Résumé:La sortie en 1967 du film sensationnel The Things I Cannot Change de Tanya Ballantyne Tree allait marquer le début d'un nouveau programme important du cinéma documentaire participatif à l'Office national du film du Canada. Cependant, alors que la plupart des rapports de Chalenge for Change/Société Nouvelle (CFC/SN) indiquent le caractère dépouillé de son esthétique de cinéma-vérité ainsi que l'esprit de la participation du public remontent à ce film, peu nombreuses sont les personnes qui ont reconnu l'importance d'autres formes de documentaires, plus « poétiques », exploitées dans le cadre de ce programme à ses débuts. Le présent article s'intéresse particulièrement à l'un de ces films, en l'occurrence Madawaska Valley, réalisé au début de l'année 1967 par un documentariste gallois, du nom de John Ormond qui, à ce moment-là, était en congé de son poste à la BBC. Malheureusement, le film est à présent perdu, mais un dossier de production conservé à l'ONF nous fournit des détails captivants sur le film en question et sa réception. L'article démontre que The Things I Cannot Change n'était pas le seul film sur lequel CFC/SN avait mis à l'essai ses qualités esthétiques et politiques. Cet article examine les origines de Madawaska Valley tout en soutenant que ce dernier a, lui aussi, été un texte fondateur clé dans le développement d'un CFC/SN naissant.
摘要:1967年，坦尼娅·巴兰坦·树(Tanya Ballantyne Tree)的轰动电影《我不能改变的东西》(The Things I can ' t Change)上映，标志着加拿大国家电影委员会(national film board)一个新的大型参与式纪录片项目的开始。.然而,虽然大多数报告Chalenge for Change (CFC) / /新社会的SN)表明夺走其美观性的电影以及公众参与的精神,早在这部电影中,很少有认识的人或其他形式的纪录片,更诗意的«»中,利用这个方案的初期阶段。这篇文章特别关注了其中一部电影，《Madawaska Valley》，由威尔士纪录片制作人约翰·奥蒙德(John Ormond)于1967年初制作，当时他正在BBC休假。不幸的是，这部电影现在已经丢失了，但保存在nfb的制作记录为我们提供了关于这部电影及其接收情况的迷人细节。这篇文章表明，《我不能改变的东西》并不是CFC/SN唯一测试其美学和政治品质的电影。这篇文章回顾了Madawaska山谷的起源，同时认为它也是发展一种新兴的CFC/SN的关键基础文本。
{"title":"Madawaska Valley: John Ormond's Lost Film at the National Film Board of Canada","authors":"Kieron Smith","doi":"10.3138/CJFS.25.1.27","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.27","url":null,"abstract":"Résumé:La sortie en 1967 du film sensationnel The Things I Cannot Change de Tanya Ballantyne Tree allait marquer le début d'un nouveau programme important du cinéma documentaire participatif à l'Office national du film du Canada. Cependant, alors que la plupart des rapports de Chalenge for Change/Société Nouvelle (CFC/SN) indiquent le caractère dépouillé de son esthétique de cinéma-vérité ainsi que l'esprit de la participation du public remontent à ce film, peu nombreuses sont les personnes qui ont reconnu l'importance d'autres formes de documentaires, plus « poétiques », exploitées dans le cadre de ce programme à ses débuts. Le présent article s'intéresse particulièrement à l'un de ces films, en l'occurrence Madawaska Valley, réalisé au début de l'année 1967 par un documentariste gallois, du nom de John Ormond qui, à ce moment-là, était en congé de son poste à la BBC. Malheureusement, le film est à présent perdu, mais un dossier de production conservé à l'ONF nous fournit des détails captivants sur le film en question et sa réception. L'article démontre que The Things I Cannot Change n'était pas le seul film sur lequel CFC/SN avait mis à l'essai ses qualités esthétiques et politiques. Cet article examine les origines de Madawaska Valley tout en soutenant que ce dernier a, lui aussi, été un texte fondateur clé dans le développement d'un CFC/SN naissant.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Le présent article examine l'emploi des formules de politesse intersubjectives dans le cinéma expérimental féministe canadien entre 1979 et 1987. Il compare The Central Character (1979) de Patricia Gruben et Our Marilyn (1987) de Brenda Longfellow, analysant les façons dont l'usage des formules de politesse expérimentales dans ces deux films brouille la frontière entre l'espace diégétique et l'espace non diégétique, sans jamais laisser le spectateur s'engourdir dans ses certitudes. Cet article prend le contre-pied de la lecture interprétative du cinéma féministe d'avant-garde de cette décennie perçu comme étant engagé dans des pratiques perturbatrices. Cependant que la dissonance et la dislocation font partie intégrante de l'histoire de l'esthétique du cinéma féministe expérimental, le présent article soutient qu'il est également nécessaire de faire ressortir des moments de résonance et d'échanges intersubjectifs dans ces films. Les expériences de Gruben et de Longfellow concernant les formules de politesse cinématographiques sont considérées comme étant des interventions importantes dans les formes dominantes de représentation qui étendent le champ de possibilités aussi bien pour l'image de la femme à l'écran que pour le spectateur féministe présent dans le public.
摘要:本文探讨了1979年至1987年间加拿大实验女权主义电影中主体间礼貌公式的使用。他比较了帕特丽夏·格鲁本(Patricia Gruben)的《中心人物》(The Central Character, 1979)和布伦达·朗费罗(Brenda Longfellow)的《我们的玛丽莲》(Our Marilyn, 1987)，分析了这两部电影中实验性礼貌公式的使用如何模糊了叙事空间和非叙事空间之间的界限，而从不让观众陷入确定性。这篇文章与这十年前卫女权主义电影的解读背道而驰，这些电影被认为参与了颠覆性的做法。虽然不和谐和错位是实验女性主义电影美学历史的一个组成部分，但本文认为也有必要在这些电影中突出共鸣和主体间交流的时刻。Gruben实验和Longfellow)关于礼貌的电影被视为重要的干预措施中代表性的主导形式的范围扩大了,机会也为屏幕上的女性形象,为观众现在观众席上的女权主义。
{"title":"Modes of Intersubjective Address in The Central Character (1977) and Our Marilyn (1987)","authors":"Shana MacDonald","doi":"10.3138/CJFS.25.1.111","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.111","url":null,"abstract":"Résumé:Le présent article examine l'emploi des formules de politesse intersubjectives dans le cinéma expérimental féministe canadien entre 1979 et 1987. Il compare The Central Character (1979) de Patricia Gruben et Our Marilyn (1987) de Brenda Longfellow, analysant les façons dont l'usage des formules de politesse expérimentales dans ces deux films brouille la frontière entre l'espace diégétique et l'espace non diégétique, sans jamais laisser le spectateur s'engourdir dans ses certitudes. Cet article prend le contre-pied de la lecture interprétative du cinéma féministe d'avant-garde de cette décennie perçu comme étant engagé dans des pratiques perturbatrices. Cependant que la dissonance et la dislocation font partie intégrante de l'histoire de l'esthétique du cinéma féministe expérimental, le présent article soutient qu'il est également nécessaire de faire ressortir des moments de résonance et d'échanges intersubjectifs dans ces films. Les expériences de Gruben et de Longfellow concernant les formules de politesse cinématographiques sont considérées comme étant des interventions importantes dans les formes dominantes de représentation qui étendent le champ de possibilités aussi bien pour l'image de la femme à l'écran que pour le spectateur féministe présent dans le public.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I live in Halifax, Nova Scotia, a place, like others, that cultural policy has built and reimagined many times over. Consider Halifax's central landmark, a harbour fortress called the Citadel. Initially conceived as an eighteenthcentury British colonial strategy to ward off French, and later American, "intruders," its present day iteration is as a Canadian national historic site and tourist attraction. Now owned by Parks Canada, the site attempts to entice the same "visitors" that it once repelled. After paying an entrance fee, each visitor to the site receives a narrative that strategically situates colonial militarism in the nations historic past, and that can be delivered in one of Canada's two official languages. Conceptualized as a living artefact of policy, the Citadel is not simply a historic site. Arguably, it remains an active fortress that strategically defends the nation-state's quasi-official discourse about Canada's prehistory. Each day, the explosive sound of the Citadel's noon gun resonates throughout the city and the surrounding municipality. In doing so, the site's policy reverberations continue to assert themselves, literally and figuratively marking the present time in place.1Often, however, policy reverberations produce inadvertent effects. In what follows, I explore the idea that provincial tax credit policies, which have incentivized the development of regional film industries, have also altered the landscape and discourse of regional filmmaking to such an extent that these policies are becoming difficult to defend. I offer this theory as a way of interpreting last year's abrupt and emotionally charged changes to Nova Scotia's film incentive programme as well as the dominant rhetorical position that industry advocates used to protest the changes. Both sides of the debate have employed a discourse to defend their positions that I am calling "tax credit thinking." This is to say that both sides have overwhelmingly aligned the purpose of regional filmmaking with industrial-economic over culturalartistic goals. With mounting reports from across North America arguing that provincial, state and municipal tax credit programmes do not recuperate their investments, that they create volatile industries and tenuous employment conditions dependent on the continuation and competitiveness of their subsidies, "tax credit thinking" is becoming an increasingly risky line of defense for industry advocates and film workers. It might be the case, in fact, that this line of defense is putting regional film industries in jeopardy. Ironically, one of the most significant effects of regional film incentive policies might turn out to be that they have created the very conditions, discourses and measures of success that are beginning to dismantle them.NOVA SCOTIA, FOR EXAMPLE2015 may well be remembered as the year that the screen industries went dormant in Nova Scotia. While some policy decisions have gradual effects, the provincial Liberal governmen
{"title":"Screens Stop Here! Tax Credit Thinking and the Contemporary Meaning of \"Local\" Filmmaking","authors":"Jennifer Vanderburgh","doi":"10.3138/CJFS.25.1.135","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.135","url":null,"abstract":"I live in Halifax, Nova Scotia, a place, like others, that cultural policy has built and reimagined many times over. Consider Halifax's central landmark, a harbour fortress called the Citadel. Initially conceived as an eighteenthcentury British colonial strategy to ward off French, and later American, \"intruders,\" its present day iteration is as a Canadian national historic site and tourist attraction. Now owned by Parks Canada, the site attempts to entice the same \"visitors\" that it once repelled. After paying an entrance fee, each visitor to the site receives a narrative that strategically situates colonial militarism in the nations historic past, and that can be delivered in one of Canada's two official languages. Conceptualized as a living artefact of policy, the Citadel is not simply a historic site. Arguably, it remains an active fortress that strategically defends the nation-state's quasi-official discourse about Canada's prehistory. Each day, the explosive sound of the Citadel's noon gun resonates throughout the city and the surrounding municipality. In doing so, the site's policy reverberations continue to assert themselves, literally and figuratively marking the present time in place.1Often, however, policy reverberations produce inadvertent effects. In what follows, I explore the idea that provincial tax credit policies, which have incentivized the development of regional film industries, have also altered the landscape and discourse of regional filmmaking to such an extent that these policies are becoming difficult to defend. I offer this theory as a way of interpreting last year's abrupt and emotionally charged changes to Nova Scotia's film incentive programme as well as the dominant rhetorical position that industry advocates used to protest the changes. Both sides of the debate have employed a discourse to defend their positions that I am calling \"tax credit thinking.\" This is to say that both sides have overwhelmingly aligned the purpose of regional filmmaking with industrial-economic over culturalartistic goals. With mounting reports from across North America arguing that provincial, state and municipal tax credit programmes do not recuperate their investments, that they create volatile industries and tenuous employment conditions dependent on the continuation and competitiveness of their subsidies, \"tax credit thinking\" is becoming an increasingly risky line of defense for industry advocates and film workers. It might be the case, in fact, that this line of defense is putting regional film industries in jeopardy. Ironically, one of the most significant effects of regional film incentive policies might turn out to be that they have created the very conditions, discourses and measures of success that are beginning to dismantle them.NOVA SCOTIA, FOR EXAMPLE2015 may well be remembered as the year that the screen industries went dormant in Nova Scotia. While some policy decisions have gradual effects, the provincial Liberal governmen","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Cet article examine l'héritage du Festival international du film de Stratford (SIFF) et son incidence sur la projection, la distribution et la production cinématographique au Canada. Le SIFF, qui s'était régulièrement tenu de 1956 à 1961, puis de 1971 à 1976, fut le tout premier festival international canadien dédié aux longs métrages. Ce festival permit à la culture canadienne d'affirmer sa présence sur la scène internationale dans le cadre d'une vaste entreprise visant à accroître le rayonnement de ce pays au lendemain de la Seconde Guerre mondiale ; de même qu'il fit fond sur le succès fulgurant des programmes de théâtre et de musique au Festival de Stratford (FS). Le présent travail situe le SIFF dans le sillage d'un nombre croissant d'études qui considèrent les festivals comme étant des lieux de compétition géopolitique et socioéconomique. Par ailleurs, il propose une analyse de la façon dont la deuxième édition du SIFF élabora la notion d'un « Festival des festivals » tourné vers le public, un concept que le festival de Toronto du même nom allait approprier en 1976.
{"title":"The Rise and Fall of the Stratford International Film Festival","authors":"Ian Rae, J. Thom","doi":"10.3138/CJFS.25.1.67","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.67","url":null,"abstract":"Résumé:Cet article examine l'héritage du Festival international du film de Stratford (SIFF) et son incidence sur la projection, la distribution et la production cinématographique au Canada. Le SIFF, qui s'était régulièrement tenu de 1956 à 1961, puis de 1971 à 1976, fut le tout premier festival international canadien dédié aux longs métrages. Ce festival permit à la culture canadienne d'affirmer sa présence sur la scène internationale dans le cadre d'une vaste entreprise visant à accroître le rayonnement de ce pays au lendemain de la Seconde Guerre mondiale ; de même qu'il fit fond sur le succès fulgurant des programmes de théâtre et de musique au Festival de Stratford (FS). Le présent travail situe le SIFF dans le sillage d'un nombre croissant d'études qui considèrent les festivals comme étant des lieux de compétition géopolitique et socioéconomique. Par ailleurs, il propose une analyse de la façon dont la deuxième édition du SIFF élabora la notion d'un « Festival des festivals » tourné vers le public, un concept que le festival de Toronto du même nom allait approprier en 1976.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Dans cette étude, l'auteur examine les lieux de projection cinématographique au Festival international canadien du documentaire Hot Docs, un espace où un large éventail d'interactions idéologiques sont à l'œuvre. En guise de contribution aux recherches portant sur le festival de films documentaires, l'auteur s'appuie sur les méthodologies des études culturelles et des travaux de terrain menés à Hot Docs pour fournir un examen minutieux des lieux de projection du festival. Il examine en outre la formation « d'un public » dans cet environnement ; les idéologies qui sous-tendent les séances de questions-réponses après la projection ; l'importance des lieux choisis pour les projections, le rôle joué par les bénévoles au festival, ainsi que les efforts fournis par le personnel du festival et les commanditaires en vue d'assurer la réception des films documentaires sur les lieux de projection au festival du film.
{"title":"Documentary Film Festivals as Ideological Transactions: Film Screening Sites at Hot Docs","authors":"Lyell Davies","doi":"10.3138/CJFS.25.1.88","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.88","url":null,"abstract":"Résumé:Dans cette étude, l'auteur examine les lieux de projection cinématographique au Festival international canadien du documentaire Hot Docs, un espace où un large éventail d'interactions idéologiques sont à l'œuvre. En guise de contribution aux recherches portant sur le festival de films documentaires, l'auteur s'appuie sur les méthodologies des études culturelles et des travaux de terrain menés à Hot Docs pour fournir un examen minutieux des lieux de projection du festival. Il examine en outre la formation « d'un public » dans cet environnement ; les idéologies qui sous-tendent les séances de questions-réponses après la projection ; l'importance des lieux choisis pour les projections, le rôle joué par les bénévoles au festival, ainsi que les efforts fournis par le personnel du festival et les commanditaires en vue d'assurer la réception des films documentaires sur les lieux de projection au festival du film.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THE END OF CINEMA?: A MEDIUM IN CRISIS IN THE DIGITAL AGE By Andre Gaudreault and Philippe Marion Translated by Timothy Barnard New York: Columbia University Press, 2015, 240pp.REVIEWED BY JOHN W. LOCKEMost of the members of the film studies community have thought about and been concerned about film's change to digital. What will happen to film/ cinema? We have had the conversations, but few of us have made it a priority as we allocate our thinking and research time.The End of Cinema? is an important record of the thinking of two scholars about the cinema/digital/film nexus of issues. Particularly if you have worried about these issues and want to understand their history as well as to become current, this book is an excellent introduction. For example, it contains a clear discussion of the positions of Raymond Bellour and Jacques Aumont who hold views that each of us has heard expressed. For Gaudreault and Marion they represent "classical cinephiles" for whom "movie-theatre projection ... defines cinema" (20). Cinema only exists when a film is being projected in a dark movie theatre. Each has a book supporting their position, but the first chapter of The End of Cinema? briefly states the Bellour and Aumont positions and outlines comments by Dudley Andrew, James Lastra and Tom Gunning. It is a thorough review of the literature.Gaudreault and Marion have selected a dramatic metaphor, "the death of cinema," to organize many of their points. The transition to sound is the cause of "the death of silent cinema" which for them is the fourth death of cinema. This may come as a surprise for many readers who perhaps have viewed silent cinema as a smoothly developing history. What were the three earlier deaths? It is clear when reading this book that the early history of film is a particular area of research for the authors. I will not attempt to summarize their decades of work in a few sentences, but a value for a reader finding this book about digital cinema is that they may be led to read their work on early cinema. The idea that cinema had three deaths before the coming of sound is intriguing. Their work gives proper importance to changes such as the transition to renting films rather than selling them and to another death in the 1910s, which actually represents the birth of cinema for the authors.Although earlier periods of cinema are well discussed, the focus of the book "is the passage to digital" (50). The authors consider whether this is a revolution, a rupture, a mutation, a turn, or an upheaval and think their way through these descriptions. Their conclusion is the reasonable one of explaining distinctions, but deciding to use a range of terms (revolution, rupture, passage, turn, mutation) rather than being distracted by arguing for a single term. If their discussion had taken place a decade earlier, it would have been about a transition in progress, moving towards a start to finish fully digital cinema, but they are now able to title Chapter Tw
{"title":"The End of Cinema?: A Medium in Crisis in the Digital Age by André Gaudreault and Philippe Marion (review)","authors":"J. Locke","doi":"10.5860/choice.192479","DOIUrl":"https://doi.org/10.5860/choice.192479","url":null,"abstract":"THE END OF CINEMA?: A MEDIUM IN CRISIS IN THE DIGITAL AGE By Andre Gaudreault and Philippe Marion Translated by Timothy Barnard New York: Columbia University Press, 2015, 240pp.REVIEWED BY JOHN W. LOCKEMost of the members of the film studies community have thought about and been concerned about film's change to digital. What will happen to film/ cinema? We have had the conversations, but few of us have made it a priority as we allocate our thinking and research time.The End of Cinema? is an important record of the thinking of two scholars about the cinema/digital/film nexus of issues. Particularly if you have worried about these issues and want to understand their history as well as to become current, this book is an excellent introduction. For example, it contains a clear discussion of the positions of Raymond Bellour and Jacques Aumont who hold views that each of us has heard expressed. For Gaudreault and Marion they represent \"classical cinephiles\" for whom \"movie-theatre projection ... defines cinema\" (20). Cinema only exists when a film is being projected in a dark movie theatre. Each has a book supporting their position, but the first chapter of The End of Cinema? briefly states the Bellour and Aumont positions and outlines comments by Dudley Andrew, James Lastra and Tom Gunning. It is a thorough review of the literature.Gaudreault and Marion have selected a dramatic metaphor, \"the death of cinema,\" to organize many of their points. The transition to sound is the cause of \"the death of silent cinema\" which for them is the fourth death of cinema. This may come as a surprise for many readers who perhaps have viewed silent cinema as a smoothly developing history. What were the three earlier deaths? It is clear when reading this book that the early history of film is a particular area of research for the authors. I will not attempt to summarize their decades of work in a few sentences, but a value for a reader finding this book about digital cinema is that they may be led to read their work on early cinema. The idea that cinema had three deaths before the coming of sound is intriguing. Their work gives proper importance to changes such as the transition to renting films rather than selling them and to another death in the 1910s, which actually represents the birth of cinema for the authors.Although earlier periods of cinema are well discussed, the focus of the book \"is the passage to digital\" (50). The authors consider whether this is a revolution, a rupture, a mutation, a turn, or an upheaval and think their way through these descriptions. Their conclusion is the reasonable one of explaining distinctions, but deciding to use a range of terms (revolution, rupture, passage, turn, mutation) rather than being distracted by arguing for a single term. If their discussion had taken place a decade earlier, it would have been about a transition in progress, moving towards a start to finish fully digital cinema, but they are now able to title Chapter Tw","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71029390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This paper proposes a comparative analysis of the award-winning Quebec police television drama 19-2 (Ici Radio-Canada Télé, 2011–2015) and its English Canadian adaptation (Bravo, 2014–). This case study gives us a rare opportunity to examine the process of TV adaptation in Canada. The English version of 19-2 has obviously been designed to be "faithful," in many respects, to the original: the story and narrative arcs are quite similar; many characters still bear the name of their French predecessors; the formal features and narrative conventions of the series have mostly been reproduced. However, through the analysis of a few pivotal scenes and narrative arcs, we will argue that these productions, conceived as distinct "performances" of the same story or "format," differ significantly in terms of gender politics—their narrative construction of televised masculinities, their negotiation of hegemonic and ideal identity models, and their representation of gender relations.
{"title":"Du dix-neuf au nineteen. Une étude comparative des versions québécoise francophone et canadienne anglophone de la série télévisée 19-2","authors":"Stéfany Boisvert","doi":"10.3138/CJFS.25.1.8","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.8","url":null,"abstract":"Abstract:This paper proposes a comparative analysis of the award-winning Quebec police television drama 19-2 (Ici Radio-Canada Télé, 2011–2015) and its English Canadian adaptation (Bravo, 2014–). This case study gives us a rare opportunity to examine the process of TV adaptation in Canada. The English version of 19-2 has obviously been designed to be \"faithful,\" in many respects, to the original: the story and narrative arcs are quite similar; many characters still bear the name of their French predecessors; the formal features and narrative conventions of the series have mostly been reproduced. However, through the analysis of a few pivotal scenes and narrative arcs, we will argue that these productions, conceived as distinct \"performances\" of the same story or \"format,\" differ significantly in terms of gender politics—their narrative construction of televised masculinities, their negotiation of hegemonic and ideal identity models, and their representation of gender relations.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Mental Mechanisms series, produced by the National Film Board of Canada at the end of the 1940s, came to be at a particularly effervescent conjuncture in Canadian psychiatry: its institutional opening to research, teaching, and clinical work. Born in large part thanks to the desire of psychiatrists to introduce first still and then moving images to their experiments in group therapy, it quickly found a "big audience" via the NFB's circuits of community distribution. It was first a therapeutic, but then became an educational, training, prevention, and public health tool. If historical studies of the NFB's productions have basically brought to the fore the series' "community life," this bit of large-scale distribution so important to the NFB of the period, the series nevertheless continues to have a kind of "therapeutic existence." By returning to the NFB archives, this article discusses the series' initial, basically therapeutic raisons d'être in the context of its emergence as a therapeutic application in psychiatry. The article also seeks to place the series in its own specific context: within a history of therapeutic projection.
{"title":"L'incursion de l'ONF dans la thérapie psychiatrique : Genèse, réalisation et pérennité de la série Mental Mechanisms","authors":"Martin Beaulieu","doi":"10.3138/CJFS.25.1.46","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.46","url":null,"abstract":"Abstract:The Mental Mechanisms series, produced by the National Film Board of Canada at the end of the 1940s, came to be at a particularly effervescent conjuncture in Canadian psychiatry: its institutional opening to research, teaching, and clinical work. Born in large part thanks to the desire of psychiatrists to introduce first still and then moving images to their experiments in group therapy, it quickly found a \"big audience\" via the NFB's circuits of community distribution. It was first a therapeutic, but then became an educational, training, prevention, and public health tool. If historical studies of the NFB's productions have basically brought to the fore the series' \"community life,\" this bit of large-scale distribution so important to the NFB of the period, the series nevertheless continues to have a kind of \"therapeutic existence.\" By returning to the NFB archives, this article discusses the series' initial, basically therapeutic raisons d'être in the context of its emergence as a therapeutic application in psychiatry. The article also seeks to place the series in its own specific context: within a history of therapeutic projection.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
INTRODUCTIONWith this issue and the next, the Canadian Journal of Film Studies/Revue canadienne d'etudes cinematographiques marks its twenty-fifth year of continuous publication. This has been a collective accomplishment, one achieved by those many individuals who have, for all those years, edited the journal, served on the Editorial Board, managed its finances, submitted the SSHRC publishing grant application, worked as assistants, solicited book reviews, stuffed envelopes and licked stamps, answered letters (and later, emails), designed the covers, made the proofs, maintained the website, and done the many other various tasks that have kept this enterprise going. Most importantly, for twenty-five years, authors have been submitting their articles and reviewers have been reading and evaluating them. That kind of evaluation fulfills what is perhaps the most fundamental scholarly obligation we have, which is to review the work of our peers. By doing that, we make possible what is ultimately a collective endeavour: the publication and dissemination of our research and our ideas.Scholarly journals play an indispensible role in the development of disciplines, and over the past twenty-five years the CJFS/RCEC has been a major venue for the work of film scholars in Canada, and from around the world, a site of intellectual and scholarly activity that has played no small part in the growth of film studies in this country. When the journal began publishing two and a half decades ago, there were a few Film Studies departments in Canada offering undergraduate courses, and even some MA programmes. In the intervening years, though, the number of programmes has grown markedly, so that Film Studies is offered at both the undergraduate and graduate level in almost every university in the country, with several new PhD programmes created in the last few years.The CJFS/RCEC is published by the Film Studies Association of Canada/ Association canadienne detudes cinematographiques. Mandated in the FSAC/ ACEC constitution, the publication of a journal was to be a major part of the associations effort "to foster and advance the study of the history and art of film and related fields." The success of the CJFS/RCEC is revealed most significantly, I think, in the role that it has played-whether directly or indirectly- in the achievement of such a goal, in the flourishing of film and media studies in Canada. From the very beginning, moreover, the journal was bilingual, publishing work in both English and French. The first French articles appeared in 1995, and scholarship in French has since then been regularly published in the journal.While the association was founded in 1977, it was only in 1991 that the journal began publishing. Zuzana Pick was an original member from 1988 of the FSAC/ACEC editorial board, and editor of the CJFS/RCEC from 1993 to 1997. In her reminiscences from that time, included as part of this twentyfifth anniversary issue, she describes the efforts th
{"title":"National and Global: Twenty-Five Years of Film Studies in a Canadian Context","authors":"Marc Furstenau","doi":"10.3138/cjfs.25.1.fm","DOIUrl":"https://doi.org/10.3138/cjfs.25.1.fm","url":null,"abstract":"INTRODUCTIONWith this issue and the next, the Canadian Journal of Film Studies/Revue canadienne d'etudes cinematographiques marks its twenty-fifth year of continuous publication. This has been a collective accomplishment, one achieved by those many individuals who have, for all those years, edited the journal, served on the Editorial Board, managed its finances, submitted the SSHRC publishing grant application, worked as assistants, solicited book reviews, stuffed envelopes and licked stamps, answered letters (and later, emails), designed the covers, made the proofs, maintained the website, and done the many other various tasks that have kept this enterprise going. Most importantly, for twenty-five years, authors have been submitting their articles and reviewers have been reading and evaluating them. That kind of evaluation fulfills what is perhaps the most fundamental scholarly obligation we have, which is to review the work of our peers. By doing that, we make possible what is ultimately a collective endeavour: the publication and dissemination of our research and our ideas.Scholarly journals play an indispensible role in the development of disciplines, and over the past twenty-five years the CJFS/RCEC has been a major venue for the work of film scholars in Canada, and from around the world, a site of intellectual and scholarly activity that has played no small part in the growth of film studies in this country. When the journal began publishing two and a half decades ago, there were a few Film Studies departments in Canada offering undergraduate courses, and even some MA programmes. In the intervening years, though, the number of programmes has grown markedly, so that Film Studies is offered at both the undergraduate and graduate level in almost every university in the country, with several new PhD programmes created in the last few years.The CJFS/RCEC is published by the Film Studies Association of Canada/ Association canadienne detudes cinematographiques. Mandated in the FSAC/ ACEC constitution, the publication of a journal was to be a major part of the associations effort \"to foster and advance the study of the history and art of film and related fields.\" The success of the CJFS/RCEC is revealed most significantly, I think, in the role that it has played-whether directly or indirectly- in the achievement of such a goal, in the flourishing of film and media studies in Canada. From the very beginning, moreover, the journal was bilingual, publishing work in both English and French. The first French articles appeared in 1995, and scholarship in French has since then been regularly published in the journal.While the association was founded in 1977, it was only in 1991 that the journal began publishing. Zuzana Pick was an original member from 1988 of the FSAC/ACEC editorial board, and editor of the CJFS/RCEC from 1993 to 1997. In her reminiscences from that time, included as part of this twentyfifth anniversary issue, she describes the efforts th","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Zuzana M. Pick, William C. Wees, Blaine Allan, Catherine Russell
ZUZANA PICKProfessor Emerita, Film Studies, Carleton University, Ottawa Editor, 1993-1997Among the many challenges I took on during my academic career, by far the most exciting and rewarding was contributing to the launch of the Canadian Journal of Film Studies/Revue canadienne d etudes cinematographiques. Between 1988 and 1992,1 served as a member of the editorial board alongside a group of scholars and writers affiliated to the Film Studies Association of Canada/Association canadienne detudes cinematographiques.Notwithstanding the informal context in which the early meetings of the editorial board took place, the work we did under the gentle leadership of Peter Morris (York University)-the first president of FSAC/ACEC , 1976-1977- was eminently professional. If my memory serves me right, we met for the first time in the summer of 1988 in the Ottawa home of Peter Harcourt (Carleton University.) Over a lunch supplemented with generous servings of wine, we agreed on the goals of the journal, the double-referee protocols and the responsibilities of the editor and editorial board members, including soliciting articles. In August 15, Peter Morris mailed out an announcement to FSAC members. On January 4, 1989 Bart Testa (Innis College, University of Toronto) sent us copies of submitted articles. In his letter, regarding the selection of articles, he stated that he was "inclined to agree that a wide range of topics would help in broadcasting to potential contributors that we are looking for international material as well."During the June of 1989 meeting, with twelve pieces in hand, Peter Morris proposed names of readers and designated individual members to follow up. At the October 27 meeting, consensus was reached on style, cover design and masthead, subscription prices, guidelines for contributors and presentation of the journal (both written by Peter Morris.) The editor s report on the content of the first issue (accepted and outstanding articles, book reviews) was followed by distributing additional tasks: letters of acceptance and call for papers for the second issue to be published in the FSAC/ACEC newsletter edited by Peter Rist (Concordia University). By December, financial issues were resolved. In a Christmas cheer letter Peter Morris wrote that the application to the York University Fund supporting new journals was approved. So with $4000 in hand ($3000 from FSAC and $1000 from York), and commitments for typesetting (Pages Plus, North York) and printing (Imprimerie Gagne Ltee., Ottawa), we were in the position of getting the first issue printed.Why have I chosen to detail the early days for this 25th anniversary issue? With this account, I want to underline the commitment of a group who put their skills at the service of turning into reality the intention expressed in the 1977 by-laws of FSAC/ACEC. This goal would not have been achieved without Michael Dorland's (Concordia University) and Peter Morris' experience as editors of Cinema Canada a
{"title":"Twenty-Five Years of the Canadian Journal of Film Studies/Revue canadienne d'études cinématographiques","authors":"Zuzana M. Pick, William C. Wees, Blaine Allan, Catherine Russell","doi":"10.3138/cjfs.25.1.149","DOIUrl":"https://doi.org/10.3138/cjfs.25.1.149","url":null,"abstract":"ZUZANA PICKProfessor Emerita, Film Studies, Carleton University, Ottawa Editor, 1993-1997Among the many challenges I took on during my academic career, by far the most exciting and rewarding was contributing to the launch of the Canadian Journal of Film Studies/Revue canadienne d etudes cinematographiques. Between 1988 and 1992,1 served as a member of the editorial board alongside a group of scholars and writers affiliated to the Film Studies Association of Canada/Association canadienne detudes cinematographiques.Notwithstanding the informal context in which the early meetings of the editorial board took place, the work we did under the gentle leadership of Peter Morris (York University)-the first president of FSAC/ACEC , 1976-1977- was eminently professional. If my memory serves me right, we met for the first time in the summer of 1988 in the Ottawa home of Peter Harcourt (Carleton University.) Over a lunch supplemented with generous servings of wine, we agreed on the goals of the journal, the double-referee protocols and the responsibilities of the editor and editorial board members, including soliciting articles. In August 15, Peter Morris mailed out an announcement to FSAC members. On January 4, 1989 Bart Testa (Innis College, University of Toronto) sent us copies of submitted articles. In his letter, regarding the selection of articles, he stated that he was \"inclined to agree that a wide range of topics would help in broadcasting to potential contributors that we are looking for international material as well.\"During the June of 1989 meeting, with twelve pieces in hand, Peter Morris proposed names of readers and designated individual members to follow up. At the October 27 meeting, consensus was reached on style, cover design and masthead, subscription prices, guidelines for contributors and presentation of the journal (both written by Peter Morris.) The editor s report on the content of the first issue (accepted and outstanding articles, book reviews) was followed by distributing additional tasks: letters of acceptance and call for papers for the second issue to be published in the FSAC/ACEC newsletter edited by Peter Rist (Concordia University). By December, financial issues were resolved. In a Christmas cheer letter Peter Morris wrote that the application to the York University Fund supporting new journals was approved. So with $4000 in hand ($3000 from FSAC and $1000 from York), and commitments for typesetting (Pages Plus, North York) and printing (Imprimerie Gagne Ltee., Ottawa), we were in the position of getting the first issue printed.Why have I chosen to detail the early days for this 25th anniversary issue? With this account, I want to underline the commitment of a group who put their skills at the service of turning into reality the intention expressed in the 1977 by-laws of FSAC/ACEC. This goal would not have been achieved without Michael Dorland's (Concordia University) and Peter Morris' experience as editors of Cinema Canada a","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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