The Absence of Disaggregated Data ................................................................... 20 VI. Canada’s Obligations under International Law ................................................... 21 Recommendations ................................................................................................... 24 Acknowledgments .................................................................................................... 27 . It’s scary being me. They [the police] could make me disappear if they wanted to. -Sara F., Saskatoon, March 28, 2016 In Saskatchewan, as in Northern British Columbia, Human Rights Watch found evidence of a fractured relationship between law enforcement and Indigenous communities. The legacy of settler colonialism and racist assimilation policies—particularly the residential school system—still overshadow the present-day
    [Show full text]
  • ANNUAL REPORT 2018–2019 Published By: Strategic Planning and Government Relations P.O
    ANNUAL REPORT 2018–2019 Published by: Strategic Planning and Government Relations P.O. Box 6100, Station Centre-ville Montreal, Quebec H3C 3H5 Internet: onf-nfb.gc.ca E-mail: [email protected] Cover page: Expo 67 Live immersive installation, Esplanade at Place des Arts, Montreal © 2019 National Film Board of Canada ISSN 2562-8569 Cat. No. NF1E-PDF 3rd Quarter 2019 Printed in Canada. TABLE OF CONTENTS 06 2018–2019 IN NUMBERS 09 MESSAGE FROM THE GOVERNMENT FILM COMMISSIONER 12 HIGHLIGHTS 13 1. THE NFB: A CENTRE FOR CREATIVE EXCELLENCE, INNOVATION AND CONVERSATION 22 2. DIVERSITY AND INCLUSION: AN INTEGRAL PART OF THE NFB’S DNA 27 3 . REACHING AND ENGAGING WITH AUDIENCES 32 4 . AN ORGANIZATION WITH AN EYE TO THE FUTURE 36 AWARDS AND HONOURS 47 GOVERNANCE 49 MANAGEMENT 50 SUMMARY OF ACTIVITIES 2018–2019 55 FINANCIAL STATEMENTS 75 ANNEX I: THE NFB ACROSS CANADA 78 ANNEX II: ORIGINAL PRODUCTIONS 85 ANNEX III: INDEPENDENT FILM PROJECTS SUPPORTED BY ACIC AND FAP TABLE OF CONTENTS BIIDAABAN: FIRST LIGHT virtual reality installation Nathan Phillips Square, Toronto Lisa Jackson TABLE OF CONTENTS November 28, 2019 The Honourable Steven Guilbeault Minister of Canadian Heritage 25 Eddy Street Gatineau, Quebec K1A 0M5 Minister: I have the honour of submitting to you, in accordance with the provisions of section 20(1) of the National Film Act, the Annual Report of the National Film Board of Canada for the period ended March 31, 2019. The report also provides highlights of noteworthy events of this fiscal year. Yours respectfully, Claude Joli-Coeur
    [Show full text]
  • The Space to Tell Stories
    SUBSCRIBE DONATE SIGN UP ARTICLES MAGAZINE ABOUT US CONTRIBUTE ADVERTISE The space to tell stories A still from ahkâmêyimo nitânis / Keep Going My Daughter (2019), by Candy Fox and Chris Ross. The Did the Saskatchewan film tax credit documentary is “an Indigenous love story about Andrea Landry and Colby benefit Indigenous women? Tootoosis, who have left jobs where they fought for change inside colonial by Mattias Graham Oct 23, 2020 18 min read Share institutions to raise a family and revolutionize their community in hopes of creating a healthier future.” The Saskatchewan Film Employment Tax Credit was back in the news this summer when a Sask filmmaker started a petition demanding it be brought back, and the provincial NDP have promised to resurrect the program if elected this month. CURRENT ISSUE Since the Sask Party cut the long-running tax credit in 2012, a lot of ink has been spilled about the film industry’s decline. What these discussions miss is that the tax credit program never invested in independent filmmakers, and especially Indigenous filmmakers, telling their own stories. Do we risk re-entrenching inequities by bringing it back? In the years after the tax credit’s end, Woodland Cree filmmaker Janine Windolph, who hails from La Ronge, remembers people talking about how few stories were coming out of Saskatchewan – but at the same time, she recalls, Indigenous cinema in Treaty 4 and Treaty 6 territories was flourishing: “Suddenly there's this strong circle of amazing female storytellers... that are sharing the stories of Indigenous experiences and educating on the diversity of each of our backgrounds to a larger community.” January/February 2021 ADD TO CART How did this happen? What sparked the groundswell of Indigenous cinema post-2012, and what lessons can we learn about building a strong and just film industry? Old models, old barriers One of the first eye-opening moments for Windolph about the nature of the tax credit KEEP READING was when she was in film school in the mid-2000s, pregnant with her son.
    [Show full text]