Canadian Film and Video: A Bibliography and Guide to the Literature 9781442672185

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CANADIAN FILM AND VIDEO F I L M FT V I D E O C A N A D I E N S VOLIJMF, 1

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LOREN L E R N E R

Canadian Film and Video: A Bibliography and Guide to the Literature Film et video canadiens : bibliographic analytique sur le cinema et la video 1

U N I V E R S I T Y OF TORONTO PRESS Toronto Buffalo London

www.utppublishing.com © University of Toronto Press Incorporated 1997 Toronto Buffalo London Printed in Canada Imprime au Canada ISBN 0-8020-2988-4

Printed on acid-free paper Imprime sur papier sans acide Canadian Cataloguing in Publication Data Lerner, Loren R. (Loren Ruth), 1948Canadian film and video : a bibliography and guide to the literature = Film et video canadiens : bibliographic analytique sur le cinema et la video Text in English and French. Includes bibliographical references and index. ISBN 0-8020-2988-4 1. Motion pictures - Canada - Bibliography. 2. Video recordings - Canada - Bibliography. 3. Motion pictures - Canada - Reviews Bibliography. 4. Video recordings - Canada Reviews - Bibliography. I. Title. II. Title: Film et video canadiens : bibliographic analytique sur le cinema et la video. Z5784.M9L471997

016.79143'0971

C97-930938-7E

Donnees de catalogage avant publication (Canada) Lerner, Loren R. (Loren Ruth), 1948Canadian film and video : a bibliography and guide to the literature = Film et video canadiens : bibliographic analytique sur le cinema et la video Textes en anglais et en francais. Comprend des references bibliographiques et un index. ISBN 0-8020-2988-4 1. Cinema - Canada - Bibliographic. 2. Videos - Canada - Bibliographic. 3. Cinema - Canada - Comptes rendus Bibliographic. 4. Videos - Canada Comptes rendus - Bibliographic. I. Titre. II. Titre: Film et video canadiens : bibliographic analytique sur le cinema et la video. Z5784.M9L471997

016.79143'0971

C97-930938-7F

These volumes have been published with the assistance of grants from Telefilm Canada and from the Humanities and Social Sciences Federation of Canada, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council and the Ontario Arts Council. La publication de ces volumes a etc rendue possible grace a 1'octroi de subventions de Telefilm Canada et de la Federation canadienne des sciences humaines et sociales, a partir de fonds provenant du Conseil de recherches en sciences humaines du Canada. L'University of Toronto Press reconnait 1'appui financier du Conseil des arts du Canada et du Conseil des arts de I'Ontario dans son programme de publication.

For ray children, Daniel and Jennifer

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Contents / Table des matieres

Volume 1 Avant-propos de Pierre Veronneau ix Foreword by Pierre Veronneau xi Introduction Acknowledgments

xiii xxix

Introduction

xxi

Remerciements

xxxi

Contributors

xxxiii

Collaborateurs

xxxiii

Guide to Using the Bibliography

xxxv

Guide de 1'utilisateur de la bibliographic

xxxix

Abbreviations

xliii

F I L M AND V I D E O / F I L M ET V I D E O General Studies / Etudes generates Canada

3 3

Atlantic Canada / Provinces de 1'Atlantique

38

Quebec

39

British Columbia / Colombie-Britannique

69

Genres

Abreviations

xliii

National Film Board of Canada / Office national du film du Canada

178

Telefilm Canada / Telefilm Canada

223

Atlantic Canada / Provinces de 1'Atlantique

234

Quebec

235

Ontario

260

Manitoba

262

72

Saskatchewan

263

Documentary Films / Cinema documentaire

72

Alberta

263

Industrial Films / Cinema industriel

84

British Columbia / Colombie-Britannique

264

Experimental Films / Cinema experimental

88

Animated Films / Cinema d'animation

100

Video / Video

108

Film and Government / Cinema et gouvernement Canada

127 127

Canadian Broadcasting Corporation / Societe Radio-Canada

161

Canadian Film Development Corporation / Societe de developpement de 1'industrie cinema tographique canadienne

167

Festivals and Awards / Festivals et prix

267

Festivals

267

Awards / Prix

405

Industry / Industrie

431

Canada

431

Atlantic Canada / Provinces de 1'Atlantique

529

Quebec

534

Montreal Ontario

565 571

viii

Contents Toronto

Western Canada / Provinces de 1'Ouest

575 579

Manitoba

581

Saskatchewan

584

Alberta

585 596 609

British Columbia / Colombie-Britannique Vancouver

Production, Distribution, and Exhibition Companies / Compagnies de production, de distribution et d'exploitation 612 Production Companies and Studios / Compagnies et maisons de production 612 Distribution Companies / Compagnies de distribution

657

Exhibition Companies / Compagnies d'exploitation 666 Film and Video Associations and Organizations / Associations et organisations de cinema et video

681

Related Studies / Etudes connexes

743

Volume 2 PEOPLE IN FILM AND V I D E O / G E N S DE CINEMA ET V I D E O Filmmakers and Video Artists / Cineastes et artistes en video 839 Cinematographers / Directeurs de la photographic

1371

Editors / Monteurs

1376

Producers / Producteurs

1378

Composers / Compositeurs

1393

Scriptwriters / Scenaristes

1398

Actors / Acteurs

1404

Appendix: Chronology of the Canadian Film Industry, 1893-1989, by Rose-Aimee Todd 1423 Appendice : Chronologie de 1'industrie cinema tographique canadienne de 1893 a 1989 de Rose-Aimee Todd

1445

INDEXES/LESINDEX

Archives, Cinematheques, and Institutes / Archives, cinematheques et instituts

743

Cinemas and Theatres / Cinemas et theatres

758

Film and Education / Cinema et education

Guide to Using the Indexes

1469

768

Guide de 1'utilisateur des index

1473

Author Index / Index des auteurs

1477

Film and Video Title Index / Index des titres de films et videos

1507

Subject Index / Index des sujets traites

1573

Film and Literature / Cinema et litterature

781

Film and Libraries / Cinema et bibliotheques

785

Film and Society / Cinema et societe

788

Film and Censorship / Film et censure

795

Canada

795

Atlantic Canada / Provinces de 1'Atlantique

803

Quebec

804

Ontario

806

Western Canada / Provinces de 1'Ouest

816

Film Societies / Societes de cinema

819

Film and Women / Femmes et cinema

824

Avant-propos Pierre Veronneau

En 1895, apres des decennies d'essais et d'erreurs, le cinema tel que nous le connaissons aujourd'hui fait son apparition. La France, 1'Allemagne et les Etats-Unis se retrouvent dans le peloton des pays dont les recherches sont couronnees de succes, et bientot le Canada accueille ses premieres vues animees avec 1'ouverture du cinema Lumiere a Montreal en 1896. Avant peu, les vues animees deviennent largement disponibles a travers le pays et la presse en fait echo. Si nous nous penchons sur les cent dernieres annees, nous pouvons voir tout ce qui a change et nous pouvons constater la place importante qu'a prise le cinema dans notre societe. Voila qui se reflete bien dans tout ce qui a ete ecrit sur le sujet. Durant les vingt dernieres annees particulierement, nous avons assiste a une explosion d'ecrits sur le cinema. La somme impressionnante de renseignements recueillis dans la presente bibliographic par Loren Lerner et son equipe constitue un tribut a la signification du film et de la video dans notre culture. Ce travail sert d'abord a rappeler la quantite imposante de textes qui ont jalonne la vie cinematographique au Canada et que nous retrouvons dans toutes les categories de publications, aussi bien populaires que savantes. Cet ouvrage pourra evidemment etre mis a profit par la critique de film. Mais tel n'est pas le merite premier de cette publication, ni son but premier. Je pense plutot que sa valeur reside dans le fait qu'elle encourage une approche renouvelee des cinemas quebecois et canadien. Ce travail sera d'un precieux secours aux historiens du cinema et a ceux qui s'adonnent a des recherches historiques sur le film. Au lieu de souscrire a une approche critique de 1'histoire ecrite, cette bibliographic sert de tremplin a des recherches subsequentes. Elle constitue aussi une base a 1'histoire a etre ecrite. Elle touche a 1'analyse theorique, particulierement a celle qui accroit la comprehension du film par le spectateur. Elle aide a repenser les traditions de recherches sur le cinema au pays. Au cours des dix dernieres annees, les recherches sur le cinema ont connu dans le monde un renouvellement majeur. Les historiens du film se sont tournes vers des methodologies rigoureuses, se penchant souvent sur des materiaux documentaires qu'on avait negliges, notamment les ressources non filmiques. Par exemple, les archives des individus, les scenarios et les descriptifs de copyright, les fiches de la censure, les registres financiers, les proces-verbaux administratifs, les brevets d'invention, les catalogues publicitaires et les documents commerciaux, tout cela projette de la lumiere sur 1'histoire du cinema. Les dossiers d'affaires aussi bien que la presse pour large public s'inscrivent dans cette remise a jour de 1'histoire du film. Comme pour d'autres champs de la recherche historique, de nouvelles approches et de nouvelles aires d'etude font jour et acquierent de la

legitimite. Au cinema, le potentiel est pratiquement sans limites et la publication d'ouvrages de reference comme celui-ci offre la possibilite de repousser les frontieres actuelles de la connaissance. «Who's afraid of Canadian culture ?» demandait il y a quelques annees 1'essayiste Susan Crean.1 «Who's afraid of Canadian cinema ?» pourrions-nous lui demander. Quand nous observons la masse de documents qui se publient partout dans le monde sur le cinema, nous pouvons nous confondre en excuses eu egard a la situation au Canada. Pourtant nous nous en tirons beaucoup mieux que d'autres pays dont la production cinematographique et la taille demographique se comparent aux notres. Mais si nous observons d'un peu plus pres les recherches qui se menent dans les universites canadiennes, les cours qui s'y donnent et les theses et les memoires qui s'y poursuivent, nous ne pouvons que constater la portion congrue qu'occupent les cinemas du Canada et du Quebec en comparaison avec d'autres disciplines dans le domaine des arts et des lettres. Est-ce que cette sous-representation est le resultat d'une colonisation culturelle ? Est-elle un signe du manque d'interet pour 1'etude de 1'activite cinematographique quebecoise et canadienne ? Est-elle un jugement sur la nature et la qualite des ceuvres qui s'y tournent ? Le professeur Peter Harcourt, de 1'universite Carleton, reflechissait sur ces questions dans un texte intitule «Canadian Film Studies and Canadian Film: The Education We Need».2 Dans ce texte, Harcourt plaide pour une auto-reconnaissance des Canadiens et des Quebecois et une ouverture plus grande au discours public pour que nous puissions acquerir une plus grande comprehension du film comme faisant partie de notre culture. Sans decourager 1'interet qu'exerce le cinema d'autres pays aupres de la population et des chercheurs, nous devrions nous rendre compte qu'il existe une attitude qui tend a ignorer ou a rendre marginale 1'activite cinematographique de notre pays. Quand, il y a vingt ans, j'ai commence mes propres recherches sur le cinema quebecois, rares etaient les ouvrages sur les cinemas quebecois et canadien. Quelques enthousiastes avaient deblaye courageusement le terrain mais, a quelques exceptions pres, leurs textes n'avaient pas la rigueur de publications savantes. En fait, seuls Peter Morris et Peter Harcourt «gardaient le fort» avec Constance. Depuis les choses ont bien change, grace aux efforts des Colin Browne, Louise Carriere, Michel Coulombe, Gary Evans, Piers Handling, Marcel Jean, Yves Lever et D.J. Turner, pour n'en nommer que quelques-uns. La situation a evolue, mais insuffisamment a mon avis si je considere les terrains encore en friche. La desaffectation, a laquelle je viens de faire allusion, explique en partie cet etat

x

Avant-propos

de fait. Y a-t-il un mepris pour le cinema en ce pays? Y a-t-il une absence de curiosite pour les institutions qui ceuvrent dans les domaines de la production et de la distribution ? Et que dire de 1'etat de la technologie dans 1'industrie, malgre 1'ouvrage pionnier de Gerald Graham ? Est-il possible que d'autres disciplines, et en premier lieu 1'histoire, aient tendance a considerer le cinema, et specialement le cinema canadien, comme un objet qu'il ne vaut pas la peine d'etudier ? Michele Lagny rappelle que «la fonction de 1'histoire est de construire une memoire destinee a fonder une identite collective^3 C'est, je crois, la meme chose pour 1'histoire du cinema. Les recherches sur le cinema au Canada et la publication d'ouvrages comme celui-ci sont cruciales parce qu'elles augmentent la connaissance de notre propre culture et donnent le branle a des etudes approfondies. Et nous n'avons pas besoin pour cela d'attendre que notre identite nationale ou notre territoire aient ete definis. Comme c'est le cas pour d'autres domaines, la redefinition des methodologies est essentielle pour la recherche et 1'analyse historiques. En ce sens, les choses s'ameliorent et la publication de la presente bibliographie represente un jalon important. Elle contribue a un processus de validation des connaissances historiques sur les cinemas quebecois et canadien. Elle rappelle particulierement la necessite de 1'histoire du cinema dans son ensemble. On compte, ici et a 1'etranger, plusieurs recits portant sur la pratique cinematographique d'un point de vue historique. Certains par exemple sont colores par des preoccupations politiques comme la definition de la culture canadienne ou quebecoise ou la resistance a 1'envahissement americain. D'autres semblent consacres a un genre ou a une ethique en particulier comme le cinema direct, le cinema experimental, 1'animation, etc. Mais on neglige encore des champs entiers. Par exemple, il reste beaucoup a ecrire sur le cinema et sa relation avec les institutions et les pratiques gouvernementales. Certains regimbent a une telle entreprise car elle remet en cause la supposee autonomie de la creation comme si, pour s'exprimer carrement, 1'ONF n'avait aucun lien avec la politique culturelle canadienne ou comme si tous les cineastes produisaient une ceuvre en resistance contre les politiques de Telefilm.

Pour beaucoup de gens, et il ne faut pas leur donner tort quand on consulte ce qui se public, 1'histoire du cinema est essentiellement celle des films et de leurs createurs. La tradition, dans 1'histoire des arts, n'est-elle pas d'accorder une importance primordiale aux ceuvres et a la notion d'auteur? Mais - et specialement dans le domaine du cinema et des arts de masse en general - il ne faut pas se limiter a cette seule dimension en particulier. L'histoire du cinema est aussi celle des institutions qui produisent les films, les distribuent et les exploitent, celle des organismes qui sont associes au film, celle des lieux ou on les consomme, celle des compagnies qui produisent le materiel requis pour leur fabrication, et, enfin, celle des gens qui les regardent. La devaluation du moyen de communication qu'est le film et qui se fait maintenant au plan mondial englobe de plus en plus ces derniers territoires. On a vu se developper et se multiplier les etudes sur la reception, particulierement sur la reception critique. Cette evolution va de pair avec le declin des analyses textuelles, ou plutot marque un passage entre la comprehension du film comme tel et la comprehension de sa reception par le spectateur. Une ressource comme la presente bibliographie se situe en amont des etudes de reception critique qui permettent de nos jours de renouveler le discours analytique. Elle marque en effet une ouverture a une approche historique de 1'etude du film. Cette bibliographie deviendra une reference indispensable pour tous les specialistes du cinema au Canada. Elle stimulera la reflexion et la recherche des historiens, des critiques et de toute personne qu'interessent les etudes cinematographiques. Grace a la stratification de 1'information qu'il propose, cet ouvrage nous permettra de retourner aux sources et de comprendre les facteurs esthetiques et pratiques du film et de la production cinematographique. II sera plus facile d'identifier le contexte historique, economique, politique et social. Loren Lerner et son equipe ont surmonte un defi de taille et ont mene a bien leur entreprise ambitieuse. Aux chercheurs, aux historiens, aux critiques et aux enseignants maintenant de poursuivre leur travail.

NOTES 1 Susan Crean, Who's Afraid of Canadian Culture? (Don Mills, Ont.: General Publishing, 1976). 2 Cinema Canada, mars 1988, repris dans Responses dirige par Elaine Allen, Michael Dorland et Zuzana M. Pick (Kingston :

The Responsible Press/Les editions La Responsabilite, 1992), 243-75. 3 Michele Lagny, De 1'histoire du cinema : methode historique et histoire du cinema (Paris : Armand Colin, 1992), 17.

Foreword Pierre Veronneau

In 1895, after decades of trial and error, the cinema as we now know it came into being. France, Germany, and the United States were leaders in its development, and soon Canada welcomed its first motion pictures with the opening of Montreal's Cinema Lumiere in 1896. Before long, motion pictures were becoming widely available across the country and were receiving attention in the press. Looking back over a hundred years we can see how much has changed and what an important place cinema has made for itself in our society, and this is reflected in what has been written on the subject. During the past twenty years in particular, we have seen an explosion of writing on cinema. The vast amount of information collected here in this bibliography by Loren Lerner and her team is a tribute to the significance of film and video in our culture. The work serves, first of all, as a reminder of the impressive quantity of written material which has marked cinema in Canada and which is found in all types of publications, both popular and scholarly. Clearly, film critics will profit from this work. But that is not the primary merit of this publication, nor its primary goal. I think rather that its value lies in the fact that it encourages a renewed approach to Quebec and Canadian cinemas. The work will be of enormous benefit to film historians and anyone doing historical research in film. Rather than taking a critical approach to written history, the bibliography serves as a springboard to further research and a basis for history yet to be written. It touches on theoretical analysis, especially that which enhances the viewer's understanding of film. It encourages a rethinking of traditions of research on cinema in this country. During the past ten years, research on cinema has undergone a major renewal around the world. Film historians have moved towards a rigorous methodology, often turning to neglected documentary material, notably non-film resources. For example, personal archives, screenplays, copyright descriptions, censorship memoranda, financial registers, minutes of meetings, patents, sales catalogues, and commercial documents all throw light on the history of cinema. Both business records and the popular press are part of this updated study of film. As in other fields of historical research, new approaches and areas of study are opening up and gaining legitimacy. In cinema the potential is practically unlimited, and the publication of reference works like this one offers the possibility of pushing back the present frontiers of knowledge. "Who's afraid of Canadian culture?" asked essayist Susan Crean several years ago.1 "Who's afraid of Canadian cinema?" we could ask. When contemplating the mass of documents published throughout the world on the subject of cinema, one may feel apologetic about the situation in

Canada. Yet we actually do better than other countries with similar populations and film output. Still, when one looks more closely at the research that is being carried out in Canadian universities, at the courses offered, and at the theses and papers being written, one must note the barely adequate proportion occupied by work on Canadian and Quebec cinema as compared with other subjects in the realm of arts and letters. Is this underrepresentation the result of cultural colonization? Is it a sign of a lack of interest in the study of cinematographic activity in Quebec and Canada? Is it a judgment of the nature and quality of works being filmed here? Carleton University professor Peter Harcourt reflects on these questions in an article entitled "Canadian Film Studies and Canadian Film: The Education We Need."2 In it Harcourt pleads for self-examination on the part of Canadians and Quebeckers and greater openness to the public discourse, so that we can develop a deeper understanding of film as a part of our culture. Without discouraging popular and scholarly interest in cinema from other countries, we should beware of an attitude that tends to ignore or marginalize cinematographic activity in our own country. When I began my own research into Quebec cinema twenty years ago, the literature on Quebec and Canadian cinema was sparse. Several enthusiasts had already courageously cleared the way, but their work often lacked scholarly rigour, with a few exceptions. In fact, only Peter Morris and Peter Harcourt consistently "held the fort." Since that time, much has changed, thanks to the efforts of people like Colin Browne, Louise Carriere, Michel Coulombe, Gary Evans, Piers Handling, Marcel Jean, Yves Lever, and D.J. Turner, to name just a few. The situation has changed, but I do not think it has evolved sufficiently when I examine the fields that still lie fallow. The disaffection to which I have just alluded partly explains this state of affairs. Is cinema looked down upon in this country? Is there a lack of curiosity about organizations working in production and distribution? And what can we say about the state of the technology in the industry, despite the pioneering work of Gerald Graham? Is it possible that other disciplines, starting with history, have a tendency to consider cinema, especially Canadian cinema, as not worth studying? Michele Lagny reminds us that "the business of history is to construct a memory destined to create a collective identity."3 I believe the same applies to the history of cinema. Research on cinema in Canada and the publication of works such as this one are crucial because they increase our knowledge of our own culture and serve as an impetus towards more in-depth study. For that we do not have to wait until our national identity or our territory has been defined.

Xll

Foreword

In Canadian cinema, as in other fields, the refining of methodology is essential to historical research and analysis. In this respect things are improving, and the publication of this bibliography represents an important milestone. It contributes to a process of the validation of historical knowledge of Quebec and Canadian cinema. More particularly, it is a reminder of the need for a comprehensive history of cinema. There exist, here and abroad, several accounts of cinematographic practices from a historical point of view. Some, for example, are coloured by political concerns such as defining a Canadian or Quebec culture or resisting American influences. Others appear to be devoted to a particular aesthetic or genre, such as cinema direct, experimental cinema, and animation. But there are still entire fields which are neglected. For instance, much remains to be written about cinema and its relationship to government institutions and practices. Some will baulk at such a project, because it calls into question the supposed independence of artistic creation, as if - to put it bluntly - the NFB has no links to Canadian cultural policies or as if all filmmakers are producing films in opposition to the policies of Telefilm. For many people - and we can hardly blame them when we look at what has been published - the history of cinema is essentially that of films and their creators. Does not traditional art history consider both the works and the notion of authorship of primary importance? But, especially in the realm of cinema and the popular arts in general, we must not limit ourselves to this particular dimension. The history

of cinema is also that of the institutions that produce, distribute, and promote films, of organizations that are associated with film, of places where films are shown, of companies that produce the materials required to make them, and, finally, of the people who watch them. The re-evaluation of the medium of film now taking place around the world increasingly includes these areas. We have seen studies on viewing, especially on critical viewing, develop and multiply. This evolution goes hand-in-hand with the decline in textual analysis; or rather, it marks the transition between understanding a film as such and understanding how the spectator sees it. Critical studies that will allow us to renew the analytical discourse will derive naturally from such a resource as this bibliography, providing as it does an opening for a historical approach to the study of film. This bibliography will be an indispensable reference work for all cinema specialists in Canada. It will encourage thought and research by historians, critics, and all those interested in cinema studies. Thanks to the many layers of information presented, this work will allow us to return to the sources to gain an understanding of the aesthetic and practical aspects of film and filmmaking. It will be easier to identify the historical, economic, political, and social contexts. Loren Lerner and her team have risen to an immense challenge and successfully carried out their ambitious enterprise. Now it is up to the researchers, historians, critics, and teachers to carry on their work.

NOTES 1 Susan Crean, Who's Afraid of Canadian Culture? (Don Mills, Ont: General Publishing, 1976). 2 Cinema Canada, March 1988; reprinted in Responses, edited by Blaine Allen, Michael Dorland, and Zuzana M. Pick (Kingston:

The Responsible Press/Les editions La Responsabilite, 1992), 243-75. 3 Michele Lagny, De I'histoire du cinema: methode historique et histoire du cinema (Paris: Armand Colin, 1992), 17.

Introduction

The main objective of Canadian Film and Video: A Bibliography and Guide to the Literature /Film et video canadiens: bibliographic analytique sur le cinema et la video is to provide access to the English and French literature on film and video in Canada from the first decade of the twentieth century to 1989, Canada's Year of the Film.1 The absence of comprehensive retrospective bibliographies has too often discouraged basic research into Canadian film and video. The intention of this reference guide is to help fill that void. This bibliography identifies relevant articles in periodicals, both Canadian and foreign, as well as books, catalogues, government reports, theses, newspapers, and other types of print materials. Without basic bibliographies to consult, researchers often find themselves repeating many of the tasks of their predecessors. Daunted by the apparent lack of readily available literature, researchers tend to concentrate on well-documented areas. Areas where the literature is less available are too often neglected. By making these documents accessible, we expect that scholars will no longer need to spend time searching through the same runs of unindexed periodicals or browsing the shelves of numerous libraries in pursuit of sources. Canadian Film and Video, in bringing forward numerous topics relating to our cultural heritage, is intended to give scholars the encouragement and impetus to pursue new avenues of research. While films and videos themselves are obviously the focal point of most historical research, sadly too many of these works have disappeared, been destroyed, or remained unacknowledged because of the lack of distribution or venues for exhibition. In these circumstances, the literature is often all that remains as a record and proof of a film's existence. A review, an interview with an actor or producer, or a commentary on the movie palace where a film was shown may sometimes be the only account that has survived. While some filmmaking activity may not have been written about, a good part of its history and chronology can be reconstructed from the literature. The aim of this bibliography is to assist in the advancement of Canadian film history. A knowledge and appreciation of the history of Canadian film is important to our understanding of Canadian culture because film, more than any other art form, tests a nation's ability to define, structure, and promote its cultural identity. For the majority of us, unfortunately, Canadian film seems like a foreign language because the cinema we experience most often is not our own.2 This bibliography is seen as a means of promoting the study of Canadian film by encouraging the exchange of information and ideas among film scholars, expanding the parameters of Canadian film study, and easing access to obscure Canadian films. In Canadian Film and Video we have

attempted to create, through a combination of abstracts, classified entries, and several indexes, a guide in English and French to all aspects of film and video. We have tried to keep in mind the interests and concerns of producers, directors, actors, distributors, and other practitioners, as well as curators, librarians and archivists, critics and cultural advisers, high school and university students, academics, and Canadian and non-Canadian patrons alike. It was essential in our view to provide many available references from accessible sources in cinema-related and general literature for all levels and types of researchers. The size of Canadian Film and Video is impressive: there are 24,800 entries, of which approximately 10,800 are abstracted and 14,000 - primarily film reviews and newspaper articles are not. The decision was made to be inclusive rather than selective, because it was felt that only by bringing together the disparate pieces relating to a topic could the study hope to be comprehensive. The editor recognized that many more references could have been included from both newspapers and magazines, but, financial and time constraints prevented us from doing so and thereby making this substantial publication even larger. Several non-Canadian bibliographic projects were begun in the 1970s with the objective of exhuming the large amount of material in film journals hitherto buried in the vaults of archives and libraries around the world.3 In the process some Canadian references were uncovered. With the launching of the International Index to Film Periodicals in 1973, a project of the Documentation Commission of the International Federation of Film Archives (FIAF), the Cinematheque quebecoise began, as a partner in this cooperative venture, to contribute their indexing of Canadian and Quebec periodicals. As well, Cinematheque quebecoise's Annuaire du cinema quebecois (published 1979-1988 in Copie Zero; since 1988 published annually by the Cinematheque quebecoise as a separate text) and Mediadoq (on CD-ROM) have included separately periodical references, along with references to books, government reports, and catalogues on Quebec film and video. More general Canadian indexing services, such as the Canadian Periodical Index (Ottawa: Canadian Library Association, 1920- ), have indexed articles relating to Canadian film and video, but their scope is not extensive or complete enough for the study of Canadian film and video. The bibliographic work in Canadian film and video, despite Madeleine Fournier-Renaud and Pierre Veronneau's groundbreaking Ecrits sur le cinema: bibliographie quebecoise, 1911-1981 (Montreal: La Cinematheque quebecoise, 1982), is still in its infancy. Its development has lagged behind that of the filmographies that list and describe Canadian films and

xiv

Introduction

videos. Films produced in Canada from 1948 until 1964 are listed in the Canadian Index to Periodicals and Documentary Films; then, from 1964 to 1975, the National Library of Canada listed these films in the national bibliography Canadiana. From 1976 on, Film Canadiana, also available in the FORMAT database and more recently on CD-ROM as Film/Video Canadiana, has listed Canadian films and videos. The coverage has included films produced by Canadian production companies or independent producers, co-productions with foreign companies, short films, television productions released for general distribution, and videos. Other important filmographies are the Canadian Feature Film Index, 19131985, compiled by D.J. Turner (Ottawa: National Film, Television, and Sound Archives, Public Archives of Canada, 1987), a listing with the principal credits of Canadian feature films dating from 1913, when the first known Canadian feature film was produced, to 1985, and The NFB Film Guide: The Productions of the National Film Board of Canada from 1939 to 1989, edited by Donald W. Bidd (Montreal: National Film Board of Canada, 1991). The Who's Who in Canadian Film and Television, published annually since 1986, is a biographical dictionary of members of the Canadian film industry produced by the Academy of Canadian Cinema and Television, which also lists their film and video works. Canadian Film and Video can be seen as a complement to these filmographies, by listing the literature that accompanied the critical reception of these works, and as a supplement, by listing other productions that, because of the early date of showing, type of film, or relative obscurity, are missing from these filmographies. The research process which led to the selection of the bibliographic entries for Canadian Film and Video grew out of an extensive search of the literature. It began with the identification of relevant articles and reviews in a wide variety of manual and computerized periodical and newspaper indexes, including Canadian Periodical Index, Canadian News Index, Canadian Business Index, Index to Canadian Legal Periodicals, Index de I'Actualite, Periodex, International Index to Film Periodicals, Film Literature Index, Art Bibliographies Modern, Sociofile, and America: History and Life. Through this procedure we located over 325 relevant periodicals and newspapers. It should be emphasized that the numerous periodical indexes we searched did not usually provide abstracts for the articles listed. After collecting the journals, we verified the citations and abstracted these articles as well as a good number of other articles that were not listed in the indexes. Over one hundred, mostly Canadian, periodical titles were also searched issue by issue for articles on Canadian film and video. The gathering process continued with a review of databases that cover Canadian books (BADADUQ, DOBIS, LIBCON, Mediadoq) and a title-by-title combing of the shelves of the libraries of Concordia University, McGill University, and the Cinematheque quebecoise. Of the approximately 800 monographs that were located this way, a good number also provided bibliographic references to other related books and less frequently cited periodical articles. Film magazines devoted exclusively to film got a late start in Canada and have had difficulty surviving. Sequences, begun in 1955 by the Centre catholique du cinema de Montreal, is still being published, as is 24 Images, but Canadian Cinematography, Cine-Tracts, Cinema Canada, Cinema Quebec, Motion, and Take One, all active in the 1960s and/or 1970s, have ceased to exist. Copie Zero, which replaced Nouveau cinema canadien, lasted nine years, from 1979 to 1988, and was superseded by La Revue de la Cinematheque in 1989.

These magazines have been abstracted and indexed in their entirety because they are crucial to our understanding of developments and concerns in Canadian film and video. Cinema Canada is one of the foundations upon which this bibliography is built. This journal has documented Canadian trends in film theory, the problems facing a national film industry constantly threatened by the domination of foreign interests, the implications of federal and provincial government involvement in the film industry, and the effects of specific government actions such as the implementation of tax legislation, cultural policies, and the Canada-United States Free Trade Agreement. In the early 1970s Cinema Canada was also an important forum for the various film cooperatives being created across Canada that offered production and post-production services to members in their regions and a place to exhibit their films. The entries from Cinema Canada also include the brief articles that appeared in the "Cinemag" news section. These reports describe topical issues and events of the time, such as the Canadian Radiotelevision and Telecommunications revision to Canadian content regulations, the formation of the Canadian Film Development Corporation (later Telefilm Canada), and the varied reactions to Quebec's 1983 Cinema Act. While there have been few general Canadian film magazines in circulation, we found over 150 newsletters and bulletins, published mostly by specialized institutions, professional and amateur associations, and some commercial sources, aimed at groups as diverse as commercial exhibitors, film societies, and independent filmmakers.5 These we located primarily at the Cinematheque quebecoise and the Reference Library of the National Film Board of Canada in Montreal. For each of these little magazines we have provided one abstract that gives information about editorial philosophy, board members and major contributors, intended audience and mandate, general content and particular topics covered in depth, feature articles, and format. Associations that promoted these magazines have included the Canadian Federation of Film Societies, publisher of the Bulletin from 1957 to 1967; the National Film Society and the Canadian Film Institute, publishers of Canadian Film News from 1949 to 1954; the Canadian Independent, published from 1936 to 1938 by the Independent Theatres Association; Decoupages, published since 1955 by the Commission etudiante du cinema, under the auspices of the Catholic Church; and Asifa Canada, begun in 1974 by the Association internationale du film d'animation-Canada. We simply could not afford to abstract the numerous articles in these journals. The Canadian Moving Picture Digest is a good case in point. This weekly journal lasted 43 years, from 1915 to 1957. Based on an estimated average of 10 articles per issue, it would have meant abstracting more than 22,000 articles. The complete abstracting of this one, albeit important, journal would have nearly doubled the size and production costs of the bibliography. We recommend another solution for increasing access to these sources: these early, rare Canadian film journals should be reprinted on CD-ROM. In this way researchers can have immediate access to the full text and use "free language" search strategies to locate particular names and subjects that appear throughout the periodical run. By including Canadian cultural and general magazines as well as specialized journals in related areas we were able to capture a more complete and multifaceted picture of the film and video scene in Canada. Early issues of Saturday Night, for example, tell part of the early story. One article describes a device invented by Canadian Thomas Marten to reduce the flicker effect of film (12 May 1923); another comments on

Introduction the suggestion of L.A. David, the provincial secretary of Quebec, that films about French Canadians be produced and shown in Quebec (14 July 1928), and another raises concerns about the domination of American-made films in Canadian theatres (28 July 1928). Later, in the 1940s, articles were published in Canadian Geographical Journal, Canadian Forum, and Maclean's about the importance of the documentary productions of the National Film Board of Canada in promoting national unity. Business magazines such as the Canadian Unionist, Monetary Times, Industrial Canada, Trade and Labor Congress Journal, and Canadian Business discuss the use of films by industry in Canada for training, education, and publicity. During World War II these magazines promoted the use of industrial films in military instruction for shortening training time and applauded news films for boosting public morale. More recently, articles on the cross-fertilization process that has been occurring between the visual arts and filmmaking in Canada have surfaced in art journals such as Artscanada, Canadian Art, C Magazine, Parachute, Vie des arts, and Fuse. These magazines often feature articles on Canadian experimental filmmakers and video artists and, in discussing specific videos, have introduced topics related to this developing medium. From articles in Construction, Canadian Architect, Architecture-Batiment-Construction, and the Royal Architectural Institute of Canada Journal come an understanding of the cinematic demands placed on the designers of movie theatres that caused the structural changes necessary to accommodate silent films, the early talkies, feature films, and eventually Dolby sound and IMAX technology. Events and issues of local significance have been discovered in regionally based magazines such as L'Actualite, Spirale, and Revue d'histoire litteraire du Quebec et du Canada franqais for Quebec; Acadiensis, Atlantic Advocate, and Arts Atlantic for Atlantic Canada; and Prairie Forum, Border Crossings, Saskatchewan History, Alberta Report, and BC Studies for the western provinces. Since there has always existed interest abroad in the work of Canadian filmmakers, reviews and articles on Canadian film are found in film and general interest magazines in the United States, Europe, and elsewhere. Reviews of Canadian films and discussions of the Canadian film industry by nonCanadians offer another point of view, that of outsiders operating within a different framework. Sometimes the authors are Canadian film critics and historians who have been invited to interpret Canadian film for a foreign public. Writers such as Michel Euvrard, Michel Houle, Pierre Veronneau, Ron Burnett, Louise Carriere, Donald Buchanan, and Peter Harcourt, to name only a few, have provided overviews of topics as diverse as the ideology of Quebec cinema, the history of the Canadian film industry, the development of the Canadian feature film, and the role of the National Film Board of Canada. Critical monographs on film and video in Canada really only began to be published in the 1970s. Despite the proliferation of magazine articles, there are few Canadian film and video books for scholars, students, and the general public. This situation may be due in part to the realities of the Canadian publishing industry, which is restricted by a small market with two official languages. The consultants of Canadian Film and Video are in fact the principal authors in this field. This is apparent in the following selective listing of some of their writings from the 1970s and 1980s. Seth Feldman edited Take Two (Toronto: Irwin Publishing, 1984), which includes contributions from Piers Handling and Peter Harcourt. Others include Peter Harcourt's Jean Pierre Lefebvre

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(Ottawa: Canadian Film Institute, 1981); Peter Morris's Embattled Shadows: A History of Canadian Cinema, 1895-1939 (Montreal and Kingston: McGill-Queen's University Press, 1978); Michel Larouche's Le cinema aujourd'hui: films, theories, nouvelles approches (Montreal: Guernica, 1988); Pierre Veronneau's Le succes est aufilm parlant franc, ais, Cinema de I'epoque duplessiste, and Resistance et affirmation: la production francophone a I'ONF; 1939-1964 (Histoire du cinema au Quebec I-III) (Montreal: Cinematheque quebecoise/Musee du Cinema, 1979, 1987); and Piers Handling's The Films of Don Shebib (Ottawa: Canadian Film Institute, 1978). Pierre Veronneau and Piers Handling edited Self Portrait: Essays on the Canadian and Quebec Cinemas (Ottawa: Canadian Film Institute, 1980), which includes essays by Peter Harcourt, Piers Handling, and Peter Morris. Much that has been published on Canadian film and video is ephemeral in nature, associated for the most part with film festivals and other types of showings. For the annual festivals that publish more substantial catalogues, such as the Festival of Festivals in Toronto or the World Film Festival and Festival international du film sur 1'art in Montreal, there is an entry for each year that describes the films exhibited, the categories of films, and the distinctive features of the festival. For the smaller publications that usually list only the films shown, like that of the Festival du cinema international en Abitibi-Temiscamingue, a single entry describes the nature and scope of the festival's offerings. Entries for exhibition catalogues that cover films and videos alone or in concert with the other visual arts focus on the works shown and the content of the introductory essays. It is important to note that information on films and videos shown at festivals and other public venues often surfaces in newspaper and magazine articles and reviews. Canadian films shown at the Cannes International Film Festival, for example, will be reported on in both domestic and foreign publications. The viewing of a Canadian film, such as Michael Snow's Wavelength at the 1967 Experimental Film Festival in Knokke-le-Zoute, Belgium, may receive this type of coverage. Film books and catalogues published in Canada often go out of print soon after publication. The library locations for these books and catalogues are not included here because, over the years, additional libraries may acquire some of these older publications and because locations are subject to change. Scholars living in major urban centres like Montreal, Toronto, Ottawa, or Vancouver usually rely on local university, public, and government libraries. Most researchers are now accustomed to expanding their search for relevant materials by consulting library holdings through the Internet or bibliographic databases such as AMICUS, LIBCON, OCLC, and RLIN, which maintain and update information about the holdings of most research libraries. It is important to emphasize that what has been included in this bibliography represents the written record before 1989. The section on video art, for example, may appear underdeveloped when in fact it provides a comprehensive representation of the literature available until that time. Video as a medium of artistic expression really only began in the 1970s, and writings about video, found in a small, select group of art and film magazines, blossomed in the 1980s. If a locally known filmmaker or video artist has not been written about we cannot make up for that omission. We have attempted, however, to avoid a biased or narrowly focussed point of view. We have deliberately sought to represent the different aspects of Canadian film and video literature.

XVI

Introduction

Early on in the collecting of items we were pleasantly surprised to find we had underestimated both the overall amount of material available and the quantity of each type of material. Consequently, citations for all the film reviews we located are presented without abstracts. We concluded that to include only selected film reviews was undesirable. Brief reviews could not be eliminated because sometimes these contained stronger, more pointed criticisms and hardto-find background information. Reviews from non-Canadian sources could not be overlooked, as these often provided a different focus on Canadian productions. We discovered that the reviews did not necessarily correlate with the release dates of films but captured the initial reactions to and subsequent reconsiderations of the film. For Paul Almond's film The Act of the Heart (L'Acte du coeur), most of the reviews appeared in 1969 and 1970; then, thirteen years later, in 1983, Marc Gervais (Cinema Canada 102 [December 1983]:8) launched his criticism of the earlier reviewers for their denunciation of the film and questioned the journalistic ethics of condemning a film before it was released. The importance of both federal and provincial government publications could not be ignored, given the significant involvement of government in the film industry and the impact of its policies and practices in areas like censorship, distribution, and financial support. For example, the 1931 investigation of attempts by Famous Players to acquire theatre interests across Canada is documented in the Department of Labour's Investigation into an Alleged Combine in the Motion Picture Industry in Canada (Ottawa: F.A. Acland, 1931) and the federal government's effort to promote the public and private sectors of the Canadian film and video industry in 1984 is recorded in the Department of Communication's The National Film and Video Policy (Ottawa: Ministry of Supply and Services, 1984). Annual reports, such as the Canadian Film Development Corporation's yearly report of expenditures and listing of financially assisted films, are also included as useful sources. The master's theses and doctoral dissertations that have come out of Canadian and foreign institutions up to 1989 are mostly from departments such as communication studies, literature, journalism, and political science. These studies are also included because they show trends and related concerns in neighbouring disciplines. Collections of photographs of films and videos and film scripts are not included. Because these materials have little or no informative text, they were judged as outside the literature of Canadian film and video. Reactions to foreign films shown in Canada, while interesting and useful in defining the development of Canadian aesthetic taste, are generally not considered unless their presence stimulated debate in the Canadian media about specific issues, such as censorship and pornography. "How-to" texts with technical information, fan magazines, book reviews, and short press releases, aside from the news reports in Cinema Canada, have generally been excluded. Also, while we recognized the interconnections between television and film and video, this was an area we rarely ventured into because of the larger broadcasting and media issues. Specific television productions are covered only in so far as they represent a part of a filmmaker's total oeuvre. Newspaper articles, a vast and valuable source of information, have been cited only when they were located through readily available newspaper indexes. Articles from the Calgary Herald, Globe and Mail, Halifax Chronicle-Herald, Montreal Gazette, Toronto Star, Vancouver Sun, Winnipeg Free Press, Le Devoir, and La Presse are pre-

sented without abstracts to supplement information about topics introduced in other publications. Guides to newspapers not indexed currently or retrospectively by Canadian newspapers indexes are not available and it was beyond the scope of this project to include articles from these newspapers.6 Researchers can consult the substantial collections of clippings can be consulted in specialized libraries and archives located primarily in Montreal, Ottawa, Toronto, and Vancouver. Program brochures and press kits for film events and festivals and for the promotion of individual films were too numerous and problematic to describe individually. These items have been preserved in specialized archives and libraries (for example, in those of the Cinematheque quebecoise, Cinematheque Ontario, and the National Film Board of Canada), independent film and video cooperatives, and distribution and film production centres across Canada. Film reviews in foreign newspapers are not covered. Other researchers, we felt, were already making inroads in that area. The Centre de recherche cinema/reception (CRCR) at the Universite de Montreal, in studying the reaction to Quebec films viewed in France, the United States, and the rest of Canada since 1950, has already uncovered additional non-Canadian references.7 We purposely chose to focus our selection on materials located in libraries across Canada. Sorting through archival resources was, beyond our mandate. There are important files at the National Archives of Canada, various provincial archives, and the Cinematheque quebecoise, to name only a few locations. However, these archival holdings are not yet available on microfilm. In the United States the Archives of American Art has microfilmed over 90,000 files from across the country. This inventory, listed on the Internet, is available to scholars through interlibrary loan. Here in Canada the time has come for us to lobby for greater access to the archival documents that record our heritage. To define what is "Canadian," and thereby determine what material belongs within this bibliography, we have relied on the criteria established by the publications themselves. Nationality of the artist has seldom been an excluding factor. Filmmakers and video artists are accepted as Canadian because they have chosen to make Canada their home either permanently or for part of their career. There are also those who have left Canada to work in the United States or Europe while continuing to maintain an association with Canada. All these people have been recognized as "Canadian," but in the selection of the literature pertaining to their work, only the publications that relate to their work in Canada or describe their continuing affiliation with Canada have been included in this bibliography. By describing artists' connections to Canada, we hope to emphasize the Canadian context and to direct researchers from both Canada and abroad to these sources. The following examples illustrate how "Canadian" and other nationalities can overlap and how the distinctions were made for the purposes of this bibliography. The career of John Grierson, founder of the National Film Board of Canada, is extensively covered while he was in Canada, but his career in England, Scotland, and France is not, except for those publications that emphasize his Canadian connections. The career of Ernest Shipman, the independent film producer who produced twelve critically acclaimed films in Canada between 1919 and 1922, is also not followed after he relocated to New York City in the early 1920s. Canadian financing and participation may also determine whether a film is "Canadian." Here we have followed the guidelines established by the Canadian Film Development

Introduction Corporation (later Telefilm Canada) at the time of the film's production. We have been guided by D.J. Turner's definition of a Canadian feature film as "any film in which a production company incorporated in Canada is involved, no matter how much foreign capital is hidden behind the Canadian incorporation."8 This definition makes Norman Jewison's Agnes of God, produced by Albion Films in Toronto and featuring a number of Canadian actors, a Canadian film, although it was distributed by Columbia Pictures. As in Art and Architecture in Canada, upon which the form and structure of Canadian Film and Video is based, we have produced descriptive, not evaluative, abstracts. The role of the bibliographer is to report the contents of the original material as accurately as possible. Information may later prove to be wrong and conclusions may subsequently be denied, but there is always an inherent value in what was written at a particular time. The entries in Canadian Film and Video are arranged chronologically so that it is easy to track the origin and development of the written record in reference to a particular topic. The Table of Contents in Volume 1 provides a guide to how the bibliography has been organized. The classification of themes, topics, geographical parameters, and time periods are given separate headings within nine major divisions: (1) general studies; (2) genres; (3) film and government; (4) festivals and awards; (5) industry; (6) production, distribution, and exhibition companies; (7) film and video associations and organizations; (8) related studies; and (9) people in film and video. Within each of the subheadings each item is presented sequentially from the earliest to the latest (pre-1990) publication. The user who wants to be introduced to a topic may simply wish to browse through particular sections. In the treatment of filmmakers the information moves from more general overviews and interviews to references to specific films in order of production date. Most of the entries in the bibliography were easily classified within one of the headings from the nine major divisions. For example, an article dealing with the use of films in high schools is found under the heading Film and Education. Any article dealing with a specific film or filmmaker is placed in the People in Film and Video section. This section which includes reviews of specific films and videos, is the largest part of the bibliography. The first division of the bibliography, General Studies, provides a historical overview of filmmaking in Canada. Articles on the making, financing, or production of film in Canada are located within the Industry division. Occasionally questions arose as to where specific entries should be located within the bibliography. One entry that could be placed in various sections, for example, is an article on Tom Shandel's film Another Smith for Paradise and the role of the Canadian Film Development Corporation in financing the production of this film. This entry, which deals with a specific film by a Canadian filmmaker, is placed in the Filmmakers section. The name of the film is found in the film title index and under both the name of the filmmaker and the Canadian Film Development Corporation in the subject index, thus providing maximum access to the pertinent information contained within this entry. Access to individual films and names of people and associations is possible by using one of the three indexes in Volume 2, respectively the Author Index, the Film and Video Title Index, and the Subject Index. For example, the Author Index points out that Seth Feldman has written about various festivals, documentary and experimental films, and the National Film Board of Canada, and has reviewed several films. While there are references to Terri Nash's If You Love This Planet (Si cette planete vous tient a coeur) under the film-

xvn

maker's name in the People in Film and Video section, the Film and Video Title Index shows additional citations in the sections on censorship and awards. For many of the filmmakers, video artists, and other people in film, more references can be found in the Subject Index. These identify additional entries in other sections of the bibliography where the person is also discussed. Telefilm Canada has 184 entries in its own section, but the Subject Index points out 181 additional references, primarily for films that received or requested financing from this agency. The bibliographical information for each entry is contained in the citation. An abstracted entry briefly describes the content of the publication, mentions the names of persons, associations, films, and videos discussed in the publication, and summarizes the issues the author has raised. The abstract serves at least two purposes. First, it helps the user to determine the importance and relevance of a specific document to his or her study. Second, like a dictionary or encyclopedia entry, it encapsulates for the reader information on a particular subject. The abstract is written in either English or French or in both languages, depending on the language(s) of the original publication. When the original document is in both languages, an abstract in both languages is supplied. When the document is in neither French nor English, the citation appears without an abstract. The entries in the bibliography are listed under either the English or the French version of the film or video, depending on which was released first. It was decided to group all the material relating to a film or video together because we recognized that scholars researching a particular film would usually consult the literature in both languages. For instance, in the bibliography entries on William Fruet's film Death Weekend, originally released in English, appear under that title with the French title in brackets. A "see" reference in the Title Index links the French to the English. In the Subject Index, when names of associations are in both French and English, the references to the entries in the bibliography are listed under both names. In this way, the researcher has only to look under the name with which he or she is familiar in order to locate entries in both languages in the bibliography. For example, all English, French, and other language references to the National Film Board of Canada also appear under the heading Office national du film du Canada in the Subject Index. Verifying film and video titles was not a simple task. The two main sources used were the Canadian Feature Film Index and the National Film Board of Canada's FORMAT database. Turning again to the film Death Weekend, one can get a sense of the complexity of the job of identifying and connecting all the titles by which a film may be known. This film, released in French in Quebec as Fin de semaine infernale, was also shown in France under the title Weekend sauvage and in the United States as House by the Lake. While in production, Death Weekend was referred to as both Thanksgiving and Do or Die\ These variant titles appear throughout the literature, depending on the date of the publication and the country of origin. In the bibliography, as already mentioned, the title of the film that is used is the originally released version. While the abstracts retain the title as shown in the original article, the index provides all versions with "see" references to the main title. When we were not able to confirm the title of a work from the standard sources, the Who's Who in Canadian Film and Television and a variety of distributor's catalogues were consulted. For films and videos that could not be located in this way, we have had to base our entry on the information provided in the book, festival catalogue, or journal article.

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Introduction

Other problems included determining the date of a film or video, confirming who the filmmaker or video artist was, and relating the individual titles of a film or video to a series. The commercial release date in Canada is used for feature films when available, but for documentary, industrial, and experimental films and video art works, because they are not distributed for public viewing in movie theatres, either the production date or date of first exhibition is used. A final, seldom resorted to method of dating was to base the date of the film on the date of the publication that discusses the work. In some instances, for documentary or industrial films especially, the filmmaker has not been mentioned in the publication. If the name of the filmmaker was not cited in other sources but the producer or production house has been given, then that name is used. For example, the film credits for Do It With Joy, about a reforestation program involving students in British Columbia, do not mention its director. FORMAT does not cite a director either but lists Nicholas Kendall as the producer of the film, and therefore the film is credited to him. Connecting individual film and video titles to their series title, or, vice versa, conjoining the series title to the individual works when only the series title was mentioned, also involved a tracking process. For instance, there are numerous references in the literature to the National Film Board of Canada's Challenge for Change program that do not include the individual film titles, and occasionally particular films are discussed without referring to Challenge for Change. With the help of the NFB Film Guide we have been able to determine these connections, which are indicated in the Film and Video Title Index. At other times the literature itself has supplied the linkage. In the Art Gallery of Ontario exhibition catalogue Recent Work from the Canadian Avant-garde (Toronto, 1988), for example, we found out the individual titles of R. Bruce Elder's The Book of All the Dead cycle. Canadian Film and Video only begins to open the doors to a

more complete understanding of our cultural heritage. There are serious gaps in the literature that are apparent from the limited number of sources we found for several topics. Also, Canadian scholarship has too often followed regional and linguistic lines, with writers from Western Canada focussing primarily on the production scene there and francophone and anglophone scholars only occasionally crossing over to the other side. Numerous topics for further explanation and study surface from specific entries and suggest the need for a better understanding, appreciation, and definition of diverse research avenues. We need to find out more about how independent regional groups, such as the Atlantic Filmmaker's Co-operative in Halifax, the Pacific Cinematheque Pacifique in Vancouver, and the Association des realisateurs et realisatrices des films du Quebec, have produced films and videos to reflect their regional perspectives. Another type of investigation would be to examine more thoroughly how federal and provincial legislation and official policy have affected the film and video industry in Canada. Yet another area would be an exploration of the growth of Canadian film and video culture within an international context, focussing on how Canadian innovation and development of animation, documentary, video art, and short films as forms of communication have been recognized outside of Canada. Also, since research in Canadian film and video tends to rely on archival sources which lie outside the parameters of this study, our wish is that this work will encourage other researchers to find ways of improving the accessibility to the collections in many of the archival repositories and documentation centres across Canada. We hope that references to the documents discovered through this bibliography will assist and encourage the discovery and contextual broadening of our historical record and contribute to a deeper comprehension and appreciation of Canadian film and video.

NOTES 1 The year 1989 marked the fiftieth anniversary of the National Film Board of Canada and the twenty-fifth anniversary of the Cinematheque quebecoise. The founding of the Canadian Film Celebration Society in Calgary, Alberta, also took place in 1989, with the intent of launching a film festival to commemorate the Canadian film industry. 2 Peter Harcourt, in his article "Film" in The Canadian Encyclopedia (Edmonton: Hurtig, 1988), vol. 2, p. 765, writes "because Canada is considered part of the American domestic market, Canadian films have no guaranteed access to our theatres and only intermittent access to our TV screens. When Canadian films appear, they are generally compared with the more familiar American product... Most Canadians do not see Canadian films. Children are brought up with American TV and graduate to American movies shown on Canadian screens." 3 Examples of retrospective bibliographies published in the 1970s are John C. Gerlach and Lana Gerlach's The Critical Index: A Bibliography of Articles on Film in English, 1946-1976 (New York: Teachers' College Press, 1976); Stephen E. Bowles's Index to Critical Film Reviews in British and American Film Periodicals and Index to Critical Reviews of Books about Film (New York: Burt Franklin, 1974); and Linda Batty's Retrospective Index to Film Periodicals, 1930-1971 (New York: Bowker, 1975). The Film Literature Index (Albany: Film and Television Documentation Center), a quarterly author-subject index to periodicals on film, television, and video, got its start in 1973. 4 The Canadian Journal of Film Studies/Revue canadienne d'etudes cinematographiques and Cinemas began publication in 1990, extending past the period covered by the bibliography. 5 A listing of potentially relevant little magazines was amassed

from a variety of sources including Canadiana (Ottawa: National Library of Canada, 1953-), Bibliographie du Quebec (Quebec: Bibliotheque nationale, 1968-), and the unpublished list of 93 film periodicals compiled by Pierre V^ronneau in 1991. Stephen Park, a library science student at McGill University School of Library and Information Studies under the joint supervision of Peter McNally and myself, conducted an independent study in May 1992 in which he examined these titles, recommended a core list, and developed an abstracting methodology based on a sampling of some 30 titles. 6 Some newspaper indexing of film-related articles has begun. The Groupe de recherche d'analyse filmographiques (GRAF), under the direction of Andr£ Gaudreault, has been rediscovering the early years of Quebec cinema through articles dating from the first decade of the twentieth century in newspapers such as Le Soldi, La Presse, La Patrie, and the Montreal Star. 7 Two examples of the work being done by the Centre de recherche cinema / reception (CRCR) are Les films quebecois dans la critique francaise: repertoire analytique, 1980-1989 (Montreal, 1992) and Les films quebecois dans la critique francaise: repertoire analytique, 19501979 (Montreal, 1992), which are both compilation listings of newspaper and journal articles and collected essays and monographs published in France from 1950 to 1989. Members of the Centre de recherche cinema / reception include Francois Baby, Denis Bachand, Louise Carriere, Michel Larouche, Denise Perusse, Gilles Th£rien, and Pierre Veronneau. 8 D.J. Turner, Canadian Feature Film Index, 1913-1985/Index des films canadiens de long metrage, 1913-1985 (Ottawa: National Film, Television and Sound Archives, Public Archives of Canada, 1987), x. In the introduction Turner says that for particular purposes there

Introduction have been other criteria for defining a film as Canadian established by government and private organizations including the CRTC, the Film Festivals Bureau, the Canadian Audio-Visual Certification Office, and the Academy of Canadian Cinema. He calls attention to the need for a redefinition of Canadian film because "investment in production is now massively orientated to television exhibition with the monies channelled into the production of

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films intended specifically for theatrical exhibition representing only a very small part of a multi-million dollar industry. At the same time productions not certifiable as Canadian, mostly American films for both television and theatrical release, employ a high percentage of Canadian artists and technicians. Any future edition of the Index should be modified to reflect this new orientation and emphasis" (p. xi).

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Introduction

L'objectif principal de Canadian Film and Video: A Bibliography and Guide to the Literature I Film et video canadiens : bibliographic analytique sur le cinema et la video est de regrouper toute la documentation anglaise et franchise publiee sur le cinema et la video au Canada depuis la premiere decennie du vingtieme siecle jusqu'en 1989, lorsque fut commemoree 1'Annee du cinema canadien.1 Jusqu'ici, 1'absence de veritables bibliographies retrospectives n'a pas permis de poursuivre de recherche exhaustive sur le cinema canadien et la video. La publication du present guide vise a corriger cette lacune. Cette bibliographic identifie les articles pertinents dans les periodiques canadiens et etrangers ainsi que des livres, catalogues, rapports gouvernementaux, theses, journaux et autres types d'imprimes. Sans 1'aide de bibliographies de base, les chercheurs se trouvent souvent a repeter la tache de leurs predecesseurs. Intimides par le manque apparent d'ecrits facilement disponibles, les chercheurs et les etudiants ont tendance a concentrer leurs recherches dans des champs bien documented, negligeant d'autres domaines ou 1'information est tout simplement moins accessible. En rendant ces ressources disponibles, nous nous attendons a ce que les chercheurs ne perdent plus de temps a depouiller les memes periodiques non repertories ni a consuiter les rayons de nombreuses bibliotheques a la recherche de sources. En mettant de 1'avant plusieurs themes qui se rapportent a notre heritage culture!, Film et video canadiens espere encourager et dormer le branle aux chercheurs afin qu'ils poursuivent de nouvelles aires de recherche. Les films et videos comme tels devraient certes constituer le point essentiel de toute recherche historique. Malheureusement, un trop grand nombre d'entre eux ont disparu, ont etc detruits, ou demeurent inconnus a cause d'un probleme de diffusion. Dans de telles circonstances, la documentation constitue souvent la seule preuve de 1'existence d'un film. Une critique de film, une entrevue avec un acteur ou un producteur, ou encore un commentaire sur la salle de cinema ou fut projete un film sont parfois les seuls temoignages qui nous restent. Meme s'il n'existe pas d'ecrits comme tels sur une certaine activite cinematographique, on peut arriver a en retracer la chronologic et 1'histoire a partir de documentation connexe. L'objectif de cette bibliographic est d'aider a faire avancer 1'histoire du film canadien. La connaissance et 1'estime de 1'histoire du cinema canadien est d'importance pour la comprehension de notre culture. En effet, plus que n'importe quelle autre forme artistique, le cinema illustre la capacite d'un peuple a definir, a structurer et a promouvoir son identite culturelle. Malheureusement, notre propre histoire cinematographique demeure inconnue pour la majorite d'entre nous parce que nous regardons surtout des films etrangers.2

Cette bibliographic se veut un moyen de promouvoir 1'etude du cinema canadien, en encourageant 1'echange d'information et d'idees entre les specialistes du cinema, en etendant les parametres pour 1'etude du cinema canadien et en facilitant Faeces a des films canadiens peu connus. Nous avons vise a faire de Film et video canadiens un guide bilingue portant sur tous les aspects du cinema et de la video, sous forme de resumes signaletiques, d'entrees thematiques et de plusieurs index. Nous avons tente de garder a 1'esprit les interets et les preoccupations des producteurs, realisateurs, acteurs, distributees et autres professionnels du cinema, conservateurs, bibliothecaires et archivistes, specialistes, critiques et conseillers culturels, eleves du secondaire et de niveau universitaire, ainsi que protecteurs des arts au Canada et a 1'etranger. II etait essentiel selon nous de fournir plusieurs references disponibles a partir des ressources accessibles dans les ecrits generaux et dans ceux qui se rapportent au cinema, et cela pour tous les niveaux et toutes les categories de chercheurs. Le volume de Film et video canadiens est impressionnant. La bibliographic comporte 24 800 entrees, dont 10 800 a peu pres avec resumes; les 14 000 autres citations portent principalement sur des critiques de films et des articles de journaux. Nous avons prefere compiler une bibliographie complete plutot que selective et offrir un examen exhaustif de chaque sujet par besoin de reunir une documentation deja fort disseminee. Nous aurions pu inclure plusieurs autres references provenant de journaux et de revues, mais des contraintes financieres et la limite de temps nous en ont empeches. Nous avons ainsi pu eviter de rendre cette publication encore plus volumineuse. Dans les annees 1970, plusieurs projets de bibliographie ont ete entrepris a 1'exterieur du Canada. Us visaient a faire ressortir la documentation considerable provenant de periodiques et de revues sur le cinema conservee jusqu'ici dans les voutes des archives et des bibliotheques du monde entier.3 Au cours de cette entreprise, certaines donnees sur le cinema canadien furent decouvertes. Avec le lancement de 1'International Index to Film Periodicals en 1973, un projet de la Commission de documentation de la Federation internationale des archives du film, la Cinematheque quebecoise commenca, en tant que partenaire dans cette entreprise cooperative, a partager sa classification de periodiques canadiens et quebecois. Ces references sont repertoriees avec des titres de livres, de rapports gouvernementaux et de catalogues sur le cinema et la video au Quebec dans I'Anmiaire du cinema quebecois (public dans Copie Zero de 1979-1988 et public separement par la Cinematheque quebecoise depuis 1988) et dans Mediadoq (sur CD-ROM). On retrouve certains articles sur le cinema et la video au

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Canada dans des index plus generaux comme YIndex de periodiques canadiens (Ottawa: Association canadienne des bibliotheques, 1920- ), mais leur liste n'est pas assez detaillee ni assez complete pour servir a 1'etude de Film et video canadiens. Malgre 1'ouvrage de Pierre Veronneau et de Madeleine Fournier-Renaud qui fait epoque et qui est intitule Merits sur le cinema: bibliographie quebecoise 1911-1981 (Montreal: La Cinematheque quebecoise, 1982), les ouvrages bibliographiques sur le cinema et la video au Canada en sont encore a leur enfance. Us accusent un net retard par rapport aux filmographies qui fournissent une liste et une description des films et des videos canadiens. Les films produits au Canada de 1948 a 1964 sont repertories dans YIndex de periodiques et de films documentaires canadiens; pour la periode entre 1964 et 1975, ils sont repertories dans la bibliographie nationale Canadiana, publiee par la Bibliotheque nationale du Canada. Depuis 1976, on retrouve la liste des films et des videos canadiens dans Film Canadiana, egalement disponible dans la base de donnees FORMAT et plus recemment encore sur CD-ROM sous Film/Video Canadiana. On y retrouve des films produits par des compagnies de production canadiennes ou des producteurs independants, des films produits en co-production avec des compagnies etrangeres, des courts metrages, des films produits pour la television et destines au grand public ainsi que des videos. On note deux autres filmographies importantes : YIndex des films canadiens de long metrage 1913-1985, sous la direction de DJ. Turner (Ottawa : Archives nationales du film, de la television et de 1'enregistrement sonore, Archives publiques du Canada, 1987), qui regroupe avec leur generique les longs metrages canadiens produits de 1913 (annee ou fut recense le premier long metrage canadien) a 1985, ainsi que le Repertoire des films de I'ONF: la production de I'Office national du film du Canada de 1939 a 1989, redige par Donald W. Bidd (Montreal: Office national du film du Canada, 1991). Qui est qui au cinema et a la television au Canada, public annuellement depuis 1986, est un dictionnaire biographique des membres de 1'industrie cinematographique canadienne produit par 1'Academic canadienne du cinema et de la television; il contient egalement la liste des films et des videos auxquels ils ont participe. Film et video canadiens peut etre considere comme un complement a ces ouvrages en dressant la liste de toute la documentation critique qui accompagnait ces ceuvres a leur sortie. II constitue aussi un supplement parce qu'il contient des ceuvres qui ne figurent pas dans les ouvrages pre-cites, soit a cause de 1'epoque ou elles ont etc presentees, de leur genre particulier ou de leur obscurite relative. Une recherche fouillee de toute la documentation a precede le choix des entrees devant figurer dans Film et video canadiens. Nous avons d'abord releve une serie d'articles et de critiques dans de nombreux index de periodiques et de journaux sur papier ou sur support informatique, dont VIndex de periodiques canadiens, Canadian News Index, Canadian Business Index, Index to Canadian Legal Periodicals, YIndex de I'Actualite, Periodex, International Index to Film Periodicals, Film Literature Index, Art Bibliographies Modern, Sociofile et America: History and Life. Nous avons ainsi releve plus de 325 periodiques et journaux se rapportant a notre recherche. II faut preciser que la plupart des index de periodiques consuites ne comportaient generalement pas de resume. Apres avoir recueilli les periodiques et revues, nous avons redige des resumes pour les articles repertories dans les index ainsi que pour un bon nombre d'articles non repertories. Une autre centaine de periodiques, surtout canadiens, ont ensuite

ete depouilles numero par numero afin de retracer des articles sur le cinema et la video au Canada. La recherche s'est etendue aux bases de donnees compilant les publications canadiennes (BADADUQ, DOBIS, LIBCON, Mediadoq) et s'est poursuivie avec le depouillement, livre par livre, des rayons des bibliotheques de 1'universite Concordia, de 1'universite McGill, et de la Cinematheque quebecoise. Sur les quelque 800 monographies ainsi repertoriees, un bon nombre contenaient egalement des references se rapportant a des ouvrages connexes et des articles de periodiques moins sou vent cites. Les revues consacrees exclusivement au cinema n'ont vu le jour que tardivement au Canada et ont eu de la difficulte a survivre. Deux d'entre elles sont encore publiees: Sequences, qui a debute en 1955 sous les auspices du Centre catholique du cinema de Montreal, ainsi que 24 Images. Canadian Cinematography, Cine-Tracts, Cinema Canada, Cinema Quebec, Motion et Take One, qui ont paru dans les annees 1960 et 1970, n'existent plus; Copie Zero, qui a remplace Nouveau cinema canadien, a dure neuf ans, de 1979 a 1988, et a ete remplacee par La Revue de la Cinematheque en 1989. Tous les articles tires de ces revues font 1'objet de resumes parce qu'ils sont cruciaux a notre comprehension des progres et des preoccupations du cinema et de la video au Canada.4 Cinema Canada est 1'une des bases importantes sur lesquelles s'appuie notre bibliographie. Cette publication rend compte des principales tendances en theorie du cinema, des problemes auxquels fait face une Industrie cinematographique nationale constamment menacee par la domination d'interets etrangers, de 1'implication des gouvernements federal et provincial dans 1'industrie du cinema et des effets d'interventions gouvernementales comme 1'instauration de taxes, de politiques culturelles et 1'Accord de libre-echange entre le Canada et les Etats-Unis. Au debut des annees 1970, Cinema Canada constituait aussi un forum important pour les differentes cooperatives cinematographiques qui etaient creees a travers le Canada et qui offraient des services de production et de postproduction aux membres de leurs regions et un endroit pour presenter leurs films. Les entrees provenant de Cinema Canada comportent egalement les courts articles qui paraissaient dans la section "Cinemag." Ils decrivent des sujets et des faits du jour, tels la reglementation du Conseil de la radiodiffusion et des telecommunications canadiennes concernant le contenu canadien, la creation de la Societe de developpement de 1'industrie cinematographique canadienne (qui deviendra plus tard Telefilm Canada), ainsi que les differentes reactions a la Loi sur le cinema institute au Quebec en 1983. Bien que le nombre de revues canadiennes a grande diffusion portant sur le cinema ait toujours ete limite, nous avons trouve plus de 150 bulletins publics surtout par des etablissements specialises, des associations professionnelles et amateur et certaines societes commerciales a 1'intention de groupes aussi divers que les exposants, les societes cinematographiques et les cineastes independants.5 Nous les avons trouves principalement a la Cinematheque quebecoise et a la bibliotheque de reference de I'Office national du film du Canada a Montreal. Nous avons redige un resume pour chacun de ces petits bulletins. II nous renseigne sur leur philosophic editoriale, les membres de leur conseil d'administration, leurs principaux collaborateurs, le public auquel ils s'adressent, leur mandat, leur contenu en general, certains sujets de fond, leurs chroniques et leur presentation. Les associations qui ont assure la promotion de ces revues comprennent la Federation canadienne des cine-clubs, qui a pub-

Introduction lie le Bulletin de 1957 a 1967, la National Film Society of Canada et 1'Institut canadien du film, qui ont public le Canadian Film News de 1949 a 1954, le Canadian Independent public par 1'Association des theatres independants de 1936 a 1938, Decoupages, public depuis 1955 par la Commission etudiante du cinema, sous les auspices de 1'Eglise catholique; et Asifa Canada publie depuis 1974 par 1'Association internationale du film d'animation-Canada. II nous etait tout simplement impossible de resumer les nombreux articles parus dans ces revues. Le Canadian Moving Picture Digest en est un bon exemple. Cet hebdomadaire a ete publie pendant 43 ans, de 1915 a 1957; avec une moyenne de dix articles par numero, on y compte plus de 22 000 articles. Si on avait resume tous les articles de cette seule bien qu'importante publication, le volume et le cout de production de la bibliographic auraient double. Nous aimerions proposer une autre solution pour faciliter 1'acces a ces sources de reference : que ces anciennes revues de cinema rares soient reimprimees sur CD-ROM. De cette fac.on, les chercheurs pourraient reperer immediatement le texte en entier et faire des recherches par mots cles pour retrouver divers noms et sujets apparaissant tout au long de la serie de periodiques. En incluant les revues culturelles et toutes les revues canadiennes en general ainsi que les revues specialisees couvrant des domaines connexes, nous avons pu capter une image plus complete et a multiples facettes du milieu du cinema et de la video au Canada. Ainsi, les premiers numeros de Saturday Night retracent une partie de 1'histoire ancienne du cinema. Un article decrit un appareil invente par le Canadien Thomas Marten pour reduire le "vacillement" de 1'image (le 12 mai 1923); un autre article commente la suggestion de L.A. David, le secretaire du gouvernement du Quebec, de produire et de diffuser des films sur les Canadiens-frangais au Quebec (le 14 juillet 1928); enfin, on s'inquiete de la domination du cinema americain dans les salles de cinema canadiennes (le 28 juillet 1928). Plus tard, dans les annees 1940, des revues comme le Canadian Geographical Journal, Canadian Forum et Maclean's discutent de 1'importance des films documentaires de 1'Office national du film du Canada dans la promotion de valeurs nationales. Des revues d'affaires telles Canadian Unionist, Monetary Times, Industrial Canada, Trade and Labor Congress Journal et Canadian Business discutent de 1'emploi de documents visuels dans le milieu industriel pour la formation du personnel, 1'education et la publicite. Durant la Seconde Guerre mondiale, ces memes publications font la promotion de films documentaires dans le cadre de 1'entrainement militaire afin de reduire la duree de la formation. Elles se rejouissent aussi de 1'apparition de films d'actualites qui stimulent le moral de la population. Plus recemment des articles dans des revues d'art ont bien illustre le lien etroit qui a toujours existe entre les arts visuels et le cinema au Canada. Ainsi Artscanada, Canadian Art, C Magazine, Parachute, Vie des arts et Fuse presentent souvent des articles sur des artistes canadiens qui font du cinema experimental et de la video. Certains exposes sur des videos ont mis en lumiere des questions interessantes portant sur un media en plein essor. En consultant divers articles de Construction, Canadian Architect, Architecture-Batiment-Construction et Royal Architectural Institute of Canada Journal, on se rend compte jusqu'a quel point les architectes des grandes salles de cinema ont du adapter la structure de leurs constructions aux demandes du cinema muet, des premiers films parlants, des longs metrages, puis enfin du son Dolby et de la technologie IMAX. Diverses publications regionales presentent des questions et des evenements d'importance locale. Au Quebec, ce sont L'Actualite, Spirale et la Revue

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d'histoire litteraire du Quebec et du Canada fran$ais; dans les provinces de 1'Atlantique, Acadiensis, Atlantic Advocate et Arts Atlantic; dans les provinces de 1'Ouest, Prairie Forum, Border Crossings, Saskatchewan History, Alberta Report et BC Studies. Le cinema canadien a toujours presente de 1'interet a 1'etranger. On retrouve done des articles et des comptes rendus sur le cinema canadien dans diverses revues de cinema et des revues d'interet general aux Etats-Unis, en Europe et ailleurs. Les critiques portant sur des films canadiens et les exposes sur 1'industrie cinematographique canadienne presentes par des intervenants etrangers offrent une perspective differente du cinema canadien, celle d'etrangers ceuvrant dans un element different. Parfois les auteurs sont des critiques et historiens du cinema canadien invites a presenter le cinema canadien a un public etranger. Michel Euvrard, Michel Houle, Pierre Veronneau, Ron Burnett, Louise Carriere, Donald Buchanan et Peter Harcourt, pour n'en nommer que quelques-uns, commentent ainsi divers sujets tels 1'ideologie du cinema quebecois, 1'histoire de 1'industrie cinematographique canadienne, 1'essor du long metrage canadien et le role de 1'Office national du film du Canada. Les premieres etudes sur le cinema et la video au Canada n'ont vraiment commence a etre publiees que dans les annees 1970. Contrairement aux articles de revues qui proliferent, il y a peu d'ouvrages specialises sur le cinema et la video au Canada destines aux specialistes, aux etudiants et aux amateurs de cinema en general. Cette situation peut s'expliquer en partie par la realite du monde de 1'edition au Canada : un marche restreint ou evoluent deux langues officielles. Les personnes-conseils ayant collabore a Film et video canadiens sont en fait les principaux auteurs dans ce domaine. Ceci devient apparent lorsqu'on presente un aperc^i de quelques-uns de leurs ecrits au cours des annees 1970 et 1980. Seth Feldman a reuni les textes et a participe a la redaction de Take Two (Toronto : Irwin Publishing, 1984) avec Piers Handling et Peter Harcourt; ce dernier est 1'auteur de Jean Pierre Lefebvre (Ottawa : Institut canadien du film, 1981); Peter Morris a ecrit Embattled Shadows: A History of Canadian Cinema, 1895-1939 (Montreal et Kingston: McGill-Queen's University Press, 1978); Michel Larouche a signe Le cinema aujourd'hui: films, theories, nouvelles approches (Montreal: Guernica, 1988); Pierre Veronneau est 1'auteur de Le succes est aufilm parlant franc,ais, Cinema de I'epoque duplessiste et Resistance et affirmation : la production francophone a I'ONF, 1939-1964 (Histoire du cinema au Quebec III) (Montreal: Cinematheque quebecoise / Musee du Cinema, 1979, 1987); Piers Handling a ecrit The Films of Don Shebib (Ottawa: Institut canadien du film, 1978); enfin Pierre Veronneau et Piers Handling ont reuni les textes et ont participe a la redaction de Self Portrait: Essays on the Canadian and Quebec Cinemas (Ottawa : Institut canadien du film, 1980) qui contient egalement des textes de Peter Harcourt, Piers Handling et Peter Morris. La majeure partie des ecrits sur le cinema et la video au Canada sont ephemeres par nature et associes pour la plupart a des festivals de cinema et autres manifestations du genre. Aux festivals annuels qui publient des catalogues plus documentes comme le Festival of Festivals a Toronto, le Festival des films du monde ainsi que le Festival international du film sur 1'art a Montreal, nous avons consacre une entree pour chaque annee respective comportant un resume des films qui y sont presentes, une description des differentes categories de films ainsi que les evenements speciaux du festival. Pour les publications de moindre

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envergure qui ne comportent habituellement que la liste des films presentes, comme le Festival du cinema international en Abitibi-Temiscamingue, une seule entree resume la nature et la portee du festival. Les entrees consacrees aussi bien aux catalogues portant exclusivement sur des films et des videos qu'a ceux qui portent sur les arts visuels mettent 1'accent sur les ceuvres presentees et sur le contenu des textes d'introduction. II est important de noter que rinformation sur les films et les videos contenue dans les catalogues publics dans le cadre de festivals et d'autres occasions de rencontre apparait souvent dans les journaux et revues. Les ceuvres canadiennes presentees au Festival international de Cannes par exemple font 1'objet d'articles dans des publications canadiennes et etrangeres alors que la projection du film de Michael Snow Wavelength au Festival du film experimental de Knokke-le-Zoute en Belgique en 1967 est simplement citee. Au Canada, le tirage des livres et des catalogues sur le cinema est epuise peu apres leur publication. Nous n'avons pas indique la disponibilite de ces ouvrages en bibliotheque parce qu'elle varie au cours des annees, de nouvelles bibliotheques en faisant 1'acquisition. Dans les grands centres urbains comme Montreal, Toronto, Ottawa ou Vancouver, les specialistes se tournent vers les bibliotheques universitaires, publiques et gouvernementales. La plupart des chercheurs desireux d'etendre leur recherche de documents consultent maintenant les fonds de bibliotheques sur le reseau Internet ou verifient leur disponibilite dans diverses bases de donnees telles AMICUS, LIBCON, OCLC, et RUN qui maintiennent leur information a jour. II est important de mettre 1'accent sur le fait que la presente bibliographic couvre la documentation ecrite avant 1989. En consequence, la section sur 1'art video peut paraitre peu etoffee bien qu'elle reproduise fidelement 1'etat de la documentation disponible jusqu'a cette date. La video en tant que forme artistique n'a vraiment connu ses debuts que dans les annees 1970; les ecrits sur la video ont fait eclosion dans les annees 1980 dans quelques revues d'art et de cinema destinees a un public restreint. S'il n'existe aucun ecrit sur des cineastes ou artistes de la video reconnus localement, nous ne pouvons reparer cette omission. Nous avons quand meme tente d'eviter d'avoir une vue etroite ou un point de vue partial. Nous avons cherche, de propos delibere, a representer la documentation sur le cinema et la video au Canada dans toute sa diversite. Aux stades preliminaries de notre recherche, nous avons ete agreablement surpris de constater que le nombre total de documents disponibles ainsi que le nombre d'entrees pour chaque type de document depassait largement nos estimations. En consequence, nous avons cite des references pour toutes les critiques de films que nous avons pu reperer, mais sans les resumer. Nous avons juge qu'il etait indesirable de nous en tenir a un choix partiel. Nous ne pouvions eliminer les brefs comptes rendus car ils contiennent souvent des critiques percutantes et d'autres elements informatifs difficilement accessibles. Nous ne pouvions egalement laisser de cote toutes les critiques apparaissant dans des publications etrangeres car elles apportent souvent une lumiere nouvelle sur les productions canadiennes. Nous avons decouvert que les dates des articles ne correspondaient pas necessairement aux dates de sortie des films, mais que ces articles rendaient compte des reactions immediates comme des points de vue ulterieurs a la sortie d'un film. Ainsi, la plupart des critiques pour The Act of the Heart (L'Acte du coeur) de Paul Almond ont paru en 1969 et 1970; puis, treize ans plus tard, en 1983, Marc Gervais relance le debat (Cinema Canada 102 (decembre

1983): 8): il denonce certains critiques et leur manque d'ethique pour avoir condamne un film avant sa sortie. On ne pouvait ignorer 1'importance des publications gouvernementales tant aux niveaux provincial que federal en raison du role important des gouvernements dans 1'industrie cinematographique et de 1'impact de leurs politiques en matiere de censure, de distribution et d'appui financier. Ainsi 1'enquete de 1931 portant sur les premieres demarches de Famous Players pour acquerir des interets dans plusieurs cinemas au Canada sont relatees dans un document du ministere du Travail intitule Investigation into an Alleged Combine in the Motion Picture Industry in Canada (Ottawa : F.A. Acland, 1931); quant aux efforts du gouvernement federal pour promouvoir 1'Industrie canadienne du cinema et de la video dans les secteurs public et prive, ils font 1'objet d'une etude du ministere des Communications intitulee Politique nationale dufilm et de la video (Ottawa : ministere des Approvisionnements et Services, 1984). Les rapports annuels, comme celui des depenses de la Societe de developpement de 1'industrie cinematographique canadienne et la liste des films ayant obtenu une aide financiere, sont egalement inclus parce qu'ils comportent des donnees utiles. Les theses de maitrise et de doctorat presentees dans les universites canadiennes et a 1'etranger avant 1989 provenaient surtout des departements de communications, de litterature, de journalisme ou de sciences politiques. Nous avons egalement englobe ces etudes parce qu'elles rendent compte de certains points communs entre des disciplines connexes. Les collections de photographies tirees de films et de videos ainsi que les scenarios de films ne comportent presque pas de texte informatif et ne se rapportent done pas a notre etude. Malgre 1'interet et 1'utilite qu'elles representent dans 1'histoire de 1'esthetique au Canada, nous n'avons pas tenu compte des reactions aux films etrangers presentes au Canada, sauf s'ils ont engendre un debat dans les medias sur des questions specifiques comme la censure et la pornographie. Les guides «Comment s'y prendre pour ...», de nature technique, les revues, les critiques de livres et les courts communiques de presse ont generalement ete exclus, a 1'exception des nouvelles breves contenues dans Cinema Canada. Tout en reconnaissant les liens etroits qui existent entre la television, le cinema et la video, nous n'avons aborde ce sujet que brievement parce que la television rejoint des sujets plus vastes comme la radiodiffusion et les medias. Certaines productions televisees ne sont citees que si elles font partie de 1'oeuvre cinematographique d'un realisateur. Quant aux articles de journaux, qui constituent une importante source d'information, ils ne sont cites que si on peut les trouver aisement dans les index de journaux. Les articles paraissant dans les journaux suivants ne sont presentes que sous forme de citations : Calgary Herald, Globe and Mail, Halifax Chronicle-Herald, Montreal Gazette, Toronto Star, Vancouver Sun, Winnipeg Free Press, Le Devoir et La Presse. Ils servent a completer 1'information deja abordee dans d'autres publications. Les guides pour les journaux non repertories de fac,on courante ou retrospective ne sont pas disponibles et il nous a ete impossible de le faire a cause de contraintes financieres.6 Les chercheurs peuvent cependant consulter d'importantes coupures de presse dans des bibliotheques specialisees et des depots d'archives situes principalement a Montreal, a Ottawa, a Toronto et a Vancouver. Les programmes et dossiers de presse publies lors d'evenements speciaux et de festivals cinematographiques ainsi que pour la promotion de certains films ne sont pas decrits individuellement, parce qu'il y en avait trop et qu'ils

Introduction etaient sujets a caution. Us sont conserves dans des archives et des bibliotheques specialisees (exemple : la Cinematheque quebecoise, la Cinematheque Ontario et 1'Office national du film du Canada), des cooperatives independantes de cinema et de video ainsi que des centres de distribution et de production de films partout au Canada. Nous n'avons pas inclus les critiques de films qui ont paru dans les journaux etrangers, d'autres chercheurs explorant deja ce domaine. Le Centre de recherche cinema / reception (CRCR) de 1'universite de Montreal se concentre, depuis 1950, sur 1'accueil des films quebecois en France, aux EtatsUnis et dans le reste du Canada.7 Nous avons deliberement choisi de nous concentrer sur les documents qui se trouvent dans des bibliotheques a travers le Canada. Fouiller les archives n'etait pas de notre ressort. II existe des dossiers importants aux Archives nationales du Canada, dans diverses archives provinciales et a la Cinematheque quebecoise pour ne mentionner que quelques endroits. Toutefois ces documents ne sont pas encore disponibles sur microfilm. Aux Etats-Unis, plus de 90 000 dossiers provenant de partout dans ce pays ont etc reproduits sur microfilm par The Archives of American Art. Cet inventaire, repertorie dans Internet, est disponible aux chercheurs au moyen du pret entre bibliotheques. Le temps est maintenant venu de reclamer un service equivalent au Canada pour les documents temoins de notre patrimoine. Pour determiner quels ouvrages pouvaient figurer dans une bibliographic "canadienne", nous avons applique les memes criteres que ceux qui sont etablis par les publications que nous avons repertoriees. La nationalite a rarement ete un facteur d'exclusion. Les cineastes et artistes de la video sont considered comme des Canadiens parce qu'ils ont choisi de faire du Canada leur patrie de fagon permanente ou temporaire. C'est le cas egalement de ceux et celles qui ont quitte le Canada pour travailler aux Etats-Unis ou en Europe, tout en maintenant une association avec le Canada. Toutes ces personnes sont reconnues comme "canadiennes", mais seule la documentation se rapportant a leur travail au Canada ou en association avec le Canada est citee dans cette bibliographic. Nous voulons ainsi mettre 1'accent sur le contexte canadien de ces references et diriger les chercheurs canadiens et etrangers vers ces sources. Les exemples suivants illustrent bien le chevauchement entre le caractere "canadien" et etranger chez certaines personnes et comment s'est faite la distinction pour les besoins de la bibliographic. Ainsi, le sejour au Canada de John Grierson, le fondateur de 1'Office national du film du Canada, est abondamment documente; par centre, sa carriere en Angleterre, en Ecosse et en France n'est rapportee que dans les publications qui font reference a ses attaches canadiennes. II en est de meme pour Ernest Shipman, un producteur de films independant ayant produit pas moins de douze films tres bien rec.us au Canada entre 1919 et 1922 : il n'est fait aucune mention de ce qui a suivi apres son depart du Canada pour New York au debut des annees 1920. Le financement et la participation du Canada peuvent egalement servir a determiner le contenu "canadien" d'un film. En ceci nous avons suivi les lignes directrices etablies par la Societe de developpement de 1'industrie cinematographique canadienne (qui deviendra plus tard Telefilm Canada), au moment ou est produit le film. Nous nous sommes inspires en cela de D.J. Turner qui definit comme canadien "tout long metrage produit par une societe enregistree au Canada, quelle que soit la part de capitaux etrangers qui se cache derriere cette societe canadienne."8 En vertu de cette definition, Agnes of God du realisateur Norman

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Jewison, une production de Albion Films a Toronto et mettant en vedette un certain nombre d'acteurs canadiens, peut etre considere comme un film canadien, bien qu'il ait ete distribue par Columbia Pictures. Tout comme pour Art et architecture au Canada sur lequel sont basees la forme et la structure de Film et video canadiens, notre ouvrage comporte des resumes descriptifs et non des evaluations critiques. Le bibliographe a pour role de decrire le contenu du document original aussi fidelement que possible. II se peut qu'eventuellement 1'information se revele fausse et que Ton doive remettre en question certaines conclusions, mais chaque ecrit conserve toujours une valeur en soi. Les entrees dans Film et video canadiens sont presentees selon un ordre chronologique, de fac.on a mieux retracer 1'origine et revolution de 1'ecrit pour un sujet donne. Un coup d'oeil a la table des matieres du volume 1 sert de guide a la structure de la bibliographic. Les sujets sont regroupes par themes, selon un ordre chronologique et des parametres geographiques. Us sont classes sous rubriques distinctes a 1'interieur de neuf grandes divisions : (1) etudes generales; (2) genres; (3) cinema et gouvernement; (4) festivals et prix; (5) industrie cinematographique; (6) compagnies de production, de distribution et d'exploitation ; (7) associations et organisations de cinema et video; (8) etudes connexes; (9) gens de cinema et video. Sous chacune de ces sousrubriques, les inscriptions sont presentees dans une sequence chronologique, des plus anciennes aux plus recentes. Le lecteur qui desire aborder un sujet de facpn globale peut simplement feuilleter certaines sections s'il le desire. L'information sur les realisateurs regroupe d'abord des references d'ordre general (aperc.us et entrevues), puis des references se rapportant a des films en particulier, selon 1'annee ou ils ont ete produits. La plupart des entrees bibliographiques ont ete faciles a classer, a 1'interieur de 1'une des neuf grandes divisions. Ainsi, un article traitant de 1'utilisation de films dans les ecoles secondaires est repertorie sous "Cinema et education". Les articles concernant un film ou un realisateur en particulier se trouvent dans la section "Gens de cinema et video". Parce qu'elle inclut toutes les critiques de films, cette section represente la majeure partie de la bibliographic. La premiere division de la bibliographic, "Etudes generales", presente un apergu historique du cinema au Canada. Les articles concernant le tournage, le financement ou la production d'un film au Canada se trouvent a la section "Industrie cinematographique". Des questions ont ete soulevees a 1'occasion concernant 1'endroit ou classer certaines references a 1'interieur de la bibliographic. Un article sur le film Another Smith for Paradise du cineaste Tom Shandel et le role de la Societe de developpement de 1'industrie cinematographique canadienne dans le financement du film en constitue un bon exemple. Parce qu'elle traite d'un film en particulier realise par un cineaste canadien, cette reference apparait a la section "Gens de cinema et video". Le meme article est egalement classe sous le titre du film dans 1'index des films et des videos et sous "Societe de developpement de 1'industrie cinematographique canadienne" dans 1'index des titres et 1'index des sujets. Cette configuration offre ainsi un maximum d'acces a 1'information contenue dans les entrees. Le volume 2 comprend trois index qui renvoient aux films, aux personnes et aux associations mentionnes dans la bibliographic : ce sont 1'index des auteurs, 1'index des films et des videos ainsi que 1'index des sujets traites. On note ainsi a 1'index des auteurs que Seth Feldman a ecrit sur divers festivals, films experimentaux et documentaires, et sur 1'Office national du film du Canada, et qu'il a signe plu-

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Introduction

sieurs critiques de films. Bien qu'il y ait des references pour le film de Terri Nash If You Love This Planet (Si cette planete vous tient a coeur) sous le nom du realisateur dans "Gens de cinema et video", d'autres citations s'ajoutent dans 1'index des films et des videos sous la rubrique censure et prix. Des references supplementaires pour un bon nombre de realisateurs, artistes en video et autres professionnels du cinema se trouvent dans 1'index des sujets traites. Elles renvoient a d'autres entrees ailleurs dans la bibliographic qui traitent de ces personnes comme sujets. Telefilm Canada compte 184 entrees dans sa section respective, et 181 entrees supplementaires dans 1'index des sujets traites, principalement pour des films ayant rec.u ou demande un soutien financier de cet agence. La description bibliographique de chaque entree est suivie d'un resume. Ce dernier explique brievement le contenu de la publication et mentionne les noms de personnes, associations, films et videos dont on parle dans la publication, ainsi que les grandes lignes mises de 1'avant par 1'auteur. La premiere utilite du resume est de permettre au lecteur de juger de 1'importance et de la pertinence d'un document donne pour la recherche. Ensuite, telle une entree de dictionnaire ou d'encyclopedic, il renseigne rapidement le lecteur sur un sujet en particulier. Les resumes sont rediges en anglais ou en franqais ou dans les deux langues, selon celle qui a ete utilisee dans le document original. Dans le cas de publications bilingues, un resume est redige dans les deux langues. Si le document original est redige dans une autre langue que le francjais ou 1'anglais, il ne comporte pas de resume et apparait uniquement sous forme de notice. Les entrees dans la bibliographic sont repertoriees sous le titre anglais ou francais du film ou de la video, selon la version qui a etc presentee en premier. II a ete decide de regrouper tous les documents se rapportant a un film ou a une video parce que les chercheurs vont habituellement consuiter la documentation dans les deux langues. Par exemple, dans la bibliographic, les entrees pour le film Death Weekend de William Fruet, presente d'abord en anglais, apparaissent dans cette langue avec le titre franc.ais entre parentheses. Un renvoi dans 1'index des titres relic le titre frangais au titre anglais. Dans 1'index des sujets traites, lorsque les associations sont connues sous un nom frangais et sous un nom anglais, les references sont inscrites sous les deux noms dans la bibliographic, ce qui permet au chercheur de faire ses recherches sous le nom qu'il connait le plus et de reperer les entrees dans les deux langues dans la bibliographic. Dans le cas de 1'Office national du film du Canada par exemple, toutes les donnees bibliographiques en anglais, en frangais et dans une autre langue apparaissent dans 1'index des sujets sous "Office national du film du Canada". La verification des titres de films et de videos ne fut pas facile. Les deux principales sources bibliographiques utilisees sont Y Index des films canadiens de long metrage et la base de donnees FORMAT de 1'Office national du film du Canada. Pour comprendre toute la complexite du travail d'identification et de regroupement de tous les titres sous lesquels un film peut etre connu, revenons a 1'exemple de Death Weekend. Sorti en francais au Quebec sous le titre Fin de semaine infernale, ce film a egalement etc presente en France sous le titre Weekend sauvage, et aux Etats-Unis sous House by the Lake. En cours de production, on y faisait reference sous les titres Thanksgiving et Do or Die. Tous ces titres figurent a divers endroits dans la documentation, selon la date et le lieu de publication. Comme il a ete fait mention dans la bibliographic, le titre utilise est celui de la version originale. Les resumes citent le titre apparaissant dans 1'article original,

tandis que 1'index inclut les differents titres avec des renvois au titre principal. Lorsqu'il nous a ete impossible de confirmer le titre d'une ceuvre selon les normes pre-citees, nous avons consulte le Qui est qui au cinema et a la television au Canada ainsi que divers catalogues de distributeurs. Pour les films et videos que nous n'avons pu trouver ainsi, nous avons du nous en remettre a 1'information contenue dans les livres, catalogues de festivals ou articles de journaux. Nous avons parfois eu de la difficulte a determiner la date de production d'un film ou d'une video, a en identifier le realisateur et a le rattacher a une collection. Lorsqu'elle etait connue, nous avons utilise la date de sortie commerciale des longs metrages au Canada. Comme les documentaires, les films industriels ainsi que les films et videos de style experimental ne sont pas distribues dans les cinemas, nous avons utilise la date de production ou la date de leur premiere projection. Un dernier ressort, rarement utilise, fut de determiner la date de certains films d'apres la date de publication des ouvrages ou ils etaient cites. Dans certains cas, surtout pour les films documentaires et industriels, le nom du realisateur n'est pas mentionne dans 1'ouvrage. S'il n'apparait pas non plus dans d'autres sources mais que le nom du producteur ou de la maison de production est connu, celui-ci est alors cite. Ainsi, le film Do It with Joy qui traite d'un programme de relance forestiere mis de 1'avant par des etudiants de Colombie-Britannique ne mentionne pas le nom du realisateur. FORMAT ne le cite pas non plus mais mentionne le producteur Nicholas Kendall, auquel nous avons attribue le film. Des recherches fouillees ont du etre entreprises pour retracer la collection a laquelle appartiennent tel film ou tel video et, inversement, pour retrouver les titres distincts des oeuvres lorsque seule la collection est mentionnee. Par exemple, de nombreuses references se rapportant au programme Societe nouvelle de 1'Office national du film du Canada ne mentionnent pas les titres individuels des films; de meme, a 1'occasion, certains exposes sur des films ne font pas allusion au programme Societe nouvelle. Nous avons pu relier les titres entre eux dans 1'Index des films et des videos a 1'aide du Repertoire des films de I'ONF. Parfois, 1'information a pu etre completee au moyen de documentation connexe. Par exemple, nous avons trouve dans le catalogue d'exposition Recent Work from the Canadian Avant-garde du Musee des beaux-arts de 1'Ontario (Toronto, 1988) les titres appartenant au cycle The Book of All the Dead de R. Bruce Elder. Film et video canadiens ne fait que commencer a ouvrir la voie a une meilleure comprehension de notre heritage culturel. Pourtant, on note de graves lacunes au chapitre de la documentation pour plusieurs sujets. La recherche au Canada a trop souvent emprunte des voies regionales ou linguistiques. Les auteurs des provinces de 1'Ouest ont eu tendance a se concentrer presque exclusivement sur la production locale; quant aux chercheurs francophones et anglophones, ils n'ont franchi la barriere linguistique qu'en de rares occasions. La "division" des entrees souleve quelques questions pour etudes et recherches ulterieures : elle suggere qu'il y a besoin de mieux comprendre, evaluer et definir de nouvelles voies de recherche. Nous avons besoin, par exemple, de decouvrir comment des groupes regionaux independants tels la Atlantic Filmmaker's Co-operative a Halifax, la Pacific Cinematheque Pacifique a Vancouver ou 1'Association des realisateurs et realisatrices des films du Quebec ont produit des films et videos qui refletent leur caractere regional. Une autre facette a explorer serait d'examiner comment les lois federales et provinciales et la politique officielle ont influe sur 1'industrie du film et de la video au Canada.

Introduction Enfin, il serait interessant d'evaluer les progres du cinema canadien et de la video sur la scene Internationale, en mettant 1'accent sur le role du Canada dans le developpement du cinema d'animation, du film documentaire, de 1'art video et des courts metrages comme formes d'expression reconnues a 1'exterieur du Canada. Comme les recherches sur les films et les videos au Canada ont tendance a s'appuyer sur des sources d'archives qui se situent hors de la portee de cette etude, nous souhaitons que ce travail encourage

xxvii

d'autres chercheurs a trouver des moyens de rendre plus accessibles les collections de plusieurs depots d'archives et de documentation a travers le Canada. Nous esperons que les references aux documents qu'on decouvrira dans cette bibliographic aideront et encourageront la decouverte et 1'ouverture contextuelle de notre histoire et qu'elles contribueront a une plus grande comprehension et a une meilleure estime des films et videos canadiens.

NOTES 1 L'annee 1989 marque le cinquantenaire de 1'Office national du film du Canada et le vingt-cinquieme anniversaire de la Cinematheque quebecoise. C'est egalement en 1989 que fut fondee la Canadian Film Celebration Society a Calgary en Alberta, dans le but d'instaurer un festival de films devant rendre hommage a 1'industrie cinematographique canadienne. 2 Sous la rubrique "Cinema" dans L'Encyclopedie du Canada (Edmonton: Hurtig, 1988), vol 1, p. 375, Pierre Harcourt ecrit: "... le Canada etant generalement consid£re comme une partie integrante du marche americain, les films canadiens n'occupent pas toujours la place qui leur revient dans nos salles de cinema et ne beneficient que d'un acces limite a nos ecrans de television. A sa sortie, le film canadien est souvent compare au produit americain, plus familier... La plupart des Canadiens ne connaissent pas leur propre cinema. Les enfants grandissent avec la television americaine et evoluent avec les films americains." 3 Void quelques litres de bibliographies retrospectives publiees durant les annees 1970 : John C. Gerlach et Lana Gerlach, The Critical Index: A Bibliography of Articles on Film in English, 1946-1976 (New York : Teachers' College Press, 1976); Stephen E. Bowles, Index to Critical Film Reviews in British and American Film Periodicals et Index to Critical Reviews of Books about Film (New York : Burt Franklin, 1974); Linda Batty, Retrospective Index to Film Periodicals, 1930-1971 (New York: Bowker, 1975). The Film Literature Index (Albany: Film and Television Documentation Center), un index trimestriel auteurs-sujets des periodiques se rapportant au cinema, a la television et a la video debuta en 1973. 4 Le Canadian Journal of Film Studies / Revue canadienne d'etudes cinematographiques et Cinemas sont publies depuis 1990, ce qui depasse la periode couverte par la presente bibliographic. 5 Une liste de courtes publications pouvant eVentuellement servir a notre etude fut compilee a partir de sources diverses dont Canadiana (Ottawa : Bibliotheque nationale du Canada, 1953-), Bibliographic du Quebec (Quebec : Bibliotheque nationale, 1968-) et une liste non publiee de 93 periodiques sur le cinema compilee par Pierre Veronneau en 1991. Stephen Park, un etudiant de 1'Ecole de biblioth£conomie et des sciences de l'information de 1'universite McGill, a entrepris une etude en mai 1992 sous la supervision de Peter McNally et moi-meme. Apres un examen de ces titres, il a recommande d'en retenir une liste partielle et a developpe un

modele de resume a partir d'un echantillonage d'une trentaine de titres. 6 Un projet de classification d'articles sur le cinema provenant de vieux journaux est presentement en cours. Le Groupe de recherche d'analyse filmographique (GRAF) sous la direction d'Andre Gaudreault retrace les debuts du cinema queb£cois a partir d'une s£rie d'articles de journaux datant de la premiere decennie du vingtieme siecle, comme Le Soleil, La Presse, La Patrie et le Montreal Star. 7 Le Centre de recherche cinema / reception a notamment public Les films quebecois dans la critique franfaise: repertoire analytique, 1980-1989 (Montreal, 1992) et Les films quebecois dans la critique frangaise: repertoire analytique, 1950-1979 (Montreal, 1992). Ces ouvrages regroupent des articles de journaux et de revues ainsi qu'une collection d'essais et de monographies publies en France de 1950 a 1989. Les membres du Centre de recherche cinema / reception (CRCR) comprennent Francois Baby, Denis Bachand, Louise Carriere, Michel Larouche, Denis Perusse, Gilles Therien et Pierre Veronneau. 8 D.J. Turner, Canadian Feature Film Index, 1913-1985 / Index des films canadiens de long metrage 1913-1985 (Ottawa : Archives nationales du film, de la television et de 1'enregistrement sonore, Archives publiques du Canada, 1987), p. x. Dans 1'introduction, Turner affirme que, pour des raisons particulieres, de nouveaux criteres ont ete etablis pour determiner le contenu canadien d'un film. Ces criteres sont etablis par des organismes gouvernementaux et prives dont le CRTC, le Bureau des festivals du film, le Canadian Audio-Visual Certification Office et 1'Academic du cinema canadien. II insiste sur la necessite de redefinir le contenu canadien des films : "Les investissements dans la production sont maintenant diriges massivement vers la television et 1'argent mis dans le tournage de films specifiquement destines a la projection en salle ne represente plus qu'une tres petite portion des millions de dollars engages dans 1'industrie. En outre, des productions etrangeres, dont la plupart sont des films ame>icains destines a la television ou aux salles, emploient un tres fort pourcentage d'artistes et de techniciens canadiens. Toute edition a venir de I'Index se devra de refleter cette nouvelle orientation et son importance" (p. xi).

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Acknowledgments

Canadian Film and Video: A Bibliography and Guide to the Literature / Film et video canadiens: Bibliographie analytique sur k cinema et la video has become a reality because of important contributions from a variety of sources. The Social Sciences and Humanities Research Council of Canada (SSHRC) generously supported the research for the project and the considerable work involved in creating a publishable manuscript. It allowed me to be relieved of my university commitments for a total of one year to devote myself full-time to the initial organization of the project and the completion of the bibliography and made it possible to hire graduate and undergraduate students as research assistants. Publication of the bibliography would not have been possible without the generous assistance of Telefilm Canada, which provided a publication subsidy for the project in celebration of the centenary of film in Canada. The project benefited substantially from the Work Study Program at Concordia University, which reimbursed a portion of the salary of qualified students. Also from Concordia University came the generous bridge and supplemental funding arranged by Audrey Williams, Research Officer, and Charles Bertrand, Vice-Rector, Services. Without this funding the project would have been delayed at a crucial juncture and could not have reached completion. The project is further indebted to the departments of cinema, library studies, and art history at Concordia University, and the Departement de 1'histoire de 1'art at the Universite de Montreal for providing the project with excellent students. A special debt of gratitude is also owed to Peter McNally and John Leide from the School of Library and Information Studies at McGill University for co-supervising library science students Stephen Park and Tracey Friesen. The bibliography could not have progressed beyond an idea nor reached the publication stage without the film historians, librarians, and archivists who have offered support, encouragement, and advice at each stage of the project since 1989, when the concept of this bibliography evolved out of Art and Architecture in Canada: A Bibliography and Guide to the Literature / Art et architecture au Canada: bibliographic et guide de la documentation (Toronto: University of Toronto Press, 1991). My appreciation extends to the members of the Film Studies Association of Canada who at their 1989 conference in Saskatoon enthusiastically supported the idea of a bibliography when I spoke about it as a participant on the panel "Canon Building for Film Studies." Pierre Veronneau in particular merits special mention for all his help: for spearheading the project at its inception, for assisting in evaluating the research proposal, for recommending, along with Tom Waugh, many of the consultants, and for sustaining the project with his encouragement. Others who deserve my

thanks are many consultants from academic institutions, archives, and government agencies, including Kathy Elder, Seth Feldman, Peggy Gale, Peter Harcourt, Percy Johnson, Michel Larouche, Peter Morris, Derek Reimer, Peter Rist, Tom Waugh, and Rose-Aimee Todd. Rose-Aimee Todd deserves a special thank you for revising and expanding "A Time-line of the National Film Board of Canada and the Canadian Film Industry from 1939 to 1989" from The NFB Film Guide: The Productions of the National Film Board of Canada from 1939 to 1989 (Montreal: National Film Board of Canada, 1991), which appears as an appendix in Volume 2. We wish to thank the National Film Board of Canada for giving us permission to reprint this text. The research assistants listed below excelled as a team and their attention to detail and concern for quality made completion of the project possible. Their tasks included inputting citations, gathering materials, writing abstracts, indexing, proofing, and translating. One research assistant is particularly worthy of my commendation, so much so that I came to rely upon him as a consultant and as the assistant to the editor. Percy Johnson, with the project from the beginning, has been involved in every stage of its development. He participated in the abstracting, assisted in the selection and verification of entries, trained and supervised numerous research assistants, completed almost single-handedly the classification of the entries for the bibliography and the indexes, oversaw the copy-editing of the English- and French-language material, made continual adjustments to the PROCITE database program, and helped prepare the manuscript for publication. I am indebted to his patience and perseverance in seeing the bibliography to completion. I also wish to thank Anne Wade, who prepared the PROCITE database for our use, and Elyse Greenberg and Michelle Decarie for their meticulous editing of the manuscript. Without the library collections that were made accessible to us locally in Montreal and from across Canada through the Interlibrary Loans Department of Concordia University this project could not have taken place. We are grateful in particular to Rene Beauclair, head librarian, and his staff at the Cinematheque quebecoise for going out of their way to make materials accessible to the research staff and for guiding us through their invaluable resources. I gratefully acknowledge the understanding of my home institution for supporting my research work since 1981 when I began, with Mary Williamson, the bibliography Art and Architecture in Canada. My colleagues both within the library and the Faculty of Fine Arts at Concordia University have consistently encouraged and supported me. I must also emphasize that my ten years working in close collaboration

xxx

Introduction

with Mary Williamson, who has recently retired as fine arts bibliographer at York University, gave me the courage and fortitude to embark on this second major bibliographic work.

Finally, I thank Joan Bulger and Anne Forte, my editors at the University of Toronto Press, for their expert advice and clear direction in gracefully guiding this work, as they did the earlier one, to publication.

Remerciements

Canadian Film and Video: A Bibliography and Guide to the Literature I Film el video canadiens: bibliographic analytique sur le cinema et la video a vu le jour grace a d'importances contributions provenant de sources diverses. Le Conseil de recherches en sciences humaines du Canada (CRSHC) nous a manifeste genereusement son soutien aussi bien au stade de la recherche qu'aux diverses etapes menant a la publication finale. Son appui genereux m'a permis de me liberer de mes obligations universitaires pour une annee complete et de me consacrer entierement a la mise en ceuvre et a 1'elaboration de la bibliographie. II nous a egalement permis d'engager des etudiants du ler cycle et des diplomes de 2e et de 3e cycles comme assistants de recherche. La publication de la presente bibliographie n'aurait pas ete possible sans 1'aide de Telefilm Canada qui nous a octroye une subvention importante pour souligner le centenaire du cinema au Canada. Par le biais de son Programme d'etudes travail, 1'universite Concordia a participe de fac.on substantielle au financement du projet en remboursant une partie du salaire des etudiants. Nous remercions particulierement Mme Audrey Williams, responsable de la recherche a Concordia et M. Charles Bertrand, vice-recteur services, qui ont permis la poursuite du projet en reunissant des fonds supplementaires. Sans leur precieux soutien, celui-ci aurait accuse un retard considerable a un moment crucial et sa realisation aurait ete compromise. Nous remercions egalement les departements de cinema, de bibliotheconomie et d'histoire de 1'art de 1'universite Concordia ainsi que le departement d'histoire de 1'art de 1'universite de Montreal auxquels nous avons fait appel pour recruter une equipe d'etudiants competents. Nous desirons aussi remercier tout specialement Peter McNally et John Leide de 1'Ecole de bibliotheconomie et des sciences de 1'information de 1'universite McGill qui ont supervise a tour de role le travail de Stephen Park et Tracey Friesen, tous deux etudiants en bibliotheconomie. La bibliographie n'en serait restee qu'au stade theorique et n'aurait jamais ete publiee sans le concours des historiens du cinema, des bibliothecaires et des archivistes qui nous ont offert leur appui, leur encouragement et leurs conseils a toutes les etapes du projet depuis 1989, au moment ou 1'idee d'une telle bibliographie a vu le jour dans la foulee de Art and Architecture in Canada : A Bibliography and Guide to the Literature I Art et architecture au Canada : bibliographie et guide de la documentation (Toronto: University of Toronto Press, 1991). Je desire remercier tout particulierement les membres de 1'Association canadienne d'etudes cinematographiques qui m'ont exprime leur appui immediat lors d'une table ronde intilule Canon Building for Film Studies a laquelle j'ai participe a Saskatoon en 1989. Pierre Veronneau merite

toute ma reconnaissance pour avoir collabore etroitement au projet des ses tout debuts, que ce soit dans 1'evaluation du projet de recherche ou lors de la selection des personnesconseils avec 1'appui de Tom Waugh, et pour nous avoir prodigue son encouragement tout au long du projet. Je desire exprimer ma gratitude a toutes les personnes-conseils provenant de divers organismes gouvernementaux, services d'archives et etablissements scolaires: Kathy Elder, Seth Feldman, Peggy Gale, Peter Harcourt, Percy Johnson, Michel Larouche, Peter Morris, Derek Reimer, Peter Rist, Tom Waugh et Rose-Aimee Todd. Je desire remercier tout particulierement Rose-Aimee Todd qui a produit une version revisee et augmentee de la "Chronologic de 1'Office national du film du Canada et de 1'industrie cinematographique canadienne de 1939 a 1989" tiree de 1'ouvrage Le repertoire des films de I'ONF: la production de I'Office national dufilm du Canada de 1939 a 1989 (Montreal: Office national du film du Canada, 1991). Cette section parait dans le volume 2 sous forme d'appendice. Nous desirons remercier 1'Office national du film du Canada de nous avoir permis de reproduire ce texte. Les assistants de recherche dont les noms suivent ont uni leurs efforts pour mener a bien ce projet sous le signe de la qualite. Us se sont partage des taches diverses: saisie et compilation de donnees, redaction, classification, revision et traduction. Parmi eux, je dois souligner le role tres important de Percy Johnson qui a veritablement fait office de personneconseil et d'assistant. II a participe a tous les stades de la recherche: il a pris part a la redaction, a la selection et a la verification des entrees; il a aussi participe a la formation et a la supervision de nombreux assistants de recherche et il a complete presque a lui seul la classification des entrees pour la bibliographie et les index; il a collabore a la revision du texte franqais et du texte anglais, il a effectue des mises au point continuelles a la base de donnees PROCITE et a travaille a la preparation du manuscrit. Je lui suis infiniment reconnaissante de sa patience et de sa perseverance a rendre ce projet a terme. Je desire egalement remercier Anne Wade qui a adapte la base de donnees PROCITE pour notre utilisation de meme qu'Elyse Greenberg et Michelle Decarie qui ont apporte un soin particulier a la correction du manuscrit. Nous desirons remercier nos collegues du Pret entre bibliotheques de 1'universite Concordia sans lesquelles ce projet n'aurait pas ete possible. Elles ont recueilli pour nous une documentation abondante aupres de bibliotheques de la region montrealaise et ailleurs au Canada. Nous sommes particulierement reconnaissants a Rene Beauclair, bibliothecaire en chef a la Cinematheque quebecoise ainsi qu'a tout son personnel qui ont multiplie leurs efforts pour ren-

xxxii

Introduction

dre leurs ressources accessibles a notre equipe de recherche et qui nous ont fourni de precieux renseignements. L'universite Concordia a joue un role important en appuyant mes recherches depuis 1981, annee ou Mary Williamson et moi avons commence a travailler a la bibliographie Art et Architecture au Canada. A tous mes collegues, bibliothecaires et professeurs au departement des beaux-arts, qui m'ont appuyee et encouragee durant ces annees, je dis un grand merci. Je dois egalement souligner 1'etroite collaboration que j'ai entretenue pendant dix ans avec Mary Williamson, bib-

liothecaire en arts visuels qui a recemment pris sa retraite a 1'universite York. Elle m'a donne le courage et la determination necessaires pour m'impliquer a nouveau dans cette seconde bibliographic majeure. Je remercie enfin Joan Bulger et Anne Forte, mes directrices de publication a 1'University of Toronto Press qui, au cours des dernieres annees, m'ont prodigue conseils et directives afin de faire progresser cette bibliographie ainsi que la precedente jusqu'a sa publication.

Contributors / Collaborateurs

Editor I Sous la direction de Loren R. Lerner Assistant to the Editor / Assistant Percy Johnson Consultants / Personnes-conseils Kathy Elder Seth Feldman Pe ggy Gale Piers Handling Peter Harcourt

Percy Johnson Michel Larouche Peter Morris Derek Reimer

Peter Rist Rose-Aimee Todd Pierre Veronneau Tom Waugh

Research Assistants /Assistants de recherche Ann Armstrong Mireille Ayotte Nathalie Brillon Patrick R. Burger Dorothy Chenier Mallorie Cook Frank Desgagnes Oksana Dykyj Mary Ann Farah Jacques Fournier Tracey Friesen Sandra Gallant Magdalena Grabiec

Martin Grenier Philippe Grenier Sonia Guimond Maere Haldane Kelly Margraves Robyn Holland Percy Johnson John Kipphoff Adrian Knight Brigitte Labelle Joanne Latimer Rob Lee Patricia Lee Men Chin

Michael Maranda Greg McKinnon Stephen Park Lucy Pribas Concetta Principe Francis Schnell Daniel Singer Rita Sousa Johnson Adeline Sreih David Strong Luba Szkambara Diana Webb

Others Who Have Assisted with Advice and Information / Personnes ayantfourni conseils et renseignements Rene Beauclair Kirwan Cox Jane Devine Andre Gaudreault

Marlene Giguere Christine Jacobs Claude Ladouceur Collette Lebeuf

John Leide Peter McNally Audrey Williams

Institutions and Their Staff / Organismes et leur personnel La Cinematheque quebecoise, Centre de documentation Concordia University, Webster Library / Universite Concordia, bibliotheque Webster McGill University, MacLennan Library / Universite McGill, bibliotheque MacLennan National Film Board of Canada Library / Office national du film du Canada, Bibliotheque National Film Board of Canada, Format Services / Office national du film du Canada, Format - Services d'information National Library of Canada / Bibliotheque nationale du Canada Universite de Montreal, Bibliotheque

xxxiv

Contributors / Collaborateurs Associations Art Libraries Society of North America (ARLIS/NA) Bibliographical Society of Canada / La Societe bibliographique du Canada Film Studies Association of Canada / Association canadienne d'etudes cinematographiques Translation / Traduction Dorothy Chenier

Michelle Decarie

Suzanne Huot

Technical Assistance / Aide technique George Pelekis

Anne Wade

Editorial/Publication / £tablissement du texte Michelle Decarie

Elyse Greenberg

Percy Johnson

Guide to Using the Bibliography

The bibliography is made up of a total of 24,800 entries. These are listed under a series of subject headings representing a variety of topics and geographical areas. The subject headings are outlined in the Table of Contents. Under each heading, the entries appear chronologically, according to the date of publication. Each of the entries in the bibliography includes a citation containing a bibliographical description; approximately 10,800 of the entries also have abstracts. BOOKS The bibliographic citation for monographs follows standard library cataloguing practice, listing author, title, place of publication, publisher, date, paging, and series, with series number if applicable. The basic elements of the bibliographic description are supplemented by references to illustrations, a bibliography (this may simply be a short list of books and articles), an index, and the language(s) of the text, including an indication of summaries in other languages: 591 Zwimmerly, David W. Museocinematography: Ethnographic Film Programs of the National Museum of Man, 19131973. (National Museum of Man. Mercury Series. Ethnology Division. Paper no 11). Ottawa, Ont: National Museums of Canada, 1974. vii, 103 p, 22 ill, bibl, En.

ENGLISH AND FRENCH EDITIONS Where separate English and French versions of a work have been published, the title of the other version is noted in the citation: 15627 Beard, William. The visceral mind: The major films of David Cronenberg. The Shape of Rage: The Films of David Cronenberg, edited by Piers Handling, 1-79. Toronto, Ont: General Publishing; New York, New York: New York Zoetrope, 1983. 14 ill, bibl, En. French edition: L'esprit visceral : les films majeurs de David Cronenberg.

FESTIVAL CATALOGUES Festivals often issue catalogues describing film and video screenings, awards, and related events. These catalogues are usually dealt with collectively as a series or a group. The citation includes a statement about years of publication, and notes any changes in the name of the organization and in the title of the festival: 4679 Festival international du jeune cinema. Festival international du jeune cinema. 1988-. Annuel. Autrefois, 1980-1988:

Festival super 8 et video. Montreal, Quebec : Association pour le jeune cinema quebecois, 1988-. ill, fr.

For festivals that have published catalogues with substantial Canadian content, such as the Festival international du film sur 1'art, each year is treated separately. 4624 Festival international du film sur 1'art. 2e Festival international du film sur 1'art. 7-11 octobre 1982. Montreal, Quebec: Gouvernement du Quebec. Ministere des Affaires culturelles; Musee d'art contemporain, 1982. 65 p, 82 ill, index, fr, En.

EXHIBITION CATALOGUES Exhibition catalogues are listed by the name of the art gallery, museum, or other institution where the exhibition was first held. The title of the exhibition catalogue appears next, followed by the exhibition dates. The name of the curators and other contributors who played a major role in the preparation of the catalogue are noted (all appear in the Author Index). Sites of travelling exhibitions are mentioned in the catalogue and are listed with inclusive dates. The information is transcribed exactly as given in the catalogue. Changes and additions to exhibition schedules are common; however, entries are based on the information published in the catalogue rather than on the final itinerary. The bibliographic description includes references to illustrations, bibliography, index, and the language(s) of the text: 928 Walter Phillips Gallery. The Second Link: Viewpoints on Video in the Eighties. 8 July-21 July 1983. Catalogue essays by Lome Falk, Gene Youngblood, Carl Loeffler, Sandy Nairne, Dorine Mignot, Barbara London, Kathy Huffman, Peggy Gale, and Brian MacNevin. Also shown: New York (NY), Museum of Modern Art, 18 August-27 September 1983; Amsterdam (Netherlands), Stedelijk Museum, 9 September-16 October 1983; Toronto (Ont), A Space, 1 October-29 October 1983; Long Beach (California), Long Beach Museum of Art, 20 November 1983-15 January 1984; London (England), Institute of Contemporary Arts, 16 December 1983-15 January 1984. Banff, Alta: Walter Phillips Gallery, The Banff Centre School of Fine Arts, 1983.109 p, ill, bibl, En.

PERIODICAL AND NEWSPAPER ARTICLES, ESSAYS, AND CHAPTERS IN BOOKS The bibliographic citation for articles in periodicals corresponds to that found in most periodical indexes and bibliographies. Author(s) and title are followed by the name of the periodical in full, the volume and/or issue number, date, and

xxxvi

Guide to Using the Bibliography

number of pages. Any other elements of the bibliographic description follow the format adopted for monographs: 18042 Dempsey, Gaylene K. "The Last Winter." Cinema Canada no 162 (April-May 1989) 8.1 ill, En.

Articles with no author indicated are cited by title: 18000 Director's award goes to Jewison. Winnipeg Free Press (24 February 1988) 39. En.

Citations for essays and chapters in books include the name of the author or editor of the volume and the title of the collection, followed by the publication data: 17388 Elton, Margaret Ann. The images of Canada: An appraisal of the eye, the mind, and the teaching of John Grierson. John Grierson and the NFB, 77-85. Toronto, Ont: ECW Press, 1984. En.

Where an article in one source was found to have been reprinted or previously published in another, both sources are referred to in the citation: 18521 Rosenthal, Alan. Richard Leiterman. The New Documentary in Action: A Casebook in Film Making, 40-55. Berkeley, California: University of California Press, 1970. En. Reprinted as The fiction documentary: Interviews with the makers of "A Married Couple" Film Quarterly (Summer 1970) 19-28. Reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 145-166. Peterborough, Ont: Broadview Press, 1988.

A number of journals, bulletins, and newsletters have been cited in their entirety. The entries for the close to eighty periodicals in this category record changes of title, the place and frequency of publication, and the span of years of publication: 809 ASIFA Canada. 1 no 1 - (April 1974-). Three times per year. Title varies, appearing occasionally as ASIFA Canada News / Nouvelles and ASIFA. Montreal, Quebec : Association international du film d'animation, Canada, April 1974-. ill, En, fr.

GOVERNMENT AND RESEARCH REPORTS The bibliographic citations for government and research reports include author, title, date of publication, and publication information. The author in these cases is often the task force, corporation, or government department commissioned or assigned to produce the report:

Annual. Continued by Telefilm Canada. Annual Report/ Telefilm Canada. Rapport annuel. Montreal, Quebec : Canadian Film Development Corporation / Societe de developpement de 1'industrie cinematographique canadienne, 1969-1983. ill, En, fr.

THESES The citations for theses include the degree for which the thesis was submitted and the name of the university or college awarding the degree: 1383 Magder, Ted. The Political Economy of Canadian Cultural Policy: The Canadian State and Feature Films, 1917-84. Ph.D. dissertation, Political Science. Toronto, Ont: York University, 1988. viii, 481 p, ill, bibl, En.

FILM AND VIDEO REVIEWS Individual film and video reviews are listed under the name and work of the filmmaker or video artist. When the title of the article is also the film or video title, it is not repeated. 17013 Bell, Celina. Maclean's 100 no 42 (19 October 1987) 60.1 ill, En.

Editorial Policy Regarding the Citation of Authors and Titles, Bibliographic Descriptions, and the Contents of Abstracts AUTHORS The names of the authors of books, articles, essays, theses, reports, and festival and exhibition catalogues have been given as printed in the publications cited. The form found in the publication presumably reflects the author's preference at the time. With variant forms, the differences may be minor, such as the use of a full first name on one occasion and just initials on another: Evanchuck, P.M. Evanchuck, Peter Evanchuck, Peter M.

In some instances (these usually involve women), the surname may change completely. In these cases, the reader will need to be aware of the variant forms in order to trace in the Author Index all publications by that author. TITLES

1031 Canada. Secretary of State. Office of the Special Advisor on Film. Big Word, Small Format: A Study of the Use and Distribution of 16 mm Film, Tape and A-V Materials. Ottawa, Ont: Secretary of State, 1976. xi, 257 p, En. French edition : Petits formats deviennent grands : etude sur la distribution et 1'utilisation des films de 16 mm, des enregistrements et des documents audiovisuels.

The titles of books, festival and exhibition catalogues, articles, essays, reports, and theses appear exactly as found in the original documents. When a title appears in two or more languages, the order of appearance in the citation is determined by the order of appearance in the publication. The titles are separated by slashes:

Government reports that are published annually are treated as series entries. The citation notes changes in the name of the issuing body and the title of the report, and includes a statement about the publication span:

654 Office national du film du Canada / National Film Board of Canada. Le documentaire se fete / A Salute to the Documentary. Montreal, Quebec : Office national du film du Canada / National Film Board of Canada, 1989. 347 p, fr, En.

1596 Canadian Film Development Corporation / Societe de developpement de 1'industrie cinematographique canadienne. Annual Report / Rapport annuel. 1969 / 1970-1982 / 1983.

BIBLIOGRAPHIC DESCRIPTION In the bibliographic description, the references to the month

Guide to Using the Bibliography of publication of a journal appear in either English or French, depending on the language(s) of the original document. In the case of bilingual (English-French/FrenchEnglish) publications, the language chosen for the description is that of the text that is presented first. The bibliographic description may also include an abbreviated reference to the language(s) of the original document and to the presence of summaries of the text in languages other than English or French. ABSTRACTS The abstracts that follow citations in selected entries are intended to provide one or more kinds of information about the book, article, catalogue, thesis, or report. These include a summary or outline of the contents, a biographical sketch of the person(s) under discussion, references to the features of the work(s) under discussion, and mention of the principal names of people, associations, and events encountered in the text. The abstracts are written in either English or French, or both, depending on the language(s) of the original document. SEQUENCE OF ENTRIES Entries are arranged in chronological order by publication date for each topic and area. Books, catalogues, essays,

xxxvn

reports, and theses for each year will precede the related magazine and newspaper articles. It should be pointed out that, for instance, an article in the December 1975-January 1976 issue of a magazine that describes a festival for 1976 may appear before the catalogue entry for that year. Also, since the entries for the fall issue of a periodical will be listed after the month of August, articles about an event in November will precede the September and October issues of magazines and will be cited once more in a November issue. Therefore references to a particular event may not necessarily appear together in sequence. APPENDIX The Appendix is a selective chronological list of events relating to the history of Canadian film. These listings, indicative of types of filmmaking activity in Canada, provide another access point to the literature. As the publications in the bibliography are sorted by date within each section, an event cited in this chronology can be linked to other events from that year. Please note: The Guide to Using the Indexes is located in Volume 2.

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Guide de 1'utilisateur de la bibliographie

La bibliographie comprend au total 24800 inscriptions classees sous une serie de vedettes-matieres ou rubriques designant divers sujets et regions geographiques. On trouve dans la table des matieres la liste de ces vedettes-matieres. Pour chaque rubrique, les ouvrages inscrits sont classes dans un ordre chronologique, selon la date de publication. Chaque inscription comprend une description bibliographique renfermant toute 1'information pertinente. De plus presque 10 800 inscriptions sont suivies d'un resume. LIVRES La description bibliographique utilisee pour les monographies correspond a celle a laquelle on a habituellement recours pour le catalogage dans la bibliotheque, c'est-a-dire qu'on y retrouve le nom de 1'auteur, le titre de 1'ouvrage, le lieu de publication, le nom de 1'editeur, la date, la pagination, la collection et le numero de collection, s'il y a lieu. A 1'information de base de la description bibliographique s'ajoutent des indications d'illustrations, une bibliographie (il peut s'agir d'une simple liste abregee des volumes et articles), 1'index et la langue dans laquelle le texte est redige. On indique aussi les resumes en d'autres langues : 119 Pageau, Pierre; Lever, Yves. Cinemas canadien et quebecois : notes historiques. Montreal, Quebec: College Ahuntsic, 1977. vii, 134 p, bibl, index, fr.

VERSIONS ANGLAISE ET FRAN^AISE La ou ont paru separement une version anglaise et franchise, le titre de 1'autre version est inscrit dans la description bibliographique : 15670 Beard, William. I/esprit visceral: les films majeurs de David Cronenberg. L'Horreur interieure: les films de David Cronenberg, dirige par Piers Handling et Pierre Veronneau, 57-136. Montreal, Quebec : Cinematheque quebecoise; Paris, France : Les Editions du cerf, 1990. 14 ill, bibl, fr. Version anglaise : The visceral mind: The major films of David Cronenberg.

CATALOGUES DES FESTIVALS Les festivals publient souvent des catalogues qui decrivent les projections de films et de videos, les prix et les evenements connexes. On aborde ordinairement ces catalogues collectivement comme une serie ou un groupe. Les references incluent des notes relatives aux annees de publication et aux changements qui ont affecte le nom de 1'organisation et le titre du festival:

4679 Festival international du jeune cinema. Festival international du jeune cinema. 1988-. Annuel. Autrefois, 1980-1988 : Festival super 8 et video. Montreal, Quebec : Association pour le jeune cinema quebecois, 1988-. ill, fr.

Pour les festivals qui ont publie des catalogues avec un contenu canadien substantiel, comme le Festival international du film sur 1'art, les annees sont traitees separement: 4624 Festival international du film sur 1'art. 2e Festival international du film sur 1'art. 7-11 octobre 1982. Montreal, Quebec: Gouvernement du Quebec. Ministere des Affaires culturelles; Musee d'art contemporain, 1982. 65 p, 82 ill, index, fr, En.

CATALOGUES D'EXPOSITION Les catalogues d'exposition figurent sous le nom de la galerie d'art, du musee ou d'un autre etablissement ou 1'exposition a eu lieu la premiere fois. Le titre du catalogue apparait ensuite suivi des dates de 1'exposition. On y retrouve les noms des conservateurs et d'autres collaborateurs ayant apporte une contribution importante a la mise au point du catalogue (ils sont tous inscrits dans 1'index des auteurs). Le catalogue fait etat egalement des lieux des expositions itinerantes et ces lieux sont mentiones ainsi que les dates. L'information tiree du catalogue est reproduite fidelement. On sait que les dates et lieux des expositions sont souvent modifies ; toutefois les donnees inscrites dans la bibliographie sont fondees sur 1'information parue dans le catalogue, plutot que sur celle concernant 1'itineraire final. La description bibliographique comprend les illustrations, la bibliographic, 1'index, et la langue(s) dans laquelle le texte est redige. 23022 Musee national d'art moderne. Centre Georges Pompidou. Michael Snow. 13 decembre 1978-29 Janvier 1979. Une exposition organisee par Alain Sayag, assiste de Catherine Wacogne (Musee national d'art moderne, Paris). Texte de Pierre Th£berge (Galerie nationale du Canada, Ottawa). Presentee aussi a : Lucerne (Suisse), Kunstmuseum, 18 fevrier 1979-16 avril 1979 ; Rotterdam (Pays-Bas), musee Boymans Van Beuningen, avril 1979-juillet 1979 ; Bonn (Allemagne), Rheinisches Landesmuseum, juillet 1979-aout 1979 ; Munich (Allemagne), Stadtische Galerie im Lenbachhaus, octobre 1979-novembre 1979 ; Montreal (Quebec), Musee des beaux-arts, 13 decembre 1979-3 fevrier 1980. Paris, France : Centre Georges Pompidou, 1978. 78 p, 35 ill, bibl, fr.

ARTICLES DE REVUES ET JOURNAUX, ESSAIS ET CHAPITRES DE LIVRES Dans le cas des articles de revues, la description biblio-

xl

Guide de 1'utilisateur de la bibliographic

graphique correspond a celle qu'on trouve dans la plupart des index et bibliographies des revues. A la suite du nom de 1'auteur et de ses titres, figurent le nom de la revue en entier, ainsi que le volume ou le numero, la date et la pagination. Tout autre element de la description bibliographique apparait suivant la meme disposition que celle adoptee dans le cas des monographies: 3001 Coulombe, Michel. Le beau risque de la Regie du cinema... Cine-Bulles 4 no 6 (avril-mai 1985) 2. fr.

Les articles non signes sont cites par leur titre : 23016 Une retrospective Michael Snow a la Cinematheque quebecoise. Le Devoir (10 mars 1975) 11. fr.

Pour ce qui est des essais et des chapitres de livres, les descriptions bibliographiques comprennent le nom de 1'auteur ou du directeur de publication du volume ainsi que le titre de la collection, le tout suivi de donnees sur la publication: 16637 Bellemare, Denis. Genre et abandon: 1'exemple de « Kalamazoo ». Le Cinema quebecois des annees 80, sous la direction de Claude Chabot, Michel Larouche, Denise Perusse et Pierre Veronneau, 120-132. Montreal, Quebec : Cinematheque queb£coise, 1989.1 ill, bibl, fr.

Lorsqu'on constate qu'un article apparaissant dans un ouvrage a fait 1'objet d'une reimpression ou a deja paru dans un autre ouvrage, les deux ouvrages sont mentionnes dans la description bibliographique : 21437 Marie, Michel. Le direct et la parole. Ventures de Pierre Perrault: actes du Colloque « Gens de paroles », 24-28 mars 1982, Maison de la culture de La Rochelle, 8-14. (Les Dossiers de la Cinematheque, no 11). Paris, France: Edilig; Montreal, Quebec : Cinematheque quebecoise, Musee du cinema, 1983. 2 ill, fr. Reimpression, Centre interdisdplinaire d'etude et de recherches sur I'expression contemporaine (1984) 47-56.

Un certain nombre de revues et bulletins sont mentionnes integralement. Pour les quelque quatre-vingts periodiques appartenant a cette categoric, on a inscrit les changements apportes au titre, le lieu de publication, la frequence de parution et la duree de la publication : 10618 Debobinons. 1 no 1 - 6 no 10 (1972 -juin-juillet 1979). Irregulier (six-dix fois par an). Remplace par Plein cadre. Montreal, Quebec : Association des cineastes amateurs du Quebec, 1972 -juin-juillet 1979. fr.

RAPPORTS GOUVERNEMENTAUX ET RAPPORTS DE RECHERCHE Les references bibliographiques pour les rapports gouvernementaux et rapports de recherche incluent 1'auteur, le titre, la date de publication et des renseignements concernant la publication. Dans ces cas, 1'auteur est souvent un groupe de travail, une corporation ou un departement gouvernemental delegue ou assigne a la production du rapport: 2825 Ministere des Communications et Direction generate du cinema et de 1'audiovisuel. Pour une politique du cinema au Quebec. Quebec, Quebec : ministere des Communications, 1978. 324 p, fr.

Les rapports gouvernementaux publics annuellement sont

traites comme des notices de serie. La reference fait part des changements de nom de 1'entite emettrice et du titre du rapport, et inclut une observation sur 1'importance de la publication : 3055 Quebec. Regie du cinema. Rapport annuel. 1986-. Annuel. Fait suite a : Bureau de surveillance du cinema. Rapport annuel, 1975 / 1976-1984 / 1985 et Rapport statistique annuel, 19711975. Quebec, Quebec: Gouvernement du Quebec. Regie du cinema, 1986-. ill, fr. THESES

Les descriptions bibliographiques des theses indiquent le grade pour lequel la these a ete presentee et le nom de 1'universite ou du college ayant decerne le grade : 611 Baril, Gerard. Les Amerindiens du Quebec dans le cinema documentaire (1960-1980). Maitrise. Quebec, Quebec : Universite Laval, 1984. v, 150 p, 8 ill, bibl, fr.

COMPTES RENDUS DE FILMS ET DE VIDEOS Les comptes rendus de chaque film et video sont presentes sous le nom et 1'ceuvre du cineaste ou du videaste. Lorsque le titre d'un article est le meme que celui du film au video il n'est pas repete. 13189 Ciment, Michel. Positif no 305-306 (juillet-aout 1986) 28-30.1 ill, fr.

Politique du comite de redaction en ce qui concerne la mention des nouns des auteurs et des titres, des descriptions bibliographiques et du contenu des resumes AUTEURS Les noms des auteurs des livres, articles, essais, theses, rapports et catalogues d'exposition et de festivals ont ete reproduits tels qu'ils apparaissent dans les publications mentionees. On suppose que la fagon dont ils figurent dans la publication est celle que souhaitait 1'auteur a ce moment-la. Les differences entre les diverses facpns d'ecrire le nom d'un auteur peuvent etre minimes ; par exemple, dans un cas, on ecrit le prenom au long et dans 1'autre, seulement les initiales: Evanchuck, P.M. Evanchuck, Peter Evanchuck, Peter M.

Dans les cas extremes (il s'agit generalement de noms de femmes), le nom de famille peut changer completement. Le lecteur doit alors connaitre les diverses facpns sous lesquelles le nom peut apparaitre, pour reperer dans 1'index des auteurs toutes les publications de cet auteur. TITRES Les titres des livres, des catalogues d'exposition et de festivals, des articles, des essais, des rapports et des theses sont reproduits tels qu'ils figurent dans les documents originaux. Quand un titre apparait dans deux langues ou plus, 1'ordre dans lequel ils figurent sur la citation est determine par 1'ordre dans lequel ils sont presentes dans la publication. Les titres sont separes par des barres obliques :

Guide de 1'utilisateur de la bibliographic 654 Office national du film du Canada / National Film Board of Canada. Le documentaire se fete / A Salute to the Documentary. Montreal, Quebec : Office national du film du Canada / National Film Board of Canada, 1989. 347 p, fr, En.

DESCRIPTION BIBLIOGRAPHIQUE Dans la description bibliographique, les indications faisant reference au mois de parution d'une publication sont en anglais ou en franqais, selon la ou les langues utilisees dans le document original. Dans le cas de publications bilingues (anglais-franc.ais, francais-anglais), la langue choisie pour la description est celle du texte qui vient en premier. Dans la description bibliographique, il est fait mention de fac.on abregee de la langue (ou des langues) du document original, ainsi que des resumes du texte dans les langues autres que le frangais et 1'anglais.

xli

particulier n'apparaitront peut-etre pas necessairement ensemble, dans un ordre sequentiel. RESUMES Les resumes qu'on retrouve a la suite de la description bibliographique des entrees choisies ont pour but de fournir un ou plusieurs types d'information sur le livre, 1'article, le catalogue, la these ou le rapport, a savoir un resume ou un aperc.u du contenu, une esquisse biographique de la personne (ou des personnes) etudiee, des indications faisant reference aux particularites de 1'ceuvre (ou des ceuvres) etudiee et la mention des principaux noms des personnes, des associations et des evenements figurant dans le texte. Les resumes sont en anglais ou en franqais, ou dans les deux langues, selon celle(s) utilisee(s) dans le document original.

SEQUENCE DES NOTICES

APPENDICE

Les notices apparaissent en ordre chronologique de date de publication pour chaque sujet et region. Les livres, les catalogues, les memoires, les rapports et les theses, pour chaque annee, precedent les articles de magazines et de journaux. II faut mentionner par exemple, qu'un article d'un magazine, publie en decembre 1975 /Janvier 1976, qui decrit un festival pour 1'annee 1976, peut apparaitre avant la notice du catalogue pour cette annee. De plus, puisque les entrees pour la publication d'automne d'un periodique sont indiquees apres le mois d'aout, les articles d'un evenement de novembre precederont les publications des mois de septembre et d'octobre et seront cites une autre fois dans une publication de novembre. Par consequent, les references a un evenement

L'appendice presente une liste chronologique et selective des evenements ayant trait a 1'histoire du film canadien. Ces entrees, indicatives des types d'activite cinematographique au Canada, fournissent un autre point d'acces aux textes. Comme les publications dans la bibliographic sont classees par date a 1'interieur de chaque section, un evenement cite dans cette chronologic peut se rattacher a d'autres evenements de 1'annee. Veuillez prendre note que vous trouverez, dans le volume 2, le guide des index.

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Abbreviations / Abreviations

Alta

Alberta

BC

British Columbia

bibl

bibliography

CB

bibliographic Colombie-Britannique

ed, eds

editor, editors

En

English

fr ill

Alberta

franqais illustrations

IPE

illustrations ile-du-Prince-Edouard

Man

Manitoba

Manitoba

Ont

Ontario

Ontario

NB

New Brunswick

Nouveau-Brunswick

no

number

numero

P

page, pages

page, pages

PEI

Prince Edward Island

Sask

Saskatchewan

NE

Nouvelle-Ecosse

Nfld

Newfoundland

NS

Nova Scotia

TN

Saskatchewan

Terre-Neuve

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Film / Cinema

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General Studies / Etudes generates

Canada 1 Le Film. 1920-1962. Montreal, Quebec : Francois de Verneuil, 1920-1962. fr. Ce magazine etait de style populaire et se voulait« le journal officiel des grandes compagnies de cinema ». On y trouvait des descriptions de films, des photos de vedettes hollywoodiennes et quebecoises, des articles traduits de magazines americains, des editoriaux sur le cinema et son impact sur le public, et des biographies et numeros consacres a des vedettes. Le magazine etait d'un style apparent a celui de Variety. 2 Le Bon Cinema. 1927-1929. Irregulier. Montreal, Quebec : Le Bon Cinema National, 1927-1929. fr. Public par le Bon Cinema National, ce magazine promouvait « ...la diffusion du cinema historique, apologetique, scientifique, scolaire, industriel, agricole et recreatif de tous genres. » Mettant 1'accent sur le catholicisme, ce magazine parlait de cinema rural, des rapports du pape au cinema, de questions de censure, du «bon» et du « mauvais » cinema (selon les criteres du comite de redaction), de cinema educateur, de statistiques de revenus, et il contenait des listes de documentaires, de films educationnels a la disposition des lecteurs. 3 Safeguarding adults. Saturday Night 49 (7 April 1934) 8. En. Describes the Better Movies Conference held by the Committee on Motion Pictures at the Royal York Hotel in Toronto, Ontario, which denounced Hollywood entertainment films and promoted the use of film for educational purposes. 4 Jefferys, Charles W. History in motion pictures. Canadian Historical Review 22 no 4 (December 1941) 361-368. En. Reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 37-46. Peterborough, Ont: Broadview Press, 1988. Discusses the dangers of inaccurately depicting history in a popular medium such as film, with a focus on Hollywood films about Canada. While praising Northwest Passage Patrol (released under the title Patrol to the Northwest Passage, Richard S. Finnie, 1937) for its truthfulness to the original story and its accurate depiction of the Canadian

wilderness, points out many instances of inaccuracy and anachronism in other films. Criticizes the inability of Hollywood to show more than popular and romantic conceptions of history. Suggests that more accurate detail would remove the problem of misrepresentation. 5 Wilson, Clifford P. History in motion pictures. Canadian Historical Review 23 no 1 (March 1942) 65-66. En. A letter in response to "History in motion pictures" by Charles W. Jefferys (Canadian Historical Review 22 no 4 (December 1941) 361-368). Clifford P. Wilson, editor of The Beaver and the technical adviser for Twentieth CenturyFox shows how the depiction of Canada in Hollywood movies is often the result of a Hollywood interest in historical atmosphere over accuracy. Tells of how many suggestions for accuracy went unheeded by Hollywood executives who were interested in saving money or reinforcing historical stereotypes. 6 Frye, H. Northrop. Music in the movies. Canadian Forum 22 (December 1942) 275-276. En. H. Northrop Frye documents the changing role of music in cinema, beginning with stock musical pieces for typical sequences, such as love or excitement or fire. With the beginning of sound in motion pictures, the cinema orchestra was replaced with soundtracks that used music primarily for sound effects. Argues that a unified musical pattern in a film contributes to the drama. 7 Heap, L. J. Correspondence. Canadian Forum 22 (January 1943) 303. En. In response to H. Northrop Frye's article "Music in the movies" (Canadian Forum 22 (December 1942) 275-276) Trooper L.J. Heap criticizes Frye's lack of knowledge about the practises of early Soviet filmmakers in the realm of film music and the often very sophisticated use of music in many Hollywood films. 8 Wolfe, Roy. Correspondence. Canadian Forum 22 (February 1943) 330-331. En. In response to H. Northrop Frye's article "Music in the movies" (Canadian Forum 22 (December 1942) 275-276) Roy Wolfe criticizes Frye's assumption that music was first used in a background role and explains the technical process of incorporating film and music.

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General Studies / Etudes generates

9 Grierson, John. A film policy for Canada. Canadian Affairs 1 no 1 (June 1944) 3-15. En. Reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 51-67. Peterborough, Ont: Broadview Press, 1988. John Grierson's statement on Canadian feature film policy includes brief sections under the following headings : About Movies in General; In the Matter of the Emotions Is Canada a Colony? ; Patriotic Impulses in the Canadian Film Industry ; Why Not Have a Canadian Hollywood? ; "If You Can't Fight Them, Join Them"; The Nontheatrical "Revolution"; Canada's National Film Board ; and Mobilizing a Country's Imagination and Energy: That Is True Education. He begins with an analysis of the importance of film for deepening the audience's sense of itself and a criticism of American films that reflect a silly outlook and meaningless society. Canada, although culturally and emotionally dependent on the United States, is succeeding in producing films such as the National Film Board (NFB) of Canada series Canada Carries On (1940-1959) and The World in Action (1941-1945) because of government assistance. Canada's attempts to make feature films and compete with the established and flourishing Hollywood industry is impractical, but developing nontheatrical film at the NFB, with access to larger audiences in numerous communities, could help mobilize the imagination and energy of Canadians. 10 Fryer, Bryant. The new role of motion pictures. Canadian Business 18 no 11 (November 1945) 58-60,140.12 ill, En. An overview of the growing influence of the film industry as a medium of information, education, and propaganda. States that motion pictures contributed to the allied victory in the Second World War by shortening the military training process and boosting public morale. Describes Canada's film industry as an assortment of American owned distribution companies dominated by Famous Players, in turn owned by Paramount Pictures. Notes a change in the industry in 1945 with the formation of Eagle-Lion Films of Canada, an equal partnership between Odeon Theatres and Britain's leading movie industrialist, J. Arthur Rank. The partnership of Rank with Odeon Theatres, challenged Hollywood's domination of Canada's entertainment industry and established Canada as a distribution link between the United States and Great Britain. Predicts that the role of the movie theatre will be as community centre, rather than retail outlet. 11 MacLennan, Hugh. The case for a real Canadian film. Saturday Night 70 (6 August 1955) 12-13.1 ill, En. Questions why Canadian filmmakers have not undertaken a full length movie project based on Canadian subject matter, and using local talent. States that the National Film Board (NFB) of Canada is unable to produce a feature film because of the federal government's reluctance to provide funding. Suggests that private business interests must supply this funding. Argues that Canada has the talent and technical ability to make feature films. 12 Images. 1-6 (septembre 1955-automne 1956). Quatre fois par an. Remplace par Institut canadien du film. Bulletin / Canadian Film Institute. Bulletin. Montreal, Quebec: Gabriel Breton, septembre 1955-automne 1956. fr. Images, avec le sous-titre « revue canadienne de cinema », etait un magazine con^u pour le cinephile et 1'etudiant qui

s'interessait au cinema. Le directeur du magazine etait Gabriel Breton, 1'administrateur Arthur Lamothe, et les redacteurs Fernand Cadieux, Rock Demers, Monique Doucet et Jacqueline Masse. Le magazine comprenait des articles ecrits a 1'etranger, comme « Evolution du cinema frangais » d'Andre Bazin (1, no 4-6), ainsi que des critiques de films, des bilans de festivals, des entrevues et des articles sur la television. Chaque numero comprenait une section « En italiques », une sorte d'editorial, ainsi qu'une section « Images recentes » sur la sortie de films en salles et aux festivals. 13 L'homme et le cinema. Sequences no 10 (octobre 1957) 1-3. fr. Suite a la popularite que connait le cinema dans divers milieux, Sequences se propose d'etudier plus en profondeur cette nouvelle manifestation culturelle. 14 Glover, Guy. Film. The Arts in Canada : A Stock-taking at Mid-Century, edited by Malcolm Ross, 104-113. Toronto, Ont: Macmillan of Canada, 1958. 7 ill, En. Guy Glover begins this survey of Canadian film from 1939 to 1957 with the productions of the National Film Board (NFB) of Canada where Canadian short films were perfected. The inauguration of Canadian television service encouraged filmmakers to develop films with dialogue and dramatic narrative. Meanwhile at the NFB, Norman McLaren's animated films reached international prominence and other films such as Colin Low and Wolf Koenig's City of Gold (1957), and Christopher Chapman's The Seasons (1954) were noted for their high quality. The feature film industry in 1953 is still an undeveloped cultural form in Canada even though there are some original French language productions such as Gratien Gelinas's Tit-Coq (with Rene Delacroix, 1954) and film critics Clyde Gilmour and Gerald Pratley are helping to develop a consciousness of national film culture. 15 Le cinema et 1'art. Sequences no 14 (septembre 1958) 1-2. fr. On explique que les chroniques de Sequences pour 19581959 souligneront le lien entre le cinema et les autres arts dont la peinture, la musique, le theatre et la litterature, dans le but de forger une meilleure connaissance du septieme art. 16 Evocations. Sequences no 23 (decembre 1960) 1-2. fr. Hommages aux pionniers du septieme art. 17 Canadian film-making in the 20th century: A brief history of motion picture production in Canada. Canadian Cinematography 1 no 1 (November 1961) 3,12-14. 2 ill, En. Outlines the history of motion picture production in Canada describing it as following the developments of the United States, Great Britain, and France. Lists the projection of films in Canada chronologically beginning with the projection of a film by John C. Green in 1896. Describes the difficulties of the Canadian film industry in creating features due to the monopoly of the American studios and the subsequent export of Canadian acting talent to the United States and Great Britain. Cites the English feature films made in Canada between 1914 and 1959, starting with Evangeline (E.P. Sullivan and William

Canada H. Cavanaugh, 1914). Also lists the French language features made between 1945 and 1953. 18 Course in Canadian films. Canadian Cinematography 1 no 5 (July-August 1962) 13. En. Announces that weekly lectures dealing with the history of Canadian motion pictures will be taught in Montreal, Quebec, from 15 October-23 March 1963 under the direction of Michel Guillet. The lectures will study and screen Canadian films that are still available for viewing. 19 Bonneville, Leo. Qui done est 1'auteur d'un film? Sequences no 30 (octobre 1962) 4-7. 2 ill, bibl, fr. Afin de savoir qui est 1'auteur veritable d'un film, Leo Bonneville explique les differentes taches du producteur, du scenariste, du realisateur et du monteur. 20 Constantineau, Gilles. Notre theatre est fige, desuet, et nuisible... Vive le cinema! Le Maclean 3 no 89-90 (aout 1963) 10, 47.1 ill, fr. L'auteur note la preference du cinema au theatre ce qui fait partie de notre societe contemporaine, ici, comme a Paris (France). II attend impatiemment le retour du theatre comme force independante. 21 Une semaine du cinema canadien. Sequences no 36 (mars 1964) 71-72. 2 ill, fr. Bref compte rendu sur la semaine du cinema canadien qui a ete organisee a 1'ecole secondaire Le Plateau du 3 au 9 fevrier 1964, a Montreal (Quebec). 22 Savignac, Pierre. Historique du cinema canadien. Entete du titre: Semaine du cinema canadien avec 1'Office national du film. Montreal, Quebec : 1965. 31 p, bibl, fr. Expose sur 1'histoire du cinema canadien presente en Janvier 1965, lors de la semaine du cinema canadien. On decrit 1'invention du cinema et I'influence de ce nouveau media au Canada des 1896. On parle ensuite de 1'exploitation, de la production, de 1'implantation d'une industrie a caractere commercial, et du secteur public developpe grace a 1'appui gouvernemental. Enfin, on essaie de cerner le visage sociologique du cinema canadien et sa place reelle, en 1965, par rapport au cinema international. 23 Warkentin, Germaine. Comment on film. Canadian Forum (May 1965) 39-40. En. Suggests that Canada does not have an articulate and critical body of filmgoers or filmmakers because of a lack of organized facilities for the specialized study of cinema. Encourages Canadians to keep making films of high quality, focussing on Pour la suite du monde (Michel Brault, Marcel Carriere and Pierre Perrault, 1964). 24 Howard, R. F. "Let's re-examine our image." Canadian Cinematography no 23 (July-August 1965) 15. En. R.F. Howard, supervisor of the Cine-Graphic Division of the Saskatchewan Treasury Department, urges that Canadian films need to suggest something of Canadian history in order to attract more visitors to Canada. Suggests that the Canadian image needs to be brushed up with films that will widen the appeal of Canada.

5

25 The arts in Eire. Canadian Cinematography no 27 (MarchApril 1966) 8-9. En. Compares artistic and cultural aspects in Ireland to Canadian culture stating that several parallels can be drawn between the two cultures. 26 Theberge, Pierre. Le theme de la piscine dans le cinema canadien. Objectifno 35 (mai-juin 1966) 37-38. fr. Pierre Theberge explique la presence de piscines dans certains films canadiens tels que La Corde au cou (Jean-Claude Lord et Pierre Patry, 1965), Va te faire avoir (Pierre Patry, 1966), // y eut un soir... il y eut un matin (Pierre Patry, 1964), Trouble-fete (Pierre Patry, 1964), Cain (Pierre Patry, 1965). 27 Theberge, Pierre. Le theme de la piscine dans le cinema canadien. Objectifno 35 (mai-juin 1966) 39-40. fr. On aborde le theme de la piscine dans le cinema canadien et on tente de remonter a 1'origine de sa presence sur 1'ecran. Pierre Theberge donne quelques elements d'interpretation de ce theme. II parle du film qui en serait a 1'origine, Pour la suite du monde (Pierre Perrault, Michel Brault et Marcel Carriere, 1964). II est aussi question des films Solange dans nos campagnes (Gilles Carle, 1964) et Jusqu'au cou (Denis Heroux, 1964). 28 Pratley, Gerald. In and Out of Cinema. Canadian Cinematography no 28 (May-June 1966) 8. En. Examines film criticism in newspapers published in Toronto and Ottawa, Ontario, and in Montreal, Quebec, stating that it is inadequate. Looks at other sources including the Canadian Broadcasting Corporation (CBC) programs and Maclean's. Offers suggestions on how the situation can be remedied by employing a film critic for the Canadian Press. 29 Lefebvre, Jean Pierre. Les paradis perdus du cinema canadien, chapitre I: notes en guise d'introduction a une preface eventuelle. Objectif no 37 (novembre-decembre 1966) 39-41. bibl, fr. L'auteur denonce les « Conserveries » de films canadiens et quebecois comme des agences de propagande, et parle de la clairvoyance de Gilles Pellerin qui situait le cinema dans une perspective d'enrichissement intellectuel. 30 Paquet, Andre, ed. How to Make or Not to Make a Canadian Film. Montreal, Quebec : Cinematheque canadienne, 1967. 48 p, 21 ill, En. French edition : Comment faire ou ne pas faire un film canadien. Under the title "A Chronology of Film in Canada : 18981967," Andre Paquet itemizes significant films, film related events, and government legislation in major Canadian cities by year. Insert titled "The Filmmakers Speak" includes short statements by filmmakers Patrick Watson, Jean Pierre Lefebvre, Guy Glover, Denys Arcand, Wolf Koenig, Pierre Perrault, George Robertson, Jacques Godbout, Reginald H. Morris, Gordon Sparling, Allan King, Arthur Lamothe, Marcel Carriere, Al Sens, Georges Dufaux, Tom Daly, Colin Low, Christopher Chapman, and Claude Jutra, topics including the craft and art of film, how to make a Canadian film, and what signifies a Canadian film. A filmography, "One Hundred Essential Films of Canadian Cinema," lists films from 1926 to 1966 alphabetically by title.

6

General Studies / Etudes generates

31 Paquet, Andre, ed. Comment faire ou ne pas faire un film canadien. Montreal, Quebec: Cinematheque canadienne, 1967. 48 p, 21 ill, fr. Version anglaise : How to Make or Not to Make a Canadian Film. Cet ouvrage comprend une chronologie des films importants realises au Canada entre 1898 et 1967. Andre Paquet situe ces oeuvres dans le contexte ou elles ont etc produites en soulignant divers evenements dans le monde du cinema, tant au Canada qu'a 1'etranger, et en dormant les principales legislations gouvernementales. L'auteur laisse ensuite la parole aux realisateurs Patrick Watson, Jean Pierre Lefebvre, Guy Glover, Denys Arcand, Wolf Koenig, Pierre Perrault, George Robertson, Jacques Godbout, Reginald Morris, Gordon Sparling, Allan King, Arthur Lamothe, Marcel Carriere, Al Sens, Georges Dufaux, Tom Daly, Colin Low, Christopher Chapman et Claude Jutra. Paquet a demande a tous ces realisateurs de repondre a la question «Comment faire ou ne pas faire un film canadien » et les reponses varient de 1'art de faire un film a la signification du film canadien. De plus, 1'auteur presente une filmographie des cent films qu'il considere essentiels pour le cinema canadien de 1926 a 1966. 32 Blandford, Marc. Let's talk about shorts. Take One 1 no 3 (February 1967) 26.1 ill, En. Argues that the short film is not recognized as a legitimate form of film art, and that due to American domination of the Canadian industry, Canadians are seldom exposed to high quality Canadian short films whether produced independently or by the National Film Board (NFB) of Canada. Examines several short films produced in Canada, including Bill Mason's Paddle to the Sea (1966), Tanya Ballantyne's The Merry Go Round (1966), Richard Notkin's Autobiographical by A.M. Klein (1965), Arthur Lipsett's A Trip Down Memory Lane (1965), and Norman McLaren and Grant Munro's Canon (1964). 33 Morris, Peter. Kineo. Take One 1 no 3 (February 1967) 29-30. En. Argues that histories of film are too anecdotal and nationalistic and that they fail to acknowledge the stylistic developments that transcend national boundries. States that Canadians have been particularly neglectful of their cinematic heritage. 34 Leroux, Andre. Une nouvelle critique. Sequences no 48 (fevrier 1967) 69-70. fr. Dans la serie « Les jeunes cinephiles », Andre Leroux condamne la critique cinematographique contemporaine, surtout celle qui existe dans le revue franchise Les Cahiers du cinema. 35 Lorraine, Antony. Films. Artscanada no 105 (February 1967) 7. En. Discusses the trend in recent Canadian productions to portray revolt against traditional institutions. The National Film Board (NFB) of Canada's productions No Reason to Stay (Mori Ransen, 1966) and Nobody Waved Good-bye (Don Owen, 1964) are compared with Quebec filmmakers Jean-Claude Labrecque's 60 Cycles (1965) and Jacques Godbout's Le Monde va nous prendre pour des sauvages (with Franchise Bujold, 1964) to see the different manifestations of this trend. While the Quebecois film-

makers are found to be formally experimental with compositional aspects, the English filmmakers are more reliant on traditional theatrical compositions and a focus on characters. 36 Madsen, Axel. Pour la suite du Canada. Sight and Sound 36 no 2 (Spring 1967) 68-69.1 ill, En. An overview of film production in English Canada and Quebec in light of the 100th anniversary of Canadian Confederation in 1967. States that Canadian films transcend consumer aesthetics and are essentially political and moral mirrors of a nation in transition. Refers briefly to the work of David Secter, Sidney J. Furie, Jean Pierre Lefebvre, Michel Brault, Gilles Groulx, and Gilles Carle in this context. 37 Blandford, Marc. Let's talk about shorts. Take One 1 no 4 (April 1967) 25. En. Discusses several high quality short films recently produced in Canada, including Eugene Boyko's Helicopter Canada (1966), Gerald Potterton's The Quiet Racket (1966), Bernard Devlin's Once Upon a Prime Time (1966), and Les Drew and Kaj Pindal's animated film What on Earth! (1966). 38 Tremblay, Gisele. La critique cinematographique. Sequences no 49 (avril 1967) 62-64. fr. Entretien avec deux jeunes cinephiles, Jocelyne Martel et Andre Leroux (Voir Sequences no 48 (decembre 1966) 6770). Ils discutent de 1'importance de la critique cinematographique, de sa valeur, de son influence sur le public et sur les realisateurs, de ses criteres, de son objectivite, de son role et, enfin, de sa necessite. 39 Lefebvre, Jean Pierre. Les paradis perdus du cinema canadien, chapitre II: illustration existentielle du chaptire I a partir de donnees oruriques. Objectif no 38 (mai 1967) 26-27. fr. Opinions sur 1'etat du cinema canadien a notre epoque. L'auteur parle de la vacuite et de la banalite du produit cinematographique de 1'Office national du film (ONF) du Canada. Avec 1'usage de dialogue, 1'auteur cree un scenario qui mene a un jeu de hockey. L'histoire se termine a 1'entree d'un sixieme ciel, au paradis nomme « 1'Office national du film ». 40 Bonneville, Leo. 50. Sequences no 50 (octobre 1967) 2-3. fr. Presentation du cinquantieme numero de la revue Sequences. Dans ce numero, Leo Bonneville, redacteur en chef, presente une serie d'articles sur le cinema canadien. 41 Pontaut, Alain. Toujours la prehistoire. Sequences no 50 (octobre 1967) 4-8.2 ill, fr. Alain Pontaut presente sa serie de quatre articles portant sur 1'histoire du cinema canadien. Dans cette premiere partie, il enumere les difficultes qu'il a connues pour faire cet historique. II parle aussi des problemes auxquels le cinema canadien doit faire face pour vivre et survivre. II mentionne quelques pionniers du cinema canadien dont Leo-Ernest Ouimet.

Canada 42 Tremblay, Gisele. Le couple dans le cinema canadien. Sequences no 50 (octobre 1967) 9-14. 3 ill, fr. Dans cet article, Gisele Tremblay analyse le theme du couple a travers certaines oeuvres du cinema canadien. D'abord, 1'auteure note que la relation amoureuse est liee a 1'urgence de vivre, comme le demontrent les films de Jean Pierre Lefebvre Le Revolutionnaire (1965) et // nefaut pas mourir pour qa (1968). Puis, elle remarque que certains cineastes s'attardent a 1'adolescence, le moment ou le couple se forme. Elle mentionne, entre autres, Sweet Substitute (1964) de Larry Kent, Depart sans adieux (1964) de Don Owen, Trouble-fete (1964) de Pierre Patry et Le Chat dans le sac (1964) de Gilles Groulx. Une autre representation des relations amoureuses est celle ou le couple, deja forme, fait face aux responsabilites professionnelles de rhomme comme dans Un autre pays (1963) de Donald Haldane et La Neige afondu sur la Manicouagan (1965) d'Arthur Lamothe. Enfin, elle mentionne le film de Jacques Godbout, YUL 871 (1966) oii le couple est compose d'un voyageur et d'une canadienne ainsi que le film de Pierre Perrault Le Regne du jour (1968) ou s'exprime la poesie du couple. 43 Laforest, Therese. L'hiver dans le cinema canadien. Sequences no 51 (decembre 1967) 10-15. 3 ill, fr. Etude de trois representations du theme de 1'hiver dans le cinema canadien. D'abord, 1'auteure distingue une vision de 1'hiver qui correspond a un affrontement entre rhomme et la nature, surtout dans des films historiques comme Le Festin des morts (titre de la version originate Astatawn, 1965) de Fernand Dansereau, Un autre pays (1963) de Donald Haldane et La Neige afondu sur la Manicouagan (1965) d'Arthur Lamothe. Puis, Therese Laforest remarque que 1'hiver est parfois represente comme un temps privilegie qui devient, dans la trame narrative, un allie du heros. Elle cite en exemple les films Le Revolutionnaire (1965) de Jean Pierre Lefebvre et Le Chat dans le sac (1964) de Gilles Groulx. Enfin, elle note une troisieme forme de representation de 1'hiver, ou rhomme a raison de la nature et parvient a en tirer profit, comme 1'illustre le film de Gilles Carle, La Vie heureuse de Leopold Z. (1965). 44 Grandbois, Maryse. Le travail. Sequences no 51 (decembre 1967) 23-24. fr. Discussion avec deux cineastes quebecois, Fernand Dansereau et Clement Perron, sur la facon dont le theme du travail est aborde au cinema. 45 Pontaut, Alain. Un cinema utilitaire et non « reel». Sequences no 51 (decembre 1967) 4-9.3 ill, fr. Deuxieme article de la serie sur 1'histoire du cinema canadien (voir Sequences no 50 (octobre 1967) 4-8). Alain Pontaut decrit les moments marquants depuis le pionnier Leo-Ernest Ouimet, proprietaire de salles et producteur de films dont Why Get Married? (1924) de Paul Cazeneuve, jusqu'a la production des premiers longs metrages canadiens-francais. II mentionne la creation du premier organisme central de cinema : le Motion Picture Bureau, en 1921, ou Ton produisait des films de propagande. Puis, Pontaut signale que le cinema canadien des annees 1920 et 1930 etait colonise par les « majors » americains. L'auteur parle de 1'arrivee, en 1939, de John Grierson qui crea, la meme annee, 1'Office national du film (ONF) du Canada. Pontaut mentionne aussi tous les artisans importants qui travaillerent pendant cette epoque a 1'ONF. Enfin, il

7

donne une liste des premiers longs metrages de fiction canadiens-frangais. L'auteur les qualifie de longs metrages regionalistes. 46 Marsolais, Gilles. Le cinema canadien. (Collection Les Idees du jour, D-40). Montreal, Quebec : Editions du jour, 1968.160 p, 16 ill, bibl, index, fr. Dans la premiere partie de ce livre sur 1'histoire du cinema canadien, on analyse 1'evolution du cinema entre 1896 et 1958. On y presente les premieres projections, les premiers longs metrages, la creation de 1'Office national du film (ONF) du Canada, en 1939, les documentaires sous la direction de John Grierson et les films d'animation sous la direction de Norman McLaren. Dans la seconde partie, on etudie la periode de 1959 a 1967 qui est marquee par 1'arrivee de la television et le demenagement de 1'ONF a Montreal (Quebec) en 1956. L'auteur presente les sections anglaise et franchise de 1'animation, ainsi que 1'emergence du documentaire influence par 1'arrivee des techniques du candid eye et du cinema direct. II souligne, entre autres, les films Lonely Boy (Wolf Koenig et Roman Kroitor, 1961) et Les Raquetteurs (Gilles Groulx et Michel Brault, 1958). Enfin, il evalue 1'influence du cinema direct sur le film dramatique. En annexe, on trouve une liste des films d'art au Canada, ainsi qu'un tableau chronologique des evenements cinematographiques et des films realises entre 1880 et 1968. 47 Cousineau, Jean; Leroux, Andre. Le recit cinematographique. Sequences no 52 (fevrier 1968) 21-23.1 ill, fr. Discussion avec les cineastes Gilles Groulx et Jacques Godbout sur la necessite du recit dans une oeuvre cinematographique. Us discutent de la primaute de 1'idee sur tout autre element de la construction de film. 48 Pontaut, Alain. Le documentaire subjectif. Sequences no 52 (fevrier 1968) 4-7. 1 ill, fr. Troisieme article de la serie portant sur 1'historique du cinema canadien (voir Sequences no 50 (octobre 1967) 4-8 et 51 (decembre 1967) 4-9). Alain Pontaut parle de la periode de 1950 a 1963. En premier lieu, il discute de 1'arrivee de la television en 1952 et de son impact sur 1'industrie canadienne cinematographique. Puis, il parle de 1'essor de la production francophone de 1'Office national du film (ONF) du Canada, cause, entre autres, par le demenagement de 1'ONF a Montreal (Quebec), en 1956. Pontaut mentionne les diverses series de documentaires creees par 1'Office et souvent diffusees a la television: Coup d'oeil (1947-1958) ou 1'on traite d'un sujet avec spontaneite, la serie Candid Eye (1958-1961) ou 1'on trouve un cinema plus socialiste et, enfin, le developpement du cinema verite. L'auteur precise que Michel Brault et Claude Jutra creerent ce genre sous 1'influence certaine du cineaste francais Jean Rouch. Selon 1'auteur, 1'un des meilleurs exemples de cette epoque est le film d'Arthur Lamothe, Bucherons de la Manouane (1962). Pontaut souligne, en terminant, qu'on remarque une ouverture des mentalites au debut des annees 1960. Selon lui, ce serait du, en partie, a la creation du Festival international du film de Montreal a Montreal. 49 Bonneville, Leo. Qu'est-ce que le cinema canadien? Sequences no 53 (avril 1968) 2-3. fr. Editorial portant sur la nature du cinema canadien-

8

General Studies / Etudes generates francais qui a fait 1'objet d'une serie d'articles dans quatre numeros de Sequences (octobre 1967, decembre 1967, fevrier 1968 et avril 1968). Leo Bonneville y decele deux caracteristiques : un engagement politique et une production artisanale s'inspirant surtout du cinema direct de Jean Rouch. Mais, selon 1'auteur, ce cinema demeure trop intellectuel. II ne raconte pas d'histoire qui pourrait rejoindre un plus grand public.

50 Robillard, Guy. Enfin des films canadiens sur nos ecrans. Sequences no 57 (avril 1969) 33-43. 5 ill, bibl, fr. Retrospective de la production canadienne de 1'annee 1968. L'auteur discute autant des productions anglophones que francophones, et il degage les tendances actuelles du cinema canadien. Selon Guy Robillard, le cinema canadien-franijais suit toujours le courant de critique sociale et politique. II note un regain de popularite pour le documentaire et remarque une liberalisation a 1'Office national du film (ONF) du Canada qui a accepte de produire des films de fiction pure. II souligne 1'amelioration artistique presente dans ces oeuvres, ce qui permet une exportation plus grande et une reconnaissance internationale du cinema canadien. Robillard mentionne trois cineastes quebecois dont 1'influence est de plus en plus importante : Pierre Perrault avec Le Regne du jour (1968), Jean Pierre Lefebvre avec Jusqu'au coeur (1969) et Gilles Carle avec Le Viol d'une jeune fille douce (1968). II remarque deux films canadiens-anglais The Ernie Game (1967) de Don Owen et Isabel (1968) de Paul Almond, qui ont remporte, tous deux, un vif succes au Canada et aux Etats-Unis. 51 La Rochelle, Real. Cinema et television: reflexions en forme de collage a partir de textes, de photos, de films, de tele-reportages. Sequences no 58 (octobre 1969) 20-28. 3 ill, fr. Discussion sur les liens entre la television et le cinema. Pour 1'auteur, etablir un parallele entre ces deux medias, cree des faux problemes. En fait, il note que ces medias sont des outils de communication. Selon lui, le cinema et la television ne peuvent que beneficier 1'un de 1'autre. II donne deux exemples : 1) 1'experience de Jean-Luc Godard dans le Nord-Est quebecois a la station CKRN-TV ou les outils televisuels sont donnes au Syndicat des mineurs de Matagami, aux ouvriers de la Noranda et aux etudiants du cegep de Rouyn-Noranda (Quebec) pour democratiser le media; 2) le parallele qu'il dresse entre les images de la lune transmises par la mission Eagle avec celles du film onirique de Jean Pierre Lefebvre, La Chambre blanche (1969). 52 Bonneville, Leo. Tout change. Sequences no 58 (octobre 1969) 2-3. fr. Editorial portant sur les nouvelles orientations de la revue Sequences. L'auteur desire que cette revue apporte au lecteur une meilleure comprehension du cinema actuel pour que ce dernier apprecie davantage 1'oeuvre des cineastes contemporains. 53 Morris, Peter, ed. Canadian Feature Films: 1913-1969. (Canadian Filmography Series, no 6, 7, 10). Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 19701976. 44 p, 43 ill, index, En. First edition : Morris, Peter; Kardish, Larry, eds. Canadian Feature Films, 1914-1964. (Canadian Film Archives. Canadian Filmography Series, no 1). Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1965.

In the introduction Peter Morris notes that the period from 1941 to 1963 was important to the development of Quebec feature-length films, while elsewhere in the country production was more sporadic. Also discusses changes at the National Film Board (NFB) of Canada towards dramatized documentaries, such as Claude Jutra's Les Mains nettes (1957), and suggests that by 1963, interest in the establishment of a stable feature film industry was widespread. Section one chronologically lists feature films from 1941 to 1963, including the director, cast, and crew, with brief synopses and notes on historical and related information. Section two lists and describes nonCanadian films adapted from Canadian sources or shot on location in Canada. Section three is a selection of foreign produced features with Canadian content. 54 Delaney, Marshall. Canada can't make big movies yet, but personal cinema is alive. Saturday Night 85 no 2 (February 1970) 34-35, 37. 2 ill, En. States that Canadians cannot make commercial feature films of high quality with broad appeal. Argues that independent filmmakers, following their personal film aesthetic, produce the most significant films in Canada. Praises filmmakers who work within this "personal cinema," such as Don Owen, for Nobody Waved Goodbye (1964), Morley Markson, for Zero the Fool (released under the title The Tragic Diary of Zero, the Fool, 1970), Iain Ewing, for Kill (1969), and David Cronenberg, for Stereo (1969). Plot summaries and critiques are provided. 55 Robillard, Guy. Petite bibliotheque du cinephile quebecois. Sequences no 60 (fevrier 1970) 55-62.1 ill, bibl, fr. Dans cet article, 1'auteur donne une breve description et une courte critique de quatre monographies portant sur le cinema canadien, soit: Vingt ans de cinema au Canada franfais (Quebec : ministere des Affaires culturelles, 1967) de Robert Daudelin, Jeune cinema canadien (1967) de Rene Predal, numero special de la revue Premier Plan (no 45, octobre 1967), Le Cinema canadien (Montreal: Editions du Jour, 1968) de Gilles Marsolais et Le Cinema quebecois : tendances et prolongements, numero 12 des Cahiers du SainteMarie. Pour completer cette bibliographic, Guy Robillard dresse une liste d'articles de fond sur le cinema quebecois publics dans divers magazines specialises facilement disponibles au Quebec. 56 Robillard, Guy. Le cinema canadien existe mais... Sequences no 61 (avril 1970) 26-35. 5 ill, fr. Retrospective des oeuvres canadiennes sorties durant 1'annee 1969-1970. La premiere partie de 1'article est consacree au cinema canadien-anglais qui, selon 1'auteur, ressemble trop au cinema americain. On discute de films tels que Don't Let the Angels Fall (1969) de George Kaczender, Explosion (1969) de Jules Bricken et de Prologue (1970) de Robin Spry. Dans la seconde partie, on s'attarde aux productions quebecoises qui, toujours selon Guy Robillard, sont plus nationalistes que les films canadiens, mais trop hermetiques. II parle, entre autres, de Q-bec My Love (sorti sous le titre Un succes commercial ou Q-bec My Love ou Struggle for Love, 1970) de Jean Pierre Lefebvre, de Red (1970) de Gilles Carle et d'Ou etes-vous done? (1970) de Gilles Groulx produit par 1'Office national du film (ONF) du Canada.

Canada 57 Paquet, Andre. Qu'est-ce que le cinema canadien? Artscanada 27 no 2 (April 1970) 3-6.1 ill, fr, En. Andre Paquet tente de definir le cinema canadien malgre la confusion causee par 1'absence de politique globale nationale. II essaie d'abord de definir les roles des organismes ou secteurs composant la mosaique du cinema canadien, entre autres, 1'Office national du film (ONF) du Canada, la Societe Radio-Canada, la Societe de developpement de 1'industrie cinematographique canadienne et le Conseil quebecois pour la diffusion du cinema. Puis, il essaie de cerner ce qu'est 1'activite cinematographique canadienne. Trois facteurs ressortent: d'abord un contexte economique defini par des structures et des schemas de production, puis, les differences entre les deux cultures qui s'affrontent et, enfin, 1'environnement social et physique qui varie d'un point a 1'autre du pays. Pour finir, il decrit trois « ecoles » du cinema canadien: le cinema quebecois, le cinema de Vancouver (Colombie-Britannique) et celui de Toronto (Ontario). Despite the confusion caused by the absence of a national film policy, Andre Paquet attempts to define Canadian cinema. After describing the role of organizations that comprise the mosaic of Canadian cinema, such as the National Film Board (NFB) of Canada, the Canadian Broadcasting Corporation (CBC), the Canadian Film Development Corporation, and the Conseil quebecois pour la diffusion du cinema, he tries to define what best characterizes the Canadian cinematographic scene. Three factors are determinant: the economic context, as defined by the structures of production, the difference brought about by the fact that two cultures exist in Canada, and the variations in socio-political and physical environment across the country. Paquet concludes with the presentation of three schools of Canadian cinema : Quebec, Vancouver, British Columbia, and Toronto, Ontario, cinema. 58 Hofsess, John. Trash today, M*A*S*H tomorrow: Canada's emerging movie biz. Maclean's 84 no 4 (April 1971) 85-86.1 ill, En. Recounts the unexpected success of John Hofsess's The Columbus of Sex (1969) and notes that the early boom in Canadian filmmaking belonged mostly to B movies. Claims that Canadian films are moving into the mainstream of Canadian culture because they have become more thought provoking, technically competent, and daring. Cites as proof of this advancement films such as Al Waxman's The Crowd Inside (1971), Ivan Reitman's Foxy Lady (1971), and producer Paul Bindrin's Out of Touch (John S. Gaisford, 1971). Suggests that Canadian filmmakers no longer need to leave the country to make movies. 59 Cahier du draft beer. Maclean's 85 no 1 (January 1972) 22-25.12 ill, En. Contends that Canadian cinema has been overshadowed by the staggering competition from Hollywood. Notes the large size of the Canadian expatriot community of filmmaking and acting talent working in Los Angeles, California. Profiles actors who have chosen to remain in Canada, including Andree Pelletier, Susan Petrie, Danielle Ouimet, Sabina Maydelle, and Genevieve Bujold. 60 Cox, Kirwan. Geneva Park and Sinking Creek. Cinema Canada no 2 (May-June 1972) 41-42. En. Kirwan Cox, director of the Canadian Filmmakers Distri-

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bution Centre, describes the Sinking Creek Film and Video Celebration held in Greeneville, Tennessee, at which he presented a program of independent Canadian films. Cox also discusses the film bazaar, sponsored by the Ontario Film Association, at which commercial film distributors sold film prints to organizations and individuals. 61 Handbook of Canadian film to be published. Cinema Canada no 2 (May-June 1972) 7. En. Describes writer Eleanor Beattie's book on Canadian films and filmmakers, published by Peter Martin Associates and due for release in August 1972. 62 Fetherling, Doug. Are we finally rid of the Hollywood Canadian? Saturday Night 87 no 6 Qune 1972) 43-44.1 ill, En. Reprinted in The Blue Notebook: Reports on Canadian Culture, 81-84. Oakville, Ont: Mosaic Press, 1985. Describes with numerous examples from the 1920s to 1960s, the misrepresentation of Canada in Hollywood movies. Doug Fetherling believes that this will change with a better understanding of Canada and the use of authentic locations in Canada. 63 Gordon, Barry. The multi-image film and audience attitude. Cinema Canada no 3 (July-August 1972) 19. En. Briefly discusses an in-depth study on the psychological, sociological, and theological implications of the multiimage filmmaking format, the results of which indicate that the multi-image film has an effect on the viewer's emotions and attitudes fundamentally different from that of the linear film. Attributes this difference to the fact that the multi-image format, unlike the linear format, is capable of creating a dimension of simultaneity that demands greater psychological involvement on the part of the viewer. It is the heightened emotional impact of the multiimage film and its potential for changing public attitudes that persuaded the United Church of Canada to produce a multi-image film entitled That All May Be One (Anson Moorhouse and Jitsuko Sada, 1972) as a means of promoting active involvement in the church and of seeking solutions to current social problems. 64 Thomas, Randy. The metaphysics of film. Cinema Canada no 4 (October-November 1972) 49.1 ill, En. Provides an abstract definition of the metaphysical dimensions of filmmaking and and an abstract explanation of the film viewer's reception of temporally brief projected images. 65 Media mosaic workshop to be held in Montreal. Cinema Canada no 4 (October-November 1972) 8. En. Describes the three-day workshop entitled A Media Mosaic to be hosted by the Ontario Film Association in conjunction with the National Film Board (NFB) of Canada from 8-11 November 1972 at the Montreal, Quebec, headquarters of the NFB. 66 Reverb (letters). Cinema Canada no 5 (December 1972January 1973) 72-73. En. A series of excerpts from letters to the editor of Cinema Canada that show support for the publication and acknowledge Cinema Canada's important contribution to Canadian film culture.

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General Studies / Etudes generates

67 Seattle, Eleanor. The Handbook of Canadian Film. Toronto, Ont: Peter Martin Associates; Montreal, Quebec : Take One Magazine, 1977. ix, 355 p, 17 ill, bibl, index, En. This handbook represents an attempt to compile all existing material to 1977 on Canadian filmmaking. An introduction to the history of Canadian film precedes brief biographies, filmographies, and bibliographies of filmmakers and overviews of writers, musicians, film people, and emerging filmmakers. Also lists film societies, film study centres, film festivals and competitions, technical information, film collections, archives, and various types of film publications. 68 Marcorelles, Louis; Rouzet-Albagli, Nicole. Living Cinema: New Directions in Contemporary Film-making. London, England : George Allen and Unwin, 1973.155 p, 16 ill, bibl, En. Posits that cinema direct, one of the new directions taken in 1960s and early 1970s filmmaking, is a form facilitated through the advent of lightweight film and synchronized sound recording equipment. States that in cinema direct the registration of reality is more direct because the interference of sound editors and scripted dialogue is diminished. Discusses cinema direct in terms of technique and aesthetics, and examines the use of the form for Third World and politically committed filmmaking. Claims that Canada is the cradle of direct cinema. Praises Gilles Groulx's Le Chat dans le sac (1964) as a typical Quebecois film that is subjectively political. Lauds the National Film Board (NFB) of Canada, including directors Terence Macartney-Filgate, Wolf Koenig, and Roman Kroitor, for their candid eye documentary filming concept. Provides in-depth analyses of Michel Brault, Marcel Carriere, and Pierre Perrault's Pour la suite du monde (1964), Perrault's Le Regne du jour (1968), Les Voitures d'eau (1969), Un pays sans bon sens! (1971), and, made in collaboration with Brault, L'Acadie, I'Acadie?!? (1972). Also discusses Groulx's Golden Gloves (1961), Brault and Groulx's Les Raquetteurs (1958), and Fernand Dansereau's Saint-Jerome (1968). Examines as well the concept of concrete cinema, which, due to its entirely synthetic and abstract quality, is described as the antithesis of cinema direct. Discusses Michael Snow's Wavelength (1967) and La Region centrale (1970) as examples of concrete cinema. 69 Buttrum, Keith. Carry on Canadian Film. Cover title : Where the Moose Run Loose. Developed under the supervision of Dr. Gertrude Joch Robinson, McGill University. (Basic Issues in Canadian Mass Communication). Montreal, Quebec : McGill University, 1973. 55 p, 14 ill, bibl, En. This self-study module from McGill University in Montreal, Quebec, briefly recounts the development of the film industry in Canada up to 1973. Tables and graphs demonstrating the foreign control of film exhibition and distribution in Canada precede a definition of what constitutes Canadian film. Surveys the growth of film in Canada from the first films shown in the early 1900s up to and including the formation of the National Film Board (NFB) of Canada in 1939 by John Grierson who established documentary film there and promoted a vital community of film artists. Provides distribution figures of NFB films for 1970 and 1971, discusses the formation of the Canadian Film Development Corporation (CFDC) in 1968, and describes the feature film industry as of 1972, including

the contributions of the CFDC, censorship debates, NFB productions, Quebec filmmaking, and foreign distribution control. 70 Karniol, Robert; Sheard, Kathleen; Majerczyk, Elliot; Walsh, Hal. Canadian Cinema: An Introduction. Developed under the supervision of Donald F. Theall, Chairman, Dept. of English, McGill University, and Morrie Ruvinsky, Dept. of English, McGill University. (A Modular Introduction to Film, no 3). Montreal, Quebec: McGill University, 1973.136 p, En. This modular study guide developed at McGill University in Montreal, Quebec, presents the history of the feature film in Canada in three parts : Canadian cinema until the formation of the National Film Board (NFB) of Canada, Quebec film, and English Canadian film during the 1960s. Kathleen Sheard's adaption of a lecture given by Kirwan Cox that accuses Canadians of cultural amnesia and reminds them of their innovations in film, precedes a description of the formation of the NFB under John Grierson, and a profile on Grierson by Ronald Blumer. Profiles on representative Quebec filmmakers and their films include Gilles Groulx and Le Chat dans le sac (1964), Claude Jutra and Mon oncle Antoine (1971), Gilles Carle and La Vraie Nature de Bernadette (1972), and Pierre Perrault and Le Regne du jour (1968), and an essay by Jean Pierre Lefebvre, "Technique is Absurd," is reprinted. Explores the contemporary situation of English cinema in Canada in the 1960s in the work of Paul Almond and his film Isabel (1968), Allan King and his films Warrendale (1967) and A Married Couple (1969), and an essay by Almond on Canadian filmmaking. The appendix reprints the Canadian Film Development Corporation's 1972 report. 71 Fothergill, Bob. Cowards, bullies and clowns. Canadian Forum 52 (January 1973) 22-24. En. A search for the elements that characterize the Canadian film evolves into a discussion of Canadian self-image, focussing on the filmic reflection of the English Canadian male. Three basic character types are proposed, and are exposed, in various English Canadian films : the coward, the bully, and the clown. Films by Quebecois filmmakers are found to reveal similar male images, and Sylvia Spring's Madeleine Is... (1971) confirms the assessment of men projected by male filmmakers. A rising sense of positive male identification is displayed in new Quebecois films that focus on men who rebel against oppression and thus regain self-respect. The films Journey (1972) by Paul Almond, and Jack Darcus's Proxyhawks (1970) are presented as English Canadian attempts to re-establish male balance. 72 Fothergill, Robert. Being Canadian means always having to say you're sorry: The dream-life of a younger brother. Take One 4 no 3 (January-February 1973) 24-30. 3 ill, En. Reprinted under the title Coward, bully or clown: The dream-life of a younger brother in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 234-250. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. Analyses how the distinctiveness of the Canadian experience and the avoidance of formal archetypes of dramatic fiction led to a focus on everyday life in Canadian film.

Canada Posits, with examples from over 40 films, that this focus uncovers an image of the Canadian male as an inadequate human being, particularly with regard to relationships with women. Three male stereotypes are identified as representing recurring themes : the coward, the bully, and the clown. These male stereotypes are identified as occurring throughout English Canadian cinema, as in Donald Shebib's Coin' Down the Road (1970), George Kaczender's Don't Let the Angels Fall (1969), and Barrie Angus McLean and Kristin Weingartner's Ever After All (1973). In French Canadian cinema Mireille Dansereau's La Vie revee (1972) supports this basic cinematic view of men but Quebec film generally is shown to render more penetrating insight into the male psyche, particularly in Francis Mankiewicz's Le Temps d'une chasse (1972) and Claude Jutra's A tout prendre (1964). Investigates the apparent impediments to self-realization in the filmic depiction and reality of the English Canadian male, arguing that identifying the United States as the oppressive stronger brother and resisting the desire to succumb to the oppressor could provide a liberating experience similar to the one available to French Canadian men in their resistance to English Canadian domination. Concludes by looking at Shebib's Between Friends (1973), Peter Pearson's Paperback Hero (1973), and David Acomba's Slipstream (1973), noting that in the first two films the price for not achieving self-actualization by the male protagonist is death. The male protagonist of Slipstream, however, liberates himself from the coward, bully, and clown syndrome, offering hope for future Canadian male self-identification. 73 Dane, Lawrence. Looking forward, looking back (or we've come a long way, brother). Canadian Film Digest (January 1973) 8. En. Satirical article set in the future reflecting on Canadian films in the present. 74 Mitchell, M. Oh... Canada. Motion (March-April 1973) 8-9.1 ill, En. Explores nationalism and the Canadian sensibility in film through a thematic analysis of American films depicting Canada and Canadians made during the silent film era between 1919 and 1930. States that The Silent Enemy (William Douglas Burden, 1930) is an example of a film from this period with a fictional documentary style study of the Ojibway's struggle against starvation before 1492. Also discusses the film The Canadian (William Beaudine, 1920) and several other American films which depict Canada or Canadians. 75 Harcourt, Peter. Is there a Canadian cinema? Canadian Forum 53 (November-December 1973) 37-40. bibl, En. The publication of two books on film in Canada, A Handbook of Canadian Film by Eleanor Beattie (Peter Martin Associates, 1973) and Cinema d'ici by Andre LaFrance and Gilles Marsolais (Editions Lemeac, 1973), raises the question of whether or not increased production of Canadian films indicates that a truly Canadian cinema exists. Beattie notes that a choice between becoming a derivative, commercial supermarket cinema or a cinema rooted in national experience, confronts the film community. Peter Harcourt argues that without an end to American economic control of film financing, it is impossible for the Canadian film community to achieve national integrity,

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and points out that even the Canadian Film Development Corporation is only marginally effectual since it provides only partial funding and has done nothing to ensure exhibition. The more positive filmmaking situation in Quebec, linked to a shared sense of national purpose and tradition, is expressed in a series of interviews with filmmakers and a discussion of documentary films at the National Film Board (NFB) of Canada in LaFrance and Marsolais's book. Harcourt concludes that the books represent their respective cinemas, with that of English Canada being a sporadic, divided affair, while Quebecois cinema is a national, collective effort to celebrate and strengthen the culture of Quebec. Using the Italian concept of making films for television and then putting them on cinema screens, Harcourt suggests making films for the Canadian Broadcasting Corporation (CBC) that can also be shown on cinema screens. Concludes with criteria for securing and assuring the survival of a Canadian cinema. 76 Kieran, Sheila. Searching for the soul of Canadian cinema. Saturday Night 88 no 12 (December 1973) 44-45.1 ill, En. Attempts to identify cohesive characteristics in Canadian cinema. Expands on the most distinctive themes, including a focus on Canadian rural areas, a sense of timelessness, some typical professions of characters, and an undistinguished central figure. A contrast is shown between Canada's national image and its cinematic expression. 77 Fulford, Robert. Marshall Delaney at the Movies : The Contemporary World as Seen on Film. (Take One Film Book Series, no 3). Toronto, Ont: Peter Martin Associates, 1974. xii, 244 p, index, En. This collection of film reviews by Canadian journalist Robert Fulford first appeared in Saturday Night under his pseudonym Marshall Delaney between the years 1965 and 1974. The reviews of Canadian films in part one include comments on Canadian identity and American influences, and cover general topics such as film genres, film aesthetics, and audience accessibility. In part two, American film reviews, and in part three, foreign film reviews, Fulford emphasizes their respective social and artistic traditions. Each review is cited separately. 78 Clements, Warren. "Encounter Canada" : York University's film symposium. Cinema Canada no 13 (April-May 1974) 12. 1 ill, En. Briefly reviews the films featured as part of the York University 1974 "Encounter Canada" film symposium in Toronto, Ontario, that showcased rare and recent Canadian film, including: Nell Shipman's Back To God's Country (David M. Hartford and Bert Van Tuyle, 1919), Gilles Groulx's Entre tu et vous (1970), Groulx and Michel Brault's Les Raquetteurs (1958), Donald Shebib's Between Friends (1973), Gilles Carle's Death of a Lumberjack (1973), Murray Markowitz's August and July (1973), and Gilbert W. Taylor's Flick (1970). Also looks at Back in '23 (1930) and Rhapsody in Two Languages (1930) made by Associated Screen News for their Canadian Cameos (1930) series. Other filmmakers participating in the symposium were Richard Leiterman, G. Chalmers Adams, Jacques Leduc, and William Fruet. 79 Leduc, Jean. La representation d'un milieu donne: « II etait une f ois dans 1'Est », « The Apprenticeship of Duddy

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General Studies / Etudes generates

Kravitz ». Cinema Quebec 3 no 6-7 (avril-mai 1974) 43-44. 2 ill, fr. En se basant sur les films The Apprenticeship ofDuddy Kravitz (1974) de Ted Kotcheff et II etait unefois dans I'Est (1974) d'Andre Brassard, 1'auteur s'interroge sur la representation de la realite nationale dans une oeuvre de fiction avec les implications sociales, economiques et politiques que cela peut comporter.

tary success, but because of their original and innovative contributions to the Canadian film industry. A chapter on each filmmaker includes dialogues with Hofsess on such topics as the latest film, audience response, commitment to art as opposed to financial success, and filmmaking methods and techniques, and provides some biographical information and thoughts on personal situations and anecdotes. Writer and television producer Pierre Berton is also included because his sensibility and vision aligns him with the filmmakers in this collection.

80 Koller, George Csaba. About rape and recent releases. Cinema Canada no 16 (October-November 1974) 70-71. 1 ill, En. Five recently released films are reviewed as a collective expression of English Canada's cultural consciousness, connected by the theme of literal or figurative rape. The films discussed are: Paul Lynch's The Hard Part Begins (1974), John Howe's Why Rock the Boat? (1974), Peter Pearson's Only God Knows (1974), Morley Markson's Monkeys in the Attic (1975), and Patrick Loubert's 225 Rooms of Comfort (1978).

83 Delisle, Martin. Spry et Brault: deux fa^ons de montrer le crise d'octobre 1970. Motion (janvier-fevrier-mars 1975) 37-38. fr. L'auteur etablit une comparaison entre Les tenements d'octobre 1970 (Robin Spry, 1975) et Les Ordres (Michel Brault, 1974) et sur la fac.on dont chaque cineaste developpe le sujet.

81 Berton, Pierre. Hollywood's Canada: The Americanization of Our National Image. Toronto, Ont: McClelland and Stewart, 1975. 303 p, 105 ill, index, En. Beginning with the premise that American representation of Canada in motion pictures has diffused and obliterated a sense of Canadian identity, Pierre Berton surveys and analyses American filming in Canada since 1907. In chapters entitled "The Great Woods and the Big Snows, Primitive Passions in the Untamed North," and "Perils of the Royal Mounted," Berton explores how Hollywood utilized Canadian landscape for exotic or representational connotations in film plots, represented Canadians as primitive or less civilized, and adopted the Royal Canadian Mounted Police (RCMP) as a version of the American western hero. In "Canadian Cooperation, Hollywood Style," notes that the Canadian government began to make efforts in the late forties and fifties to negotiate autonomy from American film monopoly especially with the Canadian Cooperation Project, which resulted in Hollywood rewriting aspects of Canadian history and facts in order to comply with the project's agreement to include Canadian content. The chapter "It Wasn't Like That At All," surveys American films made in the 1910s, and the way in which they misrepresented Canadians in the motif of the American pioneer, and the resulting arguments begun in 1920 by Canadian journalists, critics, and the Ontario Censor Board. Provides lists of the following categories of Hollywood movies about Canada : silent Canadian content shorts, 1907-1916; Canadian content features, 1914-1930; and Canadian content features made by Hollywood, 1929-1974.

85 Edwards, Natalie. On building a Canadian film library. Cinema Canada no 18 (March-April 1975) 46-48. 3 ill, En. Reviews two new publications contributing to the limited body of written material on Canadian film. Examines Robert Fulford's opinionated but intelligent Marshall Delaney at the Movies (Toronto : Peter Martin Associates, 1974), a collection of film reviews and essays originally printed in Saturday Night magazine from 1965 to 1974. Notes the shift in Fulford's attitude towards Canadian film culture. Also reviews John Hofsess's collection of articles written for Maclean's magazine entitled Inner Views: Ten Canadian Film Makers (Toronto: McGraw-Hill Ryerson, 1974), noting Hofsess's focus on individual directors and his opinion that low budget Canadian features and shorts are more successful than large commercial productions.

82 Hofsess, John. Inner Views: Ten Canadian Filmmakers. Toronto, Ont: McGraw-Hill Ryerson, 1975.171 p, 14 ill, En. In the introduction, John Hofsess defines the economic realities of the Canadian film industry and suggests that the efforts of filmmakers to attain artistic expression are viewed as marginal in comparison to the American film industry. Filmmakers Claude Jutra, Allan King, Donald Shebib, Jack Darcus, Graeme Ferguson, Frank Vitale, William Fruet, Paul Almond, and Denys Arcand were selected and interviewed by Hofsess, not because of their mone-

84 Hofsess, John. Headless horsemen. Cinema Canada no 18 (March-April 1975) 24-25.1 ill, En. Criticizes, in light of the Canadian Film Symposium recently held in Winnipeg, Manitoba, government agencies and film industry workers for producing and advocating a conceptual idea of Canadian film culture rather than recognizing the reality of Canadian viewing audience interest in high quality entertaining films.

86 Fothergill, Robert. A reply to Hofsess, a challenge to Shebib and a recommendation for Markowitz. Cinema Canada no 20 (July-August 1975) 46-48.1 ill, En. Addresses the question of a Canadian cultural identity in cinema, first by questioning John Hofsess's demand for the production of more entertainment-oriented films in Canada as articulated in his article "Headless Horseman" printed in Cinema Canada (no 18 (March-April 1975) 2425), then by challenging Don Shebib's understanding of political filmmaking in the context of Shebib's condemnation of Jean-Claude Lord's Bingo (1974) for being overly political, and finally by examining Murray Markowitz's Recommendation for Mercy (1975) as an example of the use of cinema for both a political and personal expression which has relevance for all Canadians. 87 Cox, Kirwan. Hollywood's empire in Canada, the Majors and the Mandarins: Through the years. Cinema Canada no 22 (October 1975) 18-22. 2 ill, En.

Canada A historical overview of American involvement with the Canadian film industry, focussing on the attempts, as revealed through excerpts from documents and letters from 1909 to 1974, by Canadians to take control of and develop an indigenous industry. Discusses the Canadian government's exhaustive investigation of Hollywood interests in the 1930s under the Combines Investigation Act, the subsequent trial in the Ontario Supreme Court of 109 defendants all associated with the American film industry, the infamous Canadian Co-operation Agreement made in 1948 between the Canadian government and the Motion Picture Association of America, the formation of the Canadian Film Development Corporation in 1966, the political machinations surrounding the issues of Canadian film quotas, and the Winnipeg Manifesto of 1974. Concludes that the federal government's voluntary agreement with Famous Players and Canadian Odeon Theatres, as announced 5 August 1975 by secretary of State Hugh Faulkner, provides nothing to be optimistic about. 88 Lever, Yves. A propos de 1'histoire du cinema au Quebec. Relations 35 no 408 (octobre 1975) 286. fr. Article relatif a 1'histoire du cinema au Canada et au Quebec. Yves Lever discute, entre autres choses, des prejuges quebecois sur 1'histoire nationale et donne son opinion sur les actions a entreprendre dans le domaine. 89 Handling, Piers. Visits to the Canadian countryside. Cinema Canada no 22 (October 1975) 31-33.1 ill, En. Examines three recent Canadian feature films, John Trent's Sunday in the Country (1975), D. Brian Damude's Sudden Fun/ (1975), and Murray Markowitz's Recommendation for Mercy (1975), which use idyllic pastoral settings as a basis for the development of the themes of irrational violence, the concept of justice and the miscarriage of justice, and the struggle between good and evil. Also examines how the films portray women as intermediaries, victims, and objects, and how moral confusion is a central thematic principle in all three works. Concludes that Trent, Damude, and Markowitz question the values and illusions commonly associated with rural cultures, and wonders whether the thematic patterns reflected in their work will develop into a Canadian genre. 90 Fothergill, Robert. Part of a polemical preface. Cinema Canada no 22 (October 1975) 34-36. 2 ill, En. An excerpt from the preface of Robert Fothergill's upcoming book Redeeming Features from Peter Martin Associates of Toronto, Ontario (never released). Fothergill challenges film critic John Hofsess's theory on the general evolution of cinema, a theory that posits that when an artistic form has ceased to be the dominant form of popular entertainment within a culture, it passes into a marginalized phase in which it is appropriated as a means of expression by and for various subcultures. In disputing this argument, Fothergill addresses the problem of differentiating between cinema as an art form and cinema as a medium of communication. Fothergill also questions Hofsess's application of his theory to Canadian society and his claims that some films succeed and others fail due to the ambivalence of Canadian viewers, by pointing out several contradictions in Hofsess's theoretical position. Fothergill accuses Hofsess of expressing cultural ambiguity and of having no clear conception of the importance of Canadian cultural independence.

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91 Cook, Bruce. The Canadian dilemma: National identity or international appeal. American Film 1 no 2 (November 1975) 20-24. 6 ill, En. Provides an American perspective on film production in Canada, stating that Canadian films are often characterized by a revealing, not quite American quality which, through inference, describes much about the American way of life. Refers in this context to Donald (Don) Shebib's Coin' Down the Road (1970), William Fruet's Wedding in White (1972), Irvin Kershner's The Luck of Ginger Coffey (1964), Claude Jutra's Mon oncle Antoine (1971) and Kamouraska (1973), Ted Kotcheff's The Apprenticeship of Duddy Kravitz (1974), Peter Pearson's Paperback Hero (1973), and Harvey Hart's The Pyx (1973). Also discusses characteristics of the Canadian film industry such as its concern with national identity and the involvement of government in film financing, and compares Quebec film culture with that of English Canada. 92 Dick, Jane. Perverse love. Cinema Canada no 24 (December 1975-January 1976) 41. En. Jane Dick criticizes Robert Fothergill, John Hofsess, and Natalie Edwards about their preoccupation with what is and should be Canadian in Canada's film industry and recommends more definition of the process than the product. Argues that "Canadian" is the product of a Canadian mind and sensibility, involving many elements not related to Canada, and suggests that the questions to ask are what is film and what does it mean to Canadians? 93 Edwards, Natalie. Capsules. Cinema Canada no 24 (December 1975-January 1976) 50. 4 ill, En. Lists and provides plot summaries for 24 Canadian short films, produced from 1968 to 1975. 94 Crean, S. M. Who's Afraid of Canadian Culture? Don Mills, Ont: General Publishing, 1976. 296 p, bibl, En. A discussion of Canadian cultural institutions, their policies, and their level of effectiveness. S.M. Crean suggests that arts organizations tend to exclude Canadian culture, educational institutions are Americanized, and the mass media is becoming subject to a continental economy that favours American monopolies. Chapter 3, "Nightmares in Dreamland," discusses the national awareness of English language feature films in the 1960s, the distribution and exhibition of Canadian films, the role of the Canadian Film Development Corporation in financing Canadian films, and the efforts of filmmakers attempting to increase government awareness of how to best promote and protect the Canadian film industry. 95 Royal Canadian Academy of Arts. Spectrum Canada. Montreal (Quebec), Complexe Desjardins. 5 July-31 July 1976. Introduction by Anne J. Nelles and John C. Parkin. 1976.104 p, ill, En, fr. An open, juried exhibition of film, painting, sculpture, architecture, graphic and industrial design, textile art, printmaking, and photography chosen from 2,000 entries from across Canada. The Royal Canadian Academy of Arts conceived the exhibition to open in Montreal, Quebec in conjunction with the 1976 Olympic Games. The film and video component of the exhibition featured Vartkes Cholakian's The Cage (1976), John Gould's Waubau-

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General Studies / Etudes generates shene Faces (1976), Nicholas Kendall's Bill and John (1972) and Surface (1975), Jean-Pol Passet's L'Immigrant (1976), and Gerald Zeldin's I.F.A.C.: A Preview (1976). Dans ce catalogue, on presente des exemples de film, de peinture, de sculpture, d'architecture, de graphisme, de dessin industriel, de textile d'art, de gravure, et de photographic provenant des diverges regions du Canada La classification est effectuee selon les moyens d'expression utilises. L'exposition, sous les auspices de 1'Academie royale des arts du Canada, a ete inauguree conjointement avec les Jeux olympiques de 1976 a Montreal (Quebec). La section film et video de 1'exposition inclut The Cage (1976) de Vartkes Cholakian, Waubaushene Faces (1976) de John Gould, Bill and John (1972) et Surface (1975) de Nicholas Kendall, L'Immigrant (1976) de Jean-Pol Passet et I.F.A.C.: A Preview (1976) de Gerald Zeldin.

and because both English Canada and Quebec produced many films that represent a break with Canadian filmmaking tradition. Notes that in the 1960s, the federal government's involvement in film culture was extended when the National Film Board (NFB) of Canada began to produce feature films in 1963, and the Canadian Film Development Corporation was created as an independent crown corporation in 1968. States that the 1960s also proved to be a period of notable innovation, citing the cinema verite work of Allan King and Pierre Perrault as examples. Argues that despite such progress, the English Canadian film industry was plagued by problems such as financial uncertainty and a lack of national selfconfidence, while for Quebec the 1960s was a period of awakening, development, and confrontation that provided a potent dialectic for expression.

96 Mitchell, M. Quickies a la canadienne. Motion 5 no 5 (1976) 42-43.2 ill, En. Discussion of film production in Canada in the 1920s and 1930s. Notes that the majority of Canadian features turned out from 1927 to 1938 fall into the category of "Quota Quickies" made to aid the release of American movies in the British market in accordance with the British film quota law of 1927. Mentions the work of Kenneth J. Bishop, a Vancouver, British Columbia based producer, who was involved with 14 features between 1932 and 1938 including Lucky Fugitives (Nick Grinde, 1936) and Stampede (Ford Beebe, 1937).

99 Kula, Sam. National image, national dream. Cinema Canada no 25 (February 1976) 34-37. 3 ill, En. Posits the thesis that Canadian cinema is a minority cinema, and explores how this affects the articulation of Canadian identity and the Canadian film experience. Refers to the critical writings of John Hofsess, Daniel Leab, Pierre Berton, Mollie [sic] Haskell, and Marjorie Rosen to examine how the Canadian experience closely parallels the minority experience in media, and argues that to date, Canadian cinema has failed to provide an identifiable image of Canada and Canadian sensibility. Concludes that Canadian cinema must mirror Canadian society and speak to and for the aspirations of Canadians as a people.

97 Harcourt, Peter. Introduction. Film Canadiana: The Canadian Film Institute Yearbook of Canadian Cinema 19751976/1975-1976 L'Annuaire du cinema canadien de I'lnstitut canadien du film, edited by Piers Handling, vii-xiv. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1976. 4 ill, En, fr. Reprinted in English in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 370-376. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. Addresses the issue of Canadian identity and discusses Francis Mankiewicz's What We Have Here Is a People Problem (1976) and Le Temps d'une chasse (1972) as being distinctly Canadian while David Cronenberg's Shivers (released under the title The Parasite Murders, 1975) is viewed as reflecting the desperation of total cultural cynicism. Refutes cliches about Canadian scripts being inferior in quality and distinguishes between British and Canadian traditions of drama. L'auteur aborde la question de 1'identite canadienne et parle des films de Francis Mankiewicz What We Have Here Is a People Problem (1976) et Le Temps d'une chasse (1972) comme des creations proprement canadiennes, tandis que le film de David Cronenberg Shivers (sorti sous le titre The Parasite Murders, 1975) reflete le desespoir du cynisme culturel le plus complet L'auteur refute les cliches qui concernent la pietre qualite des scripts canadiens et il etablit une comparaison entre les traditions theatrales anglaises et canadiennes. 98 Handling, Piers. A new Canadian wave : Canadian cinema of the sixties. Canadian Review 3 no 1 (February 1976) 20-22.1 ill, En. Argues that the 1960s were key years in Canadian film history because of the large increase in film production

100 Edwards, Natalie. Capsules. Cinema Canada no 25 (February 1976) 50.1 ill, En. Provides plot summaries for 19 recently released Canadian feature films. 101 Evans, Gary. The first films in Canada. Cinema Canada no 26 (March 1976) 17.2 ill, En. Historical account of two conflicting stories about the first film showing in Canada. Magician Jack Green wrote a letter in 1944 recounting the details of how in June 1896 he became involved in what he believed to be the first Canadian screening of a motion picture on an Edison Kinetoscope imported from New York City, New York. LeoErnest Ouimet claims that he remembered seeing a series of Lumiere films exhibited in Montreal, Quebec, before Green's exhibition. 102 Un projet de $4 millions d'lmperial Oil (Esso). Cinema Quebec no 41 (printemps 1976) 4. fr. La compagnie Imperial Oil (Esso) investira quatre millions de dollars dans un projet cinematographique dont une serie de sept films d'une heure Les Arrivants : habitants d'un nouveau monde (1977-1980) qui traitera de la colonisation et de 1'immigration au Canada. On explique la nature de ce projet et on nomme les institutions cinematographiques et les cineastes qui vont en beneficier dont Eric Till et Jean-Claude Lord. 103 Chesley, Stephen. The CBC looks at our home movies. Cinema Canada no 26 (March 1976) 44. 2 ill, En. Bob Ennis, producer of the Canadian Broadcasting Corpo-

Canada ration (CBC) television show, Home Movies (aired 17 March 1976), discusses how the show presented an indepth look at filmmaking in Canada. Interviews reveal a positive attitude amongst Canadians towards movies and indicate that Canadian filmmakers are pioneers who need more opportunities to practise and perfect their craft. Conclusions state that Canada needs a viable film industry, filmmakers need to be located within the industry, and Canadians need a concept of themselves as genres. Government intervention should extend to distribution and exhibition and provide a forum for both the public's appetite and the filmmakers' work. 104 Edwards, Natalie. Capsules. Cinema Canada no 26 (March 1976) 50. 3 ill, En. Provides credit information and plot summaries for 19 films released in 1975. 105 Harrison, John K. Screening the Canucks in midtown Manhattan: An interview with Andrew Sarris. Saturday Night 91 no 2 (April 1976) 25-28. 5 ill, En. An interview with Andrew Sarris, the first proponent of the auteur theory, in which he provides an outsider's view of Canadian cinema. Discusses the influence of John Grierson, the lack of interest on the part of English Canadians in supporting an indigenous culture, the lack of authority in Canadian filmmaking, the threat of American culture, the metaphysical characteristics of filmmakers Don Owen, Larry Kent, and Paul Almond, the theme of self-deprecation in Canadian film, and its lack of exciting performers and iconography. 106 Tadros, Connie; Pinsent, Gordon; Wedman, Les; Newman, Sydney; Mason, Charles; Quinn, F. J.; Morton, Paul; Gulkin, Harry; Eady, Harold J.; Radford, Tom; Pratley, Gerald ; Auguste, Phil; Cutler, Keith; Herberman, Len; Cherry, Evelyn; Soady, William; Bryant, Peter; Dunning, John; Gathercole, Sandra; Eraser, Fil; Ross, Anthony; Lister, Ardele. Reflections on our "Home Movies." Cinema Canada no 27 (April 1976) 33-44. 17 ill, En. Compilation of responses from film people across Canada who were asked to watch Home Movies a one-hour presentation by the Canadian Broadcasting Corporation (CBC) on the Canadian feature film industry, aired 17 March 1976. Responses varied according to individual preferences, degrees of affinity for Canadian culture, and opinions on whether film represents culture. Connie Tadros concludes that the enthusiastic responses indicate that there is a will to come to terms with the conditions of feature filmmaking in Canada and a desire to make good and successful films. Less clearly determined, however, is what exactly their work should be. 107 Blumer, Ronald H. Opinions: Yes, we ain't got no heroes. Cinema Canada no 27 (April 1976) 49. En. Ronald Blumer asks the students taking his course on the cinema of Canada to describe their feelings about Canadian culture. Their responses indicate that the word Canadian conjures up images of boredom and drabness, the sense of a country less advanced than the United States, a nation Americanized, with few heroes, angry at itself, and blaming others for its failures. He concludes that the Canadian dilemma is that nobody wants to talk about Canada, not even Canadians.

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108 Edwards, Natalie. Capsules. Cinema Canada no 27 (April 1976) 58. 3 ill, En. Briefly describes the plots of 21 recently released films. 109 Edwards, Natalie. Capsules. Cinema Canada no 28 (May 1976) 50. 3 ill, En. Provides brief plot summaries for 18 recently released films. 110 Knelman, Martin. Now that we've found Canadian culture what are we going to do with it? Maclean's 89 no 10 (31 May 1976) 14.1 ill, En. Accuses the executives of the Canadian Film Development Corporation and the Canadian Broadcasting Corporation (CBC) of emulating the American commercial filmmaking industry, which emphasizes ratings over innovation and quality. Concludes that Canadian media executives who accept the American definition of success are impeding the creation of a Canadian pop mythology. 111 Morris, Peter. The first films in Canada: The true story (1). Cinema Canada no 29 Qune-July 1976) 18-19. 1 ill, En. Traces the history of the earliest appearance of moving picture equipment in Canada with the arrival of Edison's Vitascope, described in the Ottawa Daily Citizen (21 July 1896), as the first exhibition in Canada. Hosted by John C. Green, under the name of Belsaz the Magician, and sponsored by streetcar owners Ahearn and Soper, Green lectured on the invention, performed his magic act, and described the pictures on the screen. Suggests that Andrew and George Holland were responsible for bringing movies to Canada with their introduction of an Edison Kinetoscope, in New York City, New York, 14 April 1894 and later in Toronto, Ontario, at the Toronto Industrial Exhibition on 31 August 1896. A competing devise, Lumiere's Cinematographic opened a day later on 1 September as part of the grandstand show of the Industrial Exhibition. 112 Trowell, Ian. "Spectrum Canada." Artmagazine 7 no 28 (Summer 1976) 38-43.15 ill, En. A description of "Spectrum Canada," a juried exhibition open to filmmakers, video artists, painters, sculptors, graphic artists, photographers, textile and interior design artists, and architects. The travelling exhibition, organized by the Royal Canadian Academy of Arts, will open at the 1976 Summer Olympic Games in Montreal, Quebec, with 184 works including six films and videos selected from about 2,000 entries. 113 Rozon, Rene. Cinema at the Olympics / Le cinema aux Olympiques. Artmagazine 7 no 28 (Summer-ete 1976) 44-46. 7 ill, En, fr. A preview of two film festivals, scheduled for 1-31 July 1976 in Montreal, Quebec, in conjunction with the 1976 Summer Olympic Games hosted by the city. The festivals, both sponsored by the Conservatory of Cinematographic Art as part of the Arts and Culture program of the Organizing Committee of the Olympic Games, are entitled "Canadian Cinema" and "Cinema and Sport." "Canadian Cinema" will reflect the history of Canadian cinema from 1919 to the present day, while "Cinema and Sport" will

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General Studies / Etudes generales feature films dealing with the theme of sport including past Olympic films. Apergu de deux festivals de films qui auront lieu du 1 au 31 juillet 1976, a Montreal (Quebec), moment meme ou se derouleront dans cette ville les Jeux olympiques de 1976. Les festivals, parraines par le Conservatoire d'art cinematographique et partie integrante du programme Arts et Culture du Comite organisateur des Jeux olympiques, s'intituleront « Cinema canadien » et « Cinema et Sport ». « Cinema canadien » retracera 1'histoire du cinema canadien de 1919 a nos jours et le festival « Cinema et Sport » presentera des films relies au sport et les films olympiques precedents.

114 Edwards, Natalie; Blumer, Ronald H.; Evans, Gary. Capsules. Cinema Canada no 29 Qune-July 1976) 49-50. 12 ill, En. Provides plot summaries for 34 recently released films ; 14 of the 34 are from the National Film Board (NFB) of Canada. 115 Rozon, Rene. Apergu du film sur 1'art au Canada / A survey on films on art in Canada. Vie des arts 21 no 83 (etc 1976) 53-55,93-94. 5 ill, fr, En. Repertoire de films sur 1'art au Canada. Quelques themes se degagent: les arts et les traditions populaires, les films d'animation de Norman McLaren, les profils d'artistes, les expositions de peintures, les galeries et musees, 1'architecture. On remarque que le Centre canadien du film sur 1'art, situe a Ottawa (Ontario), possede la plus importante collection du pays. Survey of Canadian films on art focussing on several themes including, popular art and tradition, the animated films of Norman McLaren, profiles of artists, films which record exhibitions and collections at galleries, and museums as well as those on the subject of architecture. States that the Canadian Centre for Films on Art, in Ottawa, Ontario, maintains the most important collection of films on art in Canada. 116 Morris, Peter. The first films in Canada : The true story (2). Cinema Canada no 30 (August 1976) 16. 1 ill, En. Describes the early history of the appearance of films in Canada, focussing on Montreal, Quebec. Very little information, except for advertisements, appeared on screenings in Montreal newspapers. A variety of projection equipment was used initially, including the Kinematographe, Animatographe, Theatroscope, and the Phantascope. Some information comes from Leo-Ernest Ouimet who invented the Ouimetscope, produced early films, and saw an early Lumiere film projected on the Lumiere Cinematographe in the fall of 1896. 117 Jutra, Claude; Laurendeau, Francine. Dans trois villes russes... du cinema canadien: une semaine pas comme les autres. Cinema Quebec 4 no 9-10 (hiver 1976) 14-17. 2 ill, fr. Impressions du cineaste Claude Jutra sur 1'accueil que les Russes ont reserve a la semaine du cinema canadien en Russie, tenu a Moscou, Leningrad et Riga (Russie). II parle plus particulierement de leur grande curiosite sur tout ce qui a trait a 1'etranger et de la difficulte qu'ils ont a communiquer ouvertement, intimement. Francine Laurendeau donne aussi un compte rendu de cette manifestation.

118 Knelman, Martin. This Is Where We Came In: The Career and Character of Canadian Film. Toronto, Ont: McClelland and Stewart, 1977.176 p, index, En. Movie critic Martin Knelman investigates how Canada's feature film industry took shape after decades of producing documentary short films. Traces the evolution of consciousness within national filmmaking from that of a colonized mentality to one exhibiting a growing awareness of national cultural identity, to one that challenged the American way of filmmaking. Discusses John Grierson and the founding of the National Film Board (NFB) of Canada as the solid foundation of Canadian filmmaking, considers the films of Grierson's trainees and co-workers after Grierson's departure from the NFB, and notes the move from documentary to feature filmmaking by Quebecois NFB filmmakers Gilles Groulx, Gilles Carle, Claude Jutra, Michel Brault, and Pierre Perrault. Describes the move of the English section of the NFB into producing feature films as more haphazard than the French, and contrasts the evolution of French and English filmmaking through Don Owen's Nobody Waved Good-bye (1964) and Perrault's Pour la suite du monde (with Michel Brault and Marcel Carriere, 1964). Presents Jutra's Mon oncle Antoine (1971) as the breakthrough for the national feature film industry, analyses the career of filmmaker Carle, and discusses the influence of Quebec's political awakening in the films of Denys Arcand, Jean-Claude Lord, and Brault. Surveys the mediocre films stemming from governmental attempts to legislate a commercial film industry into existence with the creation of the Canadian Film Development Corporation (CFDC) in 1967, and looks at the English language films of the 1970s financed by the CFDC that attempt to capture the spiritual landscape of Canada, including those by Donald Shebib, Gordon Pinsent, and Peter Pearson. Delves into the career of filmmaker Ted Kotcheff, particularly his collaboration with author Mordecai Richler on The Apprenticeship ofDuddy Kravitz (1974), and considers producer John Kemeny's move to Hollywood and subsequent American style films. Includes reprinted film reviews by Knelman from 1970 to 1977 that appeared originally in Saturday Night, Toronto Life, Weekend, and The Globe and Mail. 119 Pageau, Pierre; Lever, Yves. Cinemas canadien et quebecois : notes historiques. Montreal, Quebec : College Ahuntsic, 1977. vii, 134 p, bibl, index, fr. Reconstruction de 1'histoire du cinema quebecois et canadien a 1'aide d'une methodologie scientifique et valide. Les auteurs soulignent, en premier lieu, que le fait dominant de la periode du cinema muet comprise entre 1894 et 1929 a ete la creation du Canadian Government Motion Picture Bureau en 1923. Us se tournent ensuite vers la periode du cinema parlant qui s'etend de 1930 a 1977, pour analyser la naissance du cinema quebecois et spuligner 1'importance de la television (surtout celle d'Etat) qui stimula, au Quebec, la creation de compagnies privees de production de series televisees et de publicite. Les auteurs passent ensuite au cinema d'aujourd'hui (1968 a 1977) et precisent a quel point la relance fulgurante de 1'industrie privee a ete rendue possible par la creation de la Societe de developpement de 1'industrie cinematographique canadienne (SDICC). Ce volume a ete conc.u pour le cours de niveau collegial « Le cinema quebecois » enseigne au college Ahuntsic.

Canada 120 Fulford, Robert. Flickering shadows of identity. An Introduction to the Arts in Canada, 100-113. Toronto, Ont: Copp Clark Publishing in association with the Citizenship Branch, Dept. of the Secretary of State, 1977. 8 ill, En. Robert Fulford describes the arts of Canada, their historical background, and their relationship to government. The chapter "Flickering Shadows of Identity," approaches Canadian film with the conviction that it is at its best when vision, social consciousness, and confidence come together. Presents the National Film Board (NFB) of Canada and John Grierson as establishing the national filmmaking experience, from which filmmakers Norman McLaren, Claude Jutra, Gilles Carle, and Don (Donald) Shebib emerged. 121 Harcourt, Peter. The Canadian cinema : The challenge of the present. Movies and Mythologies : Towards a National Cinema, edited by Peter Harcourt, 151-171. Toronto, Ont: Canadian Broadcasting Corporation, 1977. bibl, En. Addressing the question posed by Canadian filmmakers, audiences, and critics, Peter Harcourt asks : What kind of industry are Canadians trying to create? Considers how the films of Gilles Carle and Claude Jutra are a means of uncovering their Quebecois culture and identity, analyses how Allan King's A Married Couple (1969) creates a feature film that is also a documentary, and explores the issues of oppression and American domination in Peter Pearson's Paperback Hero (1973). Cites Jean Pierre Lefebvre as a prolific and original filmmaker who is also motivated to developing the economy of Canada's industry, and investigates John Hirsch's belief that Canada does not value its culture. Concludes with a tribute to Frank Vitale's noncommercial Montreal Main (1974) as a possibile direction for the future of the Canadian feature film. 122 Fothergill, Robert. A place like home. Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 347-363. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. En. Discusses the concealment and identity of geographical location in Canadian feature films. Examines the stylized locations of David Cronenberg's Stereo (1969) and Crimes of the Future (1970), and Paul Almond's Journey (1972). Describes the isolation and insulation from reality in Morley Markson's Zero the Fool (released as The Tragic Diary of Zero, the Fool, 1970) and Monkeys in the Attic (1975), the private drama of Jack Darcus's Proxyhawks (1970), the mythological spirit of place of Peter Carter's The Rowdyman (1972), and the scenic vividness of George McCowan's The Inbreaker (1974). Situates the geographical locations of Paperback Hero (Peter Pearson, 1973), Face-off (George McCowan, 1971), and Slipstream (David Acomba, 1973) emphasizing the relation of plot and setting. Also examines The Best Damn Fiddler from Calabogie to Kaladar (Peter Pearson, 1968), Isabel (Paul Almond, 1968), Coin' Down the Road (Donald Shebib, 1970), Prologue (Robin Spry, 1970), The Clinton Special (Michael Ondaatje, 1974), La Vraie Nature de Bernadette (Gilles Carle, 1972), The Hard Part Begins (Paul Lynch, 1974), Wedding in White (William Fruet, 1972), Recommendation for Mercy (Murray Markowitz, 1975), Man oncle Antoine (Claude Jutra, 1971), The Apprenticeship of Duddy Kravitz (Ted Kotcheff, 1974), and Montreal Main (Frank Vitale, 1974) as examples of urban located films. Concludes that attitude governs the telling

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of the story and that critical social awareness is an important ingredient in the film's narrative. 123 Demers, Pierre. Le patrimoine cinematographique: une richesse negligee. Antennes no 6 (1977) 5-8. fr. Pierre Demers se penche sur le patrimoine cinematographique qui, d'apres lui, forme partie du patrimoine culturel. II propose ainsi des solutions precises pour la sauvegarde de ce patrimoine. 124 Bonneville, Leo. Les nouveaux censeurs. Sequences no 87 (Janvier 1977) 2-3.1 ill, fr. Defense de la liberte d'expression des critiques de cinema dont le principal devoir est de renseigner le public. On souligne que les critiques ont une responsabilite face au public et non face aux producteurs. 125 Mendeluk, George. Opinions : Freedom for imagination. Cinema Canada no 34-35 (February 1977) 53. En. Considers the question, "What is a Canadian film?," while on location in Mexico. Contends that the concept of nationalism is irrelevant to cinema because filmmakers belong to a world community, not a country. Predicts that Canada will lose its talented filmmakers if it continues to foster nationalistic films. 126 Bonneville, Leo. Ou Bergman ou Leone ou Lumet? Sequences no 88 (avril 1977) 2-3. fr. Reflexion sur les propos du secretaire d'Etat John Roberts concernant les trois voies possibles pour la survie du cinema canadien: la creation d'un cinema canadien refletant 1'identite canadienne, 1'investissement massif dans 1'industrie cinematographique pour concurrencer sur le marche international et un meilleur acces des compagnies americaines a des lieux de tournages canadiens. Leo Bonneville souligne aussi les problemes que suscitent la coproduction et la distribution. 127 Harcourt, Peter. Notes for an article that needs to be written: Nationalism and the Canadian consciousness. Cinema Canada no 37 (April-May 1977) 30-33. 12 ill, En. Contemplation of Canadian consciousness, with many quotes from literature reflecting attitudes and ideas about Canada's uniqueness. One such quote from Northrop Frye suggests that national unity is a political and economic matter, while identity is primarily a cultural and imaginative question. Identity, which is posited as a regional affiliation, is seen to be explored and affirmed through art. Because of the nature of the film industry and other media in Canada, which are dependent upon the government for funding, it is demonstrated that there is an inherent bias in Canadian media to focus on national or international concerns. Thus, the author argues for decentralization of the media so that Canadians can develop and nurture an identity that respects regional differences. 128 Pratley, Gerald. Canadian features: Are they watching in Wichita? Cinema Canada no 37 (April-May 1977) 34-37. 3 ill, En. Discussion of the difference between films that reflect a sense of Canada and those that emulate the American style. An appeal is made for the film industry to use Cana-

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General Studies / Etudes generates dian actors, settings, and issues rather than trying to be successful in an international market. Examples are provided, both of films that are naturally Canadian and those that fail because of concessions made to adhere to imagined international standards.

129 Bowie, Douglas. A view from nowhere. Cinema Canada no 38-39 (June-July 1977) 38-39. 2 ill, En. The anonymity of Canadian feature films is revealed by a Kingston, Ontario, resident who records the low attendance and brief running of these films in a town reputedly known for its interest in culture. He discusses possible causes, such as not enough advertising, and concludes that Canadian feature films are simply not perceived as culturally or socially significant. 130 Birnie, Ian; Reif, Tony; Bastien, Jean-Pierre. Independent views. Cinema Canada no 38-39 June-July 1977) 45-49. 3 ill, En. Three members on the jury to select three programs devoted to Canadian independent filmmaking give their views of independent filmmaking in various parts of the country and provide examples of films that conform to general themes and those that deny classification. Vancouver, British Columbia's predominant themes are mountains, the sea, and Orientalism. Ontario's predominant themes are urban life, with a familial presence reflected in middle-class living rooms, and Quebec's contrast an urban milieu, unique in its grimy realism, to a factual and detailed rural heritage. 131 Morris, Peter. Embattled Shadows: A History of Canadian Cinema, 1895-1939. Montreal, Quebec: McGillQueen's University Press, 1978. 350 p, 30 ill, bibl, index, En. Excerpts in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 14-21. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. This history of Canadian filmmaking before the founding of the National Film Board (NFB) of Canada in 1939 begins in 1896 with the exhibition of Vitascope films by Andrew M. and George C. Holland in Ottawa, Ontario. Chapter 1 considers the exhibitions of short comic and feature films that travelled through small towns and fairs, the Toronto Industrial Exhibition in Toronto, Ontario, in 1896, and the growth of permanent theatre houses in urban centres. Chapter 2 looks at filmmaking from 1896 to 1914, particularly the promotional films made by the Canadian Pacific Railway and the federal government that were intended to increase emigration from Britain to the Canadian West. Chapter 3 looks at the filmmaking boom brought on by World War I, particularly in the area of newsreel production, and notes the subsequent struggles between emerging Canadian producers and Hollywood. Chapter 4 concentrates on filmmaker Ernest Shipman, his early days in theatre productions, his career in film in the United States with his wife Nell Shipman during the 1910s, the films of their production company, and their financial decline by 1923. Chapter 5 looks at federal and provincial government sponsorship of film production, particularly through the Exhibits and Publicity Bureau and the Ontario Motion Picture Bureau, and considers filmmaking in the provinces from 1915 to 1930. Chapter 6 analyses Canadian filmmaking from 1925 to 1938, during which time Hollywood film companies achieved control over much of the global film market and

British film quotas promoted indigenous filmmaking in the regions of the British Empire. Chapter 7 looks at early industrial, documentary, and travelogue films, ending with the founding of the NFB. Chapter 8 analyses how Canada's film industry, which grew on the principles of classical liberalism and small business investment, could not properly withstand the domination of Hollywood's verticle integration and its feature film monopoly. Concludes with a chronology of films made in Canada from 1894 to 1913 and a filmography of selected Canadian productions from 1913 to 1939. 132 Veronneau, Pierre. Les Cinemas canadiens. Dossier etabli sous la direction de Pierre Veronneau. (Collection Cinema permanent). Montreal, Quebec: Cinematheque quebecoise; Paris, France : Pierre Lherminier, 1978. 224 p, 78 ill, bibl, index, fr. Version anglaise : Self Portrait: Essays on the Canadian and Quebec Cinemas. Document comportant des articles sur le cinema quebecois et canadien et des traductions des oeuvres des critiques quebecois. Pierre Veronneau commente, dans 1'introduction, la selection d'articles choisis pour definir le cinema national. II retrace les grandes lignes du cinema canadien et quebecois et revele les diverses methodes de critique. Parmi les auteurs, on retrouve Peter Morris (« 1898-1960 : Profil et perspectives »), Piers Handlings (« 1939-1959 : I/Office national du film »), Tony Reif et Kirk Tougas (« Le Cinema de la Cote Quest»), George Csaba Koller (« Le Cinema experimental »), Louise Beaudet (« L'animation »), Michel Euvrard et Veronneau (« Le Direct» et « Chronologic du Cinema au Canada, 18961977 »), Robert Daudelin (« La rencontre direct-fiction »), Pierre Pageau («1963-1977. Aper^us du cinema commercial»), Michel Houle (« Quelques aspects ideologiques et themathiques du cinema quebecois »), JeanPierre Bastien et Louise Beaudet (« 100 films canadiens » et « 50 cineastes canadiens ») et Bastien de nouveau pour « Reperes bibliographiques ». [Chaque chapitre fait 1'objet d'un resume distinct.] 133 Morris, Peter. 1898-1960: profil et perspectives. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 15-25. Montreal, Quebec: Cinematheque quebecoise; Paris, France: Pierre Lherminier, 1978. 4 ill, fr. Version anglaise : Canadian cinema : The first six decades. Aperc.u historique du cinema canadien comprenant, entre autres choses, des notes sur le premier film produit par le fermier manitobain James Freer en 1898, sous la tutelle du Canadien Pacifique, les premiers courts et longs metrages, les activites des producteurs independants tels que Ernest Shipman, et 1'effrondement de 1'industrie cinematographique canadienne en 1923 qui coincida avec 1'integration verticale de la production, de la distribution et de 1'exploitation a Hollywood. On remarque que les productions sporadiques des annees 1930 furent plutot des productions americaines jusqu'en 1939, annee ou John Grierson crea 1'Office national du film (ONF) du Canada au Canada. Peter Morris fait une chronique des films qui ont suivi la Deuxieme Guerre mondiale et mentionne 1'effervescence cinematographique des annees 1960 finalement etouffee par une exploitation limitee. 134 Veronneau, Pierre. Chronologic du cinema au Canada, 1896-1977. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 164-175. Montreal, Quebec :

Canada Cinematheque quebecoise; Paris, France : Pierre Lherminier, 1978. 1 ill, fr. Version anglaise, jusqu'a 1979 : A chronology of Canadian and Quebec cinema : 1896-1979. Description chronologique des principaux evenements de la production cinematographique canadienne et quebecoise entre 1896 et 1977. Parmi les points traites on retrouve les politiques et les lois gouvernementales qui regissent cette Industrie ainsi que les oeuvres produites durant cette periode. 135 Bastien, Jean-Pierre; Beaudet, Louise. 100 films canadiens. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 176-193. Montreal, Quebec: Cinematheque quebecoise; Paris, France: Pierre Lherminier, 1978.11 ill, fr. Version anglaise, avec 125 films : 125 Films. Liste alphabethique de 100 oeuvres canadiennes. Bref apercu et court commentaire pour chacun des films entre 1919 et 1977. 136 Bastien, Jean-Pierre; Beaudet, Louise. 50 cineastes canadiens. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 194-212. Montreal, Quebec : Cinematheque quebecoise; Paris, France: Pierre Lherminier, 1978. 13 ill, bibl, fr. Version anglaise, avec 75 cineastes: 75 Filmmakers. Repertoire d'une cinquantaine de cineastes, scenaristes, realisateurs, producteurs et cameramans canadiens, avec une courte bibliographic et filmographie pour chacun. 137 Lafrance, Andre A. La nouvelle vague du super-8. Cinema Quebec 6 no 4 (1978) 33. fr. Le super-8 qui est apparu pour la premiere fois dans les annees 1960 et qui a ete delaisse au debut des annees 1970 pour la photographic et la video, revient a la mode vers la fin des annees 1970. On explique les avantages du super-8 en prenant en consideration la qualite des images, le son et le cout. 138 Harcourt, Peter. Introduction: The invisible cinema. Cine-Tracts 1 no 4 (Spring-Summer 1978) 48-49. En. A brief introduction to a series of articles on Canadian cinema, edited by Peter Harcourt and published in Cinetracts 1 no 4 (Spring-Summer 1978) 48-80. Describes Canadian cinema as an invisible cinema, in that limited access to Canadian films by scholars and the general public results in a lack of critical analysis and general knowledge of Canadian cinema. 139 Cox, Kirwan. Oh, say! Can you see? Cinema Canada no 46 (April-May 1978) 14-15.1 ill, En. A transcription of the notes prepared by Kirwan Cox, chair of the Council of Canadian Filmmakers, for the Task Force on Canadian Unity. Investigates the overwhelming influence of the American cultural product on Canadian culture, noting that the Quebec sovereignty issue should be viewed in these terms. Calls on the government to exert energies towards the promotion and distribution of Canadian culture and to provide funding to help the Canadian film industry grow independently rather than under the control of the United States. 140 Hall, Anthony. Getting it right. Cinema Canada no 48 (August 1978) 14-17. 4 ill, En.

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States that George Bloomfield's Kiel (1979) and R. Martin Walters's Marie-Anne (1978) reflect the recent trend in Canadian feature filmmaking to depict the history of the development of the Canadian West. Discusses the original sources for Marjorie Morgan's script for Marie-Anne, which depicts the adventures of the first white woman in Western Canada circa 1806, and argues that the film's major problems result from an insufficient budget and the filmmaker's lack of familiarity with the epoch they seek to recreate. States that the considerably higher budget of Kiel enabled the film's art director Bill Beeton to construct historically accurate sets, but claims that the film often distorts historical record, most noticeably in its neglect of the role of the language issue in the North West Rebellion of 1885. Argues that both films underplay the native involvement in the history of Western Canada, and mentions the original sources for Roy Moore's script for Kiel. 141 Jacobowitz, Florence. New German cinema: On the road to a national cinema. Cinema Canada no 49-50 (September-October 1978) 34-37. 3 ill, En. Analyses the development of the New German Cinema, a movement which emerged form a system colonized by American film and culture, to provide insight into Canada's attempts to establish a popular, commercially viable national cinema in spite of American cultural domination. Argues that the German model proves that in developing a national cinema, the Canadian film industry must seriously address the economic issues of levies, quotas, and an improved distribution and exhibition system. Also argues that Canadians must investigate the sources for nurturing national and historical self-images and must develop a decolonized perspective. 142 Walsh, Michael. The Canadian Movie Quiz Book. Scarborough, Ont: Macmillan-NAL Publishing, 1979. 151 p, 11 ill, index, En. Organizes quiz-like questions about Canadian movies, including movies made in Canada and with Canadians in the following sections : Canadian performers in American films (Vancouver, British Columbia, Toronto, Ontario, eastern, native, musicians); Canadians who initiated and/or participated in American theme films (science fiction, historical); films shot on location across Canada by famous American directors and Canadians who established their directing careers in the United States and those who became established in Canada. Also includes questions about images, ideals, and historical events, such as the Royal Canadian Mounted Police and hockey, that were represented in American films. Answers, a name index, and a film title index, are provided. 143 Sturken, Marita. Toronto conference on autobiographical films. Afterimage 6 no 6 (January 1979) 3.1 ill, En. An overview of the conference on autobiographical film held 4-5 September 1978 in Toronto, Ontario. Refers to the panel discussions that addressed such topics as the experiences of filmmaking, the working process, and the marginalization of women filmmakers. Briefly discusses Kathleen Shannon's Goldwood (1974) and David Rimmer's West Coast Portrait (1967) which were exhibited at the conference. 144 Ross, Rodger J. Tech News : Film post-production on videotape. Cinema Canada no 53 (March 1979) 32-33. En.

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General Studies / Etudes generates Outlines the technical history of converting feature films for television viewing. Explains how the vidicon tube in telecine cameras operates and how automated signal level controls threaten the quality of recorded images. Praises the advent of video.

145 Elder, Bruce. Modes of representation in the cinema : Towards a new aesthetic model. Cine-Tracts 2 no 2 (Spring 1979) 55-61. En. Discusses the cinema of presentation and the cinema of illustration as two possible stylistic approaches to filmmaking. The cinema of presentation is defined by the desire to create a simulacrum of reality, while the cinema of illustration is constituted by the desire to illustrate a body of conceptual material. The cinema of construction, a third possible stylistic approach, is constituted by the desire to construct a nexus of internal relations between the cinema of presentation and the cinema of illustration. Focuses on the differences between the presentational and illustrative modes of cinema, citing Terence MacartneyFilgate's use of cinema verite in The Back-breaking Leaf (1959) as an example of the cinema of illustration, and the empirical approaches of Donald Brittain's Bethune (1964) and Roman Kroitor's The Living Machine (1962) as examples of the cinema of presentation. Considers Michael Snow's One Second in Montreal (1969) in terms of the theme of temporality and the incorporation of the still photograph in film, and states that Snow's film is an example of the cinema of construction. 146 Berube, Robert-Claude. Un choix de films sur 1'enfant. Sequences no 96 (avril 1979) 10-12. 3 ill, fr. Dans le cadre de 1'Annee internationale de 1'enfant, on presente une filmographie regroupant des films de differents pays ou les enfants tiennent le role principal. Parmi les films canadiens, on trouve Who Has Seen the Wind (Mais qui a vu le vent) (1977) d'Allan King, Guitare (1975) de Richard Lavoie, Lies My Father Told Me (Les Mensonges que mon pere me contait) (1975) de Jan Kadar et Comme les six doigts de la main (1978) et Les Vrais Perdants (1979) d'Andre Melanc.cn. 147 Bonneville, Leo. L'enfant dans le cinema canadien. Sequences no 96 (avril 1979) 4-9. 4 ill, fr. Courte etude sur la place qu'occupe 1'enfant dans le cinema canadien a partir des films tels que Le Rossignol et les Cloches (1952) de Rene Delacroix, La Petite Aurore 1'enfant martyre (1952) de Jean-Yves Bigras, Les Mensonges que mon pere me contait (1975) de Jan Kadar, Mon oncle Antoine (1971) de Claude Jutra, Mon enfance a Montreal (1971) de Jean Chabot, Eclair au chocolat (1979) de JeanClaude Lord, ainsi que Why Shoot the Teacher (1977) de Silvio Narizzano, L'Eau chaude I'eau frette (1977) d'Andre Forcier, La Poursuite mysterieuse $1,000,000 sur la glace (1975) de Jean Lafleur (avec Peter Svatek), Comme les six doigts de la main (1978) et Les Vrais Perdants (1979) d'Andre Melan^on. 148 Medjuck, Joe. Film. Canadian Forum 59 (May 1979) 33. En. Argues that the lack of critical attention paid to non-commercial cinema by the Canadian media results in a lack of awareness of and access to alternative films.

149 McMahon, M.J. Movie find: Rare films are unearthed in Dawson permafrost. Heritage Canada 5 no 2 (May 1979) 5. 1 ill, En. Reports the discovery in Dawson, Yukon, of a collection of films dating back to 1903 and containing rare World War I footage. The findings were composed of both feature and serial-length films and a collection of historical records, British Canadian Pathe News, and Pathe Animated Gazette. Notes the extent of the physical damage to the films, originally screened at the Dawson Amateur Athletic Association, then stored at the Carnegie Library and used for landfill for a nearby swimming pool. 150 Kula, Sam. There's film in them thar hills! American Film 4 no 9 (July-August 1979) 14-18. 7 ill, En. Reports that in the summer of 1978 hundreds of partially frozen reels of nitrate film were recovered while digging in a vacant lot in Dawson City, Yukon Territories. The films, all on 35mm stock, dating from 1903 to 1929, include one-reelers, serials, newsreels, and theatrical films. Describes how the films are likely to have been deposited, and outlines the restoration, cataloguing, and printing procedures being undertaken by the Public Archives of Canada. 151 Cervoni, Albert. Le Quebec en Poitou. Cinema 79 no 247-248 (juillet-aout 1979) 155-156. fr. Description d'une seance de films canadiens tenue a Poitiers (France). Les films mentionnes et brievement decrits sont Les Servantes du bon Dieu (Diane Letourneau, 1978), La Belle Apparence (Denyse Benoit, 1979) et les films de Jacques Leduc de la serie Chronique de la vie quotidienne (1977-1978) produite par 1'Office national du film (ONF) du Canada. L'auteur parle aussi de la presence de cineastes comme Gilles Groulx et Fernand Dansereau, qui ont parle des aspects positif et negatif du cinema direct et qui ont etabli des comparaisons entre les films 16 mm et 35 mm. 152 Dichek, Bernard. Self-images: Alberta's native peoples. Cinema Canada no 58 (September 1979) 20-21. 3 ill, En. Bernard Dichek, development officer with the Department of Communications Media at the University of Calgary in Calgary, Alberta, shares his observations while filming Education for Native Peoples (1979). Dichek learned of the need for more positive native role models and success stories in the media and the education system. 153 Nichols, Bill. Whatever happened to Saturday night? : The recent cinema. Queen's Quarterly 86 no 3 (Fall 1979) 383408. bibl, En. Discusses the influence of Hollywood films on mass culture, and considers Canada's impressionable film culture to be endangered by American domination of North American film distribution. Sees the most successful Canadian films as those that emphasize the connection between characters and their environment, as opposed to Canadian directors who deny any specific Canadian settings in their films in order to achieve a wider North American feel, such as Paul Lynch's Blood and Guts (1978). Examines past government agreements with Hollywood, negotiated in exchange for having Canada mentioned in American productions. International co-productions are

Canada considered as attempts to achieve the slickness found in Hollywood films. Australian cinema, which has lower budgets and places greater emphasis on content, is an alternative to copying Hollywood style. Les Rose's Three Card Monte (1978), for example, winner of two Canadian Film Awards, evokes a vivid sense of place and the strength and quietude inherent in the individuals' relationships to their environment. Criticizes the Canadian Motion Picture Distributors Association for not supporting Canadian filmmakers and insists that legislation and protective measures against Hollywood products are essential to establishing a Canadian film culture. Emphasizes that a Canadian film culture is different from a Canadian film industry in that it not only employs Canadians, but also produces a Canadian product, and cites Peter Harcourt, Martin Knelman, and Margaret Atwood on their definitions of the Canadian image. 154 Ross, Rodger J. Preparing films for transfer in telecine. Cinema Canada no 59 (October-November 1979) 30-31. En. Outlines the procedure to transfer feature films to telecine for television viewing. 155 Ackery, Ivan. Fifty Years on Theatre Row. North Vancouver, BC : Hancock House, 1980. 253 p, 64 ill, En. Ivan Ackery recounts his childhood in Britain, his immigration to Vancouver, British Columbia, in 1914, his experiences in World War I, and the manual labour jobs he had in the small towns of Western Canada. Traces his job as an usher at the Famous Players' palaces first in Calgary, Alberta, and then Vancouver from 1921 to 1928, paralleling it with detailed descriptions of the early years of the film industry, the growth of circuits, the expansion of Hollywood's production and film star promotion, and the glorious days of theatre palaces, which saw the consolidation of Hollywood's distribution, exhibition, and production network. As Vancouver manager of the Strand from 1928 and the Orpheum from 1934 to 1969, Ackery supplies anecdotes about film stars, directors, and producers, and describes the films he premiered and promoted, including some Canadian films and Hollywood films with Canadian themes. Ackery relates how the depression affected the industry, the use of newsreels in shows during World War II, the decline in film attendance in the 1950s caused by television, his activities as president of the Vancouver branch of the Motion Picture Pioneers in 1957 and 1958, and the conditions of the film industry in the 1960s, upon his compulsory retirement. The last chapter documents the negotiations he was involved in to save the Orpheum from demolition, its subsequent renovation, and its reopening in 1974. 156 Veronneau, Pierre; Handling, Piers, eds. Self Portrait: Essays on the Canadian and Quebec Cinemas. Preface by Piers Handling Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. xiv, 257 p, 42 ill, bibl, index, En. French edition, with less essays : Les Cinemas canadiens. Contains articles on Quebec and Canadian cinema and includes English translations of the work of Quebecois critics. Piers Handling, in the preface, explores how a selfportrait is a collective or individual image that we can see or are familiar with and suggests that Canadian film

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reveals a collective consciousness that has forgotten its history. In the introduction, Pierre Veronneau discusses the selection of articles chosen to define national cinema that trace the history of Canadian and Quebec film, isolate themes, and reveal the diverse methods of critical writing. Essays include Peter Morris's "Canadian Cinema : The First Six Decades," Kirwan Cox's "Hollywood's Empire in Canada," Handling's "The National Film Board (NFB) of Canada : 1939-1959," Veronneau's "The First Wave of Quebec Feature Films: 1944-1953," Peter Harcourt's "1964 : The Beginning of a Beginning," Michel Euvrard and Veronneau's "Direct Cinema, " Robert Daudelin's "The Encounter Between Fiction and the Direct Cinema," Louise Beaudet's "Animation," Tony Reif and Kirk Tougas's "West Coast Filmmaking," Pierre Pageau's "A Survey of the Commercial Cinema: 1963-1977," Michel Houle's "Some Ideological and Thematic Aspects of the Quebec Cinema," Veronneau's "A Chronology of Canadian and Quebec Cinema 1896-1979," Bastien, Beaudet, Handling and Veronneau's "75 Filmmakers," Bastien, Beaudet and Handling's "125 Films," and "A Select Bibliography" by Bastien, Barbara Coulson, and Handling. [Each of these articles has been abstracted separately] 157 Morris, Peter. Canadian cinema: The first six decades. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 1-10. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. En. French edition : 1898-1960 : Profil et perspectives. Provides a history of Canadian cinema, including the first film made by Manitoban James Freer in 1898, Canadian Pacific Railway's promotion of films, newsreels, feature and short-length productions, the activities of independent producers such as Ernest Shipman, and the decline of Canadian filmmaking in 1923 which coincided with the vertical integration of production, distribution, and exhibition in Hollywood. Notes that American productions were responsible for most of the sporadic activity of the 1930s, until 1938 when John Grierson initiated the National Film Board (NFB) of Canada. Chronicles the films produced after World War II, to the increased film productions of the 1960s which were frustrated by limited exhibition. 158 Veronneau, Pierre. A chronology of Canadian and Quebec cinema : 1896-1979. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 183-196. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. En. French edition, to 1977: Chronologic du cinema au Canada, 18961977. A descriptive chronology of key events, government activities, and Canadian and Quebec film production, from 1896 to 1979. 159 Bastien, Jean-Pierre; Handling, Piers; Beaudet, Louise; Veronneau, Pierre. 75 Filmmakers. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 197-221. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. En. French edition, with 50 filmmakers : 50 cineastes canadiens. Provides brief biographies and filmographies for 75

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General Studies / Etudes generates selected Canadian scriptwriters, screenwriters, directors, animators, cameramen, and producers.

160 Bastien, Jean-Pierre; Handling, Piers ; Beaudet, Louise. 125 Films. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 222-240. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. En. French edition, with 100 films: 100 films canadiens. An alphabetical listing of films and film series with credits and story synopses, from 1919 to 1977. 161 Demers, Pierre. Le Quebec: un vulgaire plateau de tournage oii le cinema international joue au mecene? Antennes no 18 (1980) 4-9. 5 ill, fr. L'article de Pierre Demers est un « manifeste pour un cinema national». II denonce 1'aspect « colonise» du cinema quebecois et la Societe de developpement de 1'industrie cinematographique canadienne qui, depuis sa creation en 1967, encourage la production de films etr angers au Quebec. 162 Cardin, Jean-Francois. Le Cinema et 1'Histoire: les bandes d'actualite en tant que document historique. Archives 11 no 4 (mars 1980) 19-31. fr. Etude du cinema comme source historique : sa valeur, ses rapports avec 1'archivistique et la critique du document « historique ». On trouve egalement un historique et une description des actualites a grande valeur historique. 163 Sanderson, James. Laser sidearms and radical chic. Cinema Canada no 66 Qune-July 1980) 14-17. 3 ill, En. Scriptwriter James Sanderson argues that films created in the 1970s have simplistic plots, relying on expensive special effects. Sanderson predicts that in the 1980s, big budget films will remain popular but will incorporate more complicated plots. He provides possible explanations for the popularity of simple, linear plots, such as television's absorption of daring social issues, the audience's desire to escape the rebellious mentality of the 1960s, and their preference for instant gratification. 164 Kroha, Lucienne. Caught in the crossfire. Cinema Canada no 67 (August 1980) 9-11. 2 ill, En. Reports that the panel discussion at the Bernardo Bertolucci retrospective in Montreal, Quebec, failed to address its topic, "In Search of a National Cinema : Hollywood's Influence on Filmmaking." Panel members Garth Drabinsky, Norman Jewison, Michel Vennat, and Michel Brault concluded early in the discussion that there is no national cinema in Canada, and that Hollywood's influence is overwhelming. Consequently, the remainder of the discussion degenerated as most guests drew attention to their private projects and squabbled over the integrity of commercial filmmaking. Argues that more government funding is needed to support a national cinematic identity. Notes that Bertolucci, working in the context of a highly developed Italian cinema, cannot be expected to sympathize with the national identity question in Canadian cinema. 165 Thompson, Pat. Short and sweet. Cinema Canada no 68 (September 1980) 13-15. 4 ill, En.

Film programmer Pat Thompson outlines her criteria for selecting 16 mm short films to be viewed at the new Cineplex, Eaton Centre theatre complex in Toronto, Ontario. Of the 68 shorts programmed during the first year, 38 were Canadian including David Troster's Bubble (1980) and 18 other films from the National Film Board (NFB) of Canada including Caroline Leaf's The Metamorphosis of Mr. Samsa (1977), and Norman McLaren and Claude Jutra's A Chain/ Tale (1957). While conceding that the financial rewards are not great for the short films premiered in conjunction with commercial features, Thompson believes Cineplex has provided an important forum for filmmakers of short films to receive criticism. Notes that the Cineplex program concept has lead to the screening of short films across Canada. 166 McAuliffe, Gerry. New life for old triumphs. Maclean's 93 no 43 (27 October 1980) 24. En. Announces that Hannah Fisher, film co-ordinator for Harbourfront Studio Theatre, in Toronto, Ontario, has organized an eight-week program to screen 27 Canadian produced shorts, documentaries, and films. States that many films on the program have existed in obscurity, such as Claude Chabrol's Violette Noziere (1978) and Robin Spry's Drying Up the Streets (1979). Notes that there will be a showcase of films by filmmakers Donald Brittain and Jean Pierre Lefebvre. 167 Villedieu, Yanick. Toujours un artisanat. Quebec science 19 no 3 (novembre 1980) 13-14. 2 ill, fr. Lors de cette entrevue, Georges Dufaux, cameraman et Claude Hazanavicius, ingenieur du son, parlent de quelques innovations techniques du cinema depuis ses debuts comme la bande magnetique, la pellicule plus «tolerante», les cameras plus legeres et mieux insonorisees et le quartz. 168 CROP Inc. A Qualitative Study of Canadian Films. Conducted on behalf of the National Film Board of Canada. Montreal, Quebec : CROP, 1981. 72 p, En, fr. This study conducted on behalf of the National Film Board (NFB) of Canada in 1981 consists of two focus group interview sessions held in Montreal, Quebec, with ten francophone and ten anglophone participants. The objectives of this sample survey were to develop a series of questions on Canadian films for a national sample of 2,000 respondents, explore awareness and attitudes toward Canadian films and the parameters used to define a film as Canadian, and assess the degree of importance to participants of the Canadian film industry. The report concludes that there is a lack of awareness and interest in Canada's film industry and recommends that movie advertisements identify the film as Canadian, the locations of movies filmed in Canada be publicized, weekly programs presenting NFB films be televised, and short films, Canadian or otherwise, be shown before each feature film in theatres. The screening questionnaire and moderator's schedule form the appendices. Cette etude qualitative sur les films canadiens effectues en 1981 au nom de 1'Office national du film (ONF) du Canada a ete realisee a Montreal (Quebec) avec 1'aide de deux groupes composes de dix francophones et dix anglophones A 1'aide de cette etude preliminaire, on veut creer une serie de questions sur le cinema canadien qui seraient

Canada utilisees lors d'un sondage national realise aupres de 2000 repondants. II s'agit aussi de definir les connaissances et les attitudes des personnes face aux films canadiens ainsi que de delimiter les parametres qui sont employes pour definir un film « canadien ». De plus, on cherche a connaitre les liens que les participants entretiennent avec 1'industrie canadienne du film. Apres les rencontres, les auteurs concluent que les 20 participants manquent de connaissance et d'interet pour les films canadiens. Us font certaines recommandations : la creation d'un symbole identifiant un film produit au Canada, des campagnes de publicite lors d'un tournage de films canadiens en villes canadiennes permettant aux interesses d'y assister, la production d'une emission hebdomadaire de television sur les productions de 1'ONF et, enfin, la presentation de courts metrages, canadiens ou autres, comme complement au programme principal des salles de cinema. On trouve en annexe le questionnaire de depistage et le schema des entrevues qui sont les seules parties de ce document redigees en francais. 169 Feldman, Seth; Walz, Gene. English Canadian cinema since 1945. Journal of Canadian Studies / Revue d'etudes canadiennes 16 no 1 (Spring 1981) 1-2,116-117. bibl, En. Suggests that Canadian cinema will become the most visible forum for discussing the repatriation of the constitution and a new Canadian identity. Draws a parallel between the constitutional debate and John Grierson's formation of the National Film Board (NFB) of Canada, which sought to produce aggressive cinema that would bind the nation together through self-examination. Criticizes the Canadian Cooperation Project for ensuring American dominance of the Canadian film industry. Describes several instances in Canadian cultural history that manifested the potential to revive Canadian cinema, including the innovative work of the British Columbia film community from 1945 to 1970, and the development of direct cinema as a documentary form. Predicts that federal support for the arts will be greatly diminished by the end of the decade, but that there will nonetheless be an increase in the scale of production and appreciation of English Canadian cinema. 170 King, Allan. "The coffee-boy syndrome" and other observations on the state of the Canadian film industry. Journal of Canadian Studies / Revue d'etudes canadiennes 16 no 1 (Spring 1981) 82-89. En. Discusses the problems of cultural nationalism in the context of the Canadian film experience. Explores factors that have led to the emergence of a national culture in other countries in order to understand how such factors relate to the development of Canadian culture. Describes the cyclical nature of feature filmmaking in Canada since the inception of the Canadian Film Development Corporation and claims that the Canadian film industry lacks a clear vision of its role in Canadian culture. Identifies the "coffee-boy syndrome" as the growing recognition of Canadian technical expertise by foreign producers and directors, and notes the neglect of creative talent in Canada. States that one of the most difficult tasks in the process of developing a profound film culture in Canada is establishing self-confidence, self-esteem, and pride in the talent necessary for quality filmmaking. The author examines his own film Silence of the North (Allan King, 1981) to illustrate this point. States that another major

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problem in the Canadian film industry is the shortage of competent producers, but claims that the recent work of producers Michael McCabe and Michael Spencer is encouraging. 171 Alekseychuk, Leonid ; Alekseychuk, Larisa. True to the art. Cinema Canada no 75 (July 1981) 28-30. 4 ill, En. The problems inherent in attempting to capture a painting on film are discussed by ex-patriate Soviet filmmakers Larisa and Leonid Alekseychuk, who are currently producing a one-hour film on Canadian artist William Kurelek. The Alekseychuks argue that in order to film paintings, filmmakers must fine-tune their craft in order to receive the painter's message. They also maintain that filmmakers must be equal to their subjects and unafraid to transform a painter's work. 172 Canada Council hopes to bring back shorts to theatres. Cinema Canada no 79 (November 1981) 9. En. Announces the Canada Council's decision to fund the Canadian Independent Short Film Showcase, a pilot project scheduled for 1981-82. Explains the eligibility requirements for the contest and notes that the winning entries will be given cash awards and will be distributed to Canadian movie houses free of charge. 173 Akademie der Kiinste. OKanada. 5 December 1982-30 January 1983. Catalogue essays by Pierre Theberge, Bruce Ferguson, Renee Baert, Andree Duchaine, Peggy Gale, Bruce Elder, Pierre Veronneau, Peter Harcourt, Piers Handling, and Louise Beaudet. Berlin, Germany: Akademie der Kiinste ; Canada Council, 1982. 477 p, 797 ill, bibl, En, fr, Ge. The catalogue of the OKanada exhibition explores postWorld War II Canadian architecture and contemporary painting, sculpture, film, video, dance, theatre, music, and literature. The section on video art includes essays by Pierre Theberge, Bruce Ferguson, Renee Baert, and Andree Duchaine. Theberge analyses John Massey's three screen film As the Hammer Strikes (A Partial Illustration) (1982); Ferguson compares the bland wasteland of useless information and state myths of television with the unfulfilled dream of video as a new interactive form of communication; Baert provides an overview of video production in Canada; and Duchaine charts the historical development of video in Quebec. Clive Robertson's Intervention (1982) is then presented, followed by the program of videos shown, including still photos from each. Peggy Gale's subsequent look at performance art includes an assessment of the role of video in performance art. The section on film begins with an essay by Bruce Elder in which he looks at the problems of perception posed by photography in the films of Michael Snow and Jack Chambers. Pierre Veronneau presents a historical overview of documentary and feature film in Quebec, while Peter Harcourt does the same for English Canada. An essay delving into Canada's strength in the documentary film form by Piers Handling follows. Louise Beaudet's look at animated film in Canada completes the section on filmic arts. Le catalogue de 1'exposition OKanada est une exploration de 1'architecture canadienne, de la peinture , de la sculpture, du cinema, de la dance, du theatre, de la musique et de la litterature contemporaine Le chapitre sur 1'art video inclus des articles de Pierre Theberge, Bruce Ferguson,

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General Studies / Etudes generates Renee Baert et d'Andree Duchaine. Theberge fait une analyse du film As the Hammer Strikes (A Partial Illustration (1982) de John Massey tandis que Ferguson compare la television a un terrain vague d'information sterile et de mythes gouvernementaux, a cause des reves non-realises de la video, cette nouvelle forme interactive de communication. Baert fait un survol de la production video du Canada. Duchaine donne un apercu historique de developpement de la videocasette au Quebec. Intervention (1982) de Clive Robertson est alors presente, suivi d'un programme illustre des videos projetes. Dans cette analyse sur 1'art du spectacle, Peggy Gale evalue le role de la video au sein de cet art. Quant au domaine cinematographique, Bruce Elder ouvre la section par une analyse des problemes poses par la photographic dans les films de Michael Snow et de Jack Chambers. Pierre Veronneau presente ensuite un apergu historique des documentaires et longs metrages du Quebec, tandis que Peter Harcourt en fait de meme pour les films canadiens-anglais. Piers Handling enchaine avec un article fouille sur 1'aptitude du Canada dans la production des documentaires. Enfin, Louise Beaudet jette un coup d'oeil sur les films d'animation au Canada.

174 Harcourt, Peter. Feature films in English Canada. Canadian Forum 61 (February 1982) 15-18; 62 Oune-July 1982) 48. 3 ill, bibl, En. Overview of the history of the feature-length film in English Canada. States that the history of English Canadian filmmaking, including both shorts and featurelength films, is lacking continuity in terms of cultural and industrial strategies. Argues that the prevalent attitude in Canada towards filmmaking has been one that values film not for its own sake but rather for its utilitarian potential, and that this is the likely reason for Canada's distinguished international reputation as a producer of documentaries under the auspices of the National Film Board (NFB) of Canada. Documents the struggle for films in English Canada to retain the integrity of small scale, distinctly Canadian regional productions, while attempting to be commercially viable both domestically and internationally. The negative result of the struggle for commercial success was the Canadian Corporation Project, an agreement between the Canadian government and the Motion Picture Association of America in which Canada agreed not to produce feature films and guaranteed free flow to the United States of all profits made by Hollywood films in Canadian theatres. Examines, in this historical context, the following films : David Cronenberg's The Parasite Murders (1975), Rabid (1977), and Scanners (1981); Don (Donald) Shebib's Coin' Down the Road (1970) and Heartaches (1981); Allan King's Who Has Seen the Wind (1977), Running Away Backwards (1964), A Married Couple (1969), Warrendale (1967), and Come on Children (1973); Ralph L. Thomas's Ticket to Heaven (1981), and Richard Benner's Outrageous (1977). Discusses the Americanization of Canadian films generally associated with the appointment of Michael McCabe as executive director of the Canadian Film Development Corporation, and the ability of producer and distributor Garth Drabinsky to compete with Americans for Canadian film business. 175 Scott, Jay. Burnout in the great white north. American Film 7 no 5 (March 1982) 65-71. 3 ill, En. Reprinted with introduction and postscript in Take Two, edited by Seth Feldman, 29-35. Toronto, Ont: Irwin Publishing, 1984.

Argues that a disregard for Canadian culture and topography in Canadian films is the central obstacle to developing a viable film industry in Canada. Claims that tax shelter laws proved detrimental to Canadian film aesthetics, forcing talented filmmakers such as Paul Almond and Claude Jutra to make psuedo-American films with which they were not artistically comfortable. Examines Jutra's Surfacing (1981) and Francis Mankiewicz's Les Bons Debarras (1980) as examples, respectively, of failed and successful Canadian film production. Presents Jean Pierre Lefebvre as one of Canada's most accomplished directors and examines his films Avoir 16 ans (1980), L'Amour blesse (full title L'Amour blesse (Confidences de la nuit), 1977), and Le Vieux Pays oil Rimbaud est mort (1978) in this context. Includes an addendum entitled Banned in Ontario that discusses the detrimental effect of the Ontario Censor Board on Canadian film art. 176 Pittman, Bruce. Ten hot years: plus c.a chauffe, plus c'est la meme chose. Cinema Canada no 83 (April 1982) 30-34. 24 ill, En. Reviews the highlights and pitfalls of Canadian cinema since 1972. Filmmakers Richard Leiterman, Ian McDougall, Andra Sheffer, Henri Fiks, Mark Irwin, Denis Heroux, David Cronenberg, Claude Jutra, Robert Menard, Armand Cournoyer, Robert Lantos, Donald Brittain, Robin Spry, Pat Ferns, Barbara Laffey, Roland Ladouceur, John Dunning, Sydney Newman, Bill (William D.) Marsden, Allan King, Robert Rouveroy, and Linda Beath look back on their careers since 1972, commenting on the health and development of Canadian filmmaking during the decade. 177 Pratley, Gerald. Hollywood's Canada. Books in Canada 11 no 4 (April 1982) 6-8.1 ill, En. Discusses the dominating influence of American culture in English Canada, and the acceptance of the American characteristics of English Canadian films and filmmaking. Criticizes the attempt to disguise Canadian films as American, and the complicity of both the federal government and the Canadian Film Development Corporation in supporting this denial of national identity. Contrasts this situation with filmmaking in Quebec, where the cinema tends to reflect the society of Quebec. The film version of Margaret Atwood's Surfacing (Claude Jutra, 1981) is used to illustrate the differences between Canada and the United States in terms of representation and values. 178 Cadrin-Rossignol, lolande. La creation cinematographique. Quebec fran$ais no 46 (mai 1982) 23. 2 ill, fr. Discussion sur la creation cinematographique et sur les qualites requises pour etre createur. 179 Leach, James. Second images: Reflections on the Canadian cinema(s) in the seventies. Dalhousie Review 62 no 2 (Summer 1982) 181-195. En. Reprinted in Take Two, edited by Seth Feldman, 100-110. Toronto, Ont: Irwin Publishing, 1984. Discusses differences between filmmaking in English Canada and Quebec in terms of national consciousness and political vision. Argues that the cinematic impetus that occurred both in Quebec and in English Canada in the early 1960s was characterized by a sense of rejection of old certainties and by a struggle to establish new values.

Canada Cites Michel Brault, Marcel Carriere, and Pierre Perrault's Pour la suite du monde (1964), Claude Jutra's A tout prendre (1964), Gilles Groulx's Le Chat dans le sac (1964), and Don Owen's Nobody Waved Good-bye (1964) to support this thesis. After this period, the thematic differences between English Canadian films and those produced in Quebec became more explicit. The new political consciousness, as manifested in Quebec culture, resulted in films that revealed a rejection of the reactionary attitudes of the church and opposition to perceived English oppression, such as Pierre Patry's Trouble-fete (1964), Brault's Les Ordres (1974), Clement Perron's Partis pour la gloire (1975), Jean-Guy Noel's Ti-Cul Tougas (1976), and Andre Forcier's Bar Salon (1975) and L'Eau chaude I'eaufrette (1977). States that though political and psychic tensions are apparent in English Canadian films of the same period, the expression of such tensions is less impassioned and reflects a theoretical nationalism coupled with a fear of losing American economic benefits. Illustrates this point by exploring Donald Shebib's Gain' Down the Road (1970), George Bloomfield's Child under a Leaf (1974), Doug Jackson's The Heatwave Lasted Four Days (1975), Peter Carter's The Rowdyman (1972), Paul Lynch's The Hard Part Begins (1974), and Peter Pearson's Paperback Hero (1973). 180 Ticket. 1 no 1-2 no 4 (decembre 1982-janvier 1983-mai 1984). Six fois par an. Montreal, Quebec : TV hebdo, decembre 1982-janvier 1983-mai 1984. ill, fr. Ticket, le « cinemagazine », comme le mentionne le soustitre, etait dirige vers le grand public. Son format etait celui d'un magazine hollywoodien, avec pages glacees, photos couleurs et des sections comme « Premiere », « A voir? », et « Tournage ». Le directeur general etait Jacques Parisien, le directeur de redaction Daniel Proulx, et Rene Homier-Roy, le redacteur en chef. II y avait plusieurs collaborateurs connus, dont Pierre Foglia, Michel Tremblay, Pierre Nadeau, Francois Truffault et Pierre Pascau. II y avait des sections comme « Le petit journal du cinema » (nouvelles d'ici et d'ailleurs, en breves capsules) et « Premiere » (nouvelles sorties de films). 181 Lessard, Denis. Cinema, video, performance. Vie des arts 27 no 109 (decembre 1982-janvier-fevrier 1983) 22-23. 2 ill, fr. Dossier sur 1'exposition OKanada qui se deroulera du 5 decembre 1982 au 30 Janvier 1983 a 1'Akademie der Kiinste a Berlin (Allemange). Mention est faite des performances et creations en video et sur pellicule de cette exposition. Les cineastes Jack Chambers, Chris Gallagher, Al Razutis et Michael Snow sont mentiones ainsi que 1'auteur-critique Bruce Elder. 182 Morris, Peter. Images of Canada. Film before Griffith, edited by John L. Fell, 67-74- Berkeley, California : University of California Press, 1983. bibl, En. Survey of pioneering filmmakers in Canada. Observes that the first films made in Canada featured regional geography and customs. The subject matter was scenic, featuring the Rocky Mountains and Niagara Falls, or the subjects were topical, presenting newsreels of visiting royalty or Klondike gold speculators. Notes that Robert Bonine filmed many features about Canada for the company Edison and the Biograph Company at the turn of the twentieth century. Traces the use of motion pictures as a

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publicity tool to encourage immigration to Canada, starting with James Freer's films commissioned by the Canadian Pacific Railway (CPR) Company. Discusses how the CPR and the federal government used movies to encourage British settlers to migrate to Western Canada. A series of 35 promotional films, entitled Living Canada, was produced in 1903 for release in the United Kingdom. Traces the film careers of F. Guy Bradford, Clifford Denham, and Joe Rosenthal, all involved in the Living Canada project. 183 Canadian Showcase to London's BFI. Cinema Canada no 92 (January 1983) 8. En. On 27 April 1983 several independently produced Canadian short films will be screened at the National Film Theatre in London, England. Lists the program. 184 Henderson, Mark. A different kind of red scare. Cinema Canada no 94 (March 1983) 32-33. 4 ill, En. Addresses concerns over the colour fading problem, whereby the the colour of aged film stock fades to purple or red. Examines two preservation techniques that help to alleviate this problem: the use of atmospherically controlled cold storage vaults, and a procedure that involves the use of black and white separations to preserve each colour component. Cites the opinions of experts working with both systems and states which method is used by a variety of Canadian film associations and institutions. 185 The 1982 Progress Report: Canada. SMPTE Journal 92 no 4 (April 1983) 414-415. 3 ill, En. An overview of the technical achievements in 1982 at the Canadian Broadcasting Corporation (CBC) and at the National Film Board (NFB) of Canada. Reports that the CBC has completed construction of a Broadcast Centre in Regina, Saskatchewan, and is renovating Radio Studio "G" in Toronto, Ontario. Notes that teletext centres have been established in Montreal, Quebec. Lists new equipment purchased by the NFB in 1982, including an Oxberry computer controlled animation stand. Announces that the NFB publishes a bilingual magazine, Perforations, on film technology. 186 Tourigny, Maurice. Quoi de neuf au cinema? L'opera. 24 Images no 18 (automne 1983) 22-27. 6 ill, fr. Dossier portant sur 1'utilisation de 1'art lyrique au cinema. Pour illustrer son propos, 1'auteur utilise, comme exemples, plusieurs oeuvres cinematographiques dont Les Bans Debarras (1980) de Francis Mankiewicz et Atlantic City (1980) de Louis Malle. 187 Samuels, Barbara. Surviving Hollywood : A report on the '83 "Conversations with Filmmakers." Cinema Canada no 99 (September 1983) 24,28-29.12 ill, En. Notes the success of the informal seminar series held in Montreal, Quebec, in February and March 1983, Conversations with Filmmakers, sponsored by the National Film Board (NFB) of Canada and the public relations firm Primo Piano. Outlines the structure of the sessions, designed as an occasion for local filmmakers to meet with each another as well as with invited guests, and notes that there was a question period with director Louis Malle and cinematographer Gordon Willis after the screening of their films. Includes comments by Malle and Willis.

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General Studies / Etudes generates

188 Wardlow, John. Stunted Canadians. Cinema Canada no 101 (November 1983) 6,24. En. Stunt coordinator John Wardlow requests that in the future Cinema Canada should include Canadian stunt coordinator credits for films from Western Canada. Cites John Scott's work on Draw (Steven Stern, 1984) and Wardlow's work on The Glitter Dome (Stuart Margolin, 1983), as well as other examples from these stunt coordinators, as contributions not credited in Cinema Canada. 189 Larouche, Michel. Photographic / cinema. Parachute no 33 (decembre 1983-janvier-fevrier 1984) 43-44. 1 ill, bibl, fr. Compte rendu de 1'evenement qui a eu lieu a la galerie Dazibao de Montreal (Quebec) ou Ton presentait, le 11 et 25 octobre 1983, des films ou 1'image photographique est utilisee, ainsi que des films realises par des photographes. Toutes ces oeuvres furent realisees par des artistes canadiens. The Ballad of Crowfoot (1968) de Willie Dunn et Serie 4 (1972) de Normand Gregoire, deux oeuvres produites par 1'Office national du film (ONE) du Canada. Michel Larouche decrit diverses techniques utilisees dans ces oeuvres comme le collage dans How the Hell Are You? (1972) de Veronika Soul et Old Orchard Beach, RQ. (1982) de Michele Cournoyer, le travail sur 1'organisation de 1'espace tel qu'exploite dans Passage (1973) et Horizon (1975) de Normand Gregoire, Black and White/Noir et Blanc (1971), L'Ennui (Les Reves d'un somnambule) (1973) et Light Study (1976) de Raphael Bendahan, ainsi que le travail de la photographic comme symbole tel que presente dans Le Jardin (du paradis) (1982) de Raphael Bendahan. Enfin, Larouche deplore le petit nombre d'artistes quebecois qui s'interessent a cette branche du cinema experimental. 190 Cote, Aline; De Gagne, Carole. Vers une perception plus juste des Amerindiens et des Inuits : guide a 1'usage des enseignants de sciences humaines primaire et secondaire ; filmographie selective commentee. Le document a ete produit par la Coordonnation des activites en milieu amerindien et inuit du ministere de 1'Education sous la responsabilite de Renee Bourque en collaboration avec Roger Lapierre de la Direction de la technologie educative a la Direction generale des moyens d'enseignement. Quebec, Quebec : Gouvernement du Quebec. Ministere de 1'Education, 1984.129 p, index, fr. Filmographie de 250 documents audiovisuels traitant de la question autochtone. Ce guide se veut un outil didactique pour les enseignants du primaire et du secondaire dans le cadre du nouveau programme de sciences humaines. Les auteurs souhaitent que cette filmographie puisse aider les enseignants a dormer a leurs etudiants une image plus juste des autochtones (Amerindiens, Metis, Indiens sans statut et les Inuit) et a creer, chez-eux, un esprit critique face aux stereotypes touchant ces derniers. On donne, apres une description tres precise de la methodologie employee, une evaluation de chaque document qui est classe en deux sections. Dans la premiere section, on trouve les documents audiovisuels fortement recommandes et recommandes. Cette cote est accompagnee d'une fiche technique comprenant un generique, les endroits disponibles de distribution, les couts de location, un court synopsis, des commentaires, des references aux objectifs des programmes et des renvois aux guides pedagogiques. La seconde section regroupe les documents

classes comme non-pertinents ou recommandes avec reserves. Pour cette section, on donne seulement le titre, le medium, 1'annee de production, la duree, la compagnie de production, le realisateur, le distributeur et des commentaires succincts sur le contenu et les stereotypes qu'ils peuvent propager. On complete cette filmographie par une annexe sur les modalites d'emprunts et les differents lieux de distribution pour ces documents audiovisuels. 191 Feldman, Seth. The silent subject in English Canadian film. Take Two, edited by Seth Feldman, 48-57. Toronto, Ont: Irwin Publishing, 1984. En. Language, according to Seth Feldman, is a society's manifestation of its political realities, and in Canada, the languages of English and French Canada have been central in the development of their respective cinemas. Upon exploring the linguistic siege mentality of Canada and the cultural domination of English Canada through language by Great Britain and the United States, Feldman comes to understand the silence so prevalent in the films of English Canada as a denial of self-expression. While language is a collective source of strength in the contemporary cinema of Quebec, as in the films of Pierre Perrault, English Canadian cinema has not given rise to a filmmaker willing to distinguish culture on the basis of language. English language productions produced by John Grierson during World War II at the National Film Board (NFB) of Canada such as The War for Men's Minds (Stuart Legg, 1943), emphasized that truth is not enough and placed the value of words in doubt. English Canadian films such as Ted Baryluk's Grocery (John Paskievich and Michael Mirus, 1982), Home Feeling: Struggle for a Community (Jennifer Hodge and Roger McTair, 1983), and Nobody Waved Goodbye (Don Owen, 1964) exemplify the silences and mistrust of words that arise in English Canadian cinema. Films celebrating the conscious renunciation of language as important to the protagonist's triumph include David Hartford's Back to God's Country (with Bert Van Tuyle, 1919) and Phillip Borsos's The Grey Fox (1983). Opportunities for other forms of communication made possible by silence are explored in the experimental films of Joyce Wieland, Bruce Elder, and Michael Snow. 192 Roy, Maurice. Le cinema est mort: vive le cinema. L'Actualite 9 no 1 (Janvier 1984) 37-40. 3 ill, fr. Discussion sur la croissance de 1'utilisation du magnetoscope a domicile. Avec des donnees statistiques, 1'auteur nous montre comment les habitudes des cinephiles ont change. Rene Malo, producteur de films quebecois, reconnaissant les nombreuses possibilities du video, met sur pied Videoglobe, une entreprise de production et de distribution de videocassettes en langue franchise, bien qu'il s'oppose a une trop grande popularite du format video. 193 Landmark US puts Canadians on show. Cinema Canada no 105 (March 1984) 49. En. American exhibitor Terry Thoren of Landmark Theatres proposed to package a Canadian Film Showcase to be shown in their 33 cinemas, composed of ten features and five shorts previously unseen in the United States. 194 Lacasse, Germain. Cultural amnesia and the birth of film in Canada. Cinema Canada no 108 (June 1984) 6-7. 2 ill, En.

Canada Contends that cinema was introduced to Canada at a press screening in Montreal, Quebec, 27 June 1896 and not in Ottawa, Ontario, 21 July 1896. Chronicles the pioneering role of noted Lumiere Cinematographic agent Felix Mesguich, as well as his colleagues Louis Minier and Louis Pupier. Outlines the history of the Hauterives, who came to Quebec from to France to operate a travelling cinema between 1987 and 1914. Their projector was called a "Historiographe," a name chosen to connote the pedagogical virtues of their program. Notes that Leo-Ernest Ouimet, Quebec's cinema pioneer, learned the business as a sound electrician at the Sohmer Park in Montreal where the Hauterives screened their Sunday shows until 1906. Concludes that Viscount Henry de Grandsaignes d'Hauterives and his mother Marie-Anne (Marie-Anne Treourret de Kerstrat) are unsung heroes of cinema history in Canada. 195 Rose, Hubert-Yves. Quelques notes sur le court metrage de fiction. Copie Zero no 21 (septembre 1984) 5.1 ill, fr. L'auteur fait 1'eloge du court metrage de fiction qui est pour lui beaucoup plus qu'un modele reduit du long metrage. II explique la difference fondamentale entre le court metrage et la nouvelle litteraire, a laquelle on le compare souvent, encourage fortement sa promotion et souligne les lacunes du systeme d'exploitation actuel. 196 Nelson, Joyce. Meditations on media, technology and the repressed feminine. Cinema Canada no 112 (November 1984) 10-13.4 ill, En. Examines the effect of media images and their reinterpretation of reality, an issue raised at the 1984 Festival of Festivals in Toronto, Ontario. Discusses Phillip Borsos's The Grey Fox (1983) and Micheline Lanctot's Sonatine (1984) in this context. 197 Wintonick, Peter. New Canadian cinema. Cinema Canada no 113 (December 1984) 20-23. 6 ill, En. In a discussion of the Canadian Perspectives program of the 1984 Festival of Festivals in Toronto, Ontario, film editor and video artist Peter Wintonick reflects upon Canadian identity, values, ironies, and possibilities. Reviews, in this introspective context, a number of recently produced Canadian films, including Dan Petrie's The Bay Boy (1984), Demitrios Estdelacropolis's Mother's Meat Freud's Flesh (1984), Rafel Zelinski's Hey Babe! (1984), Ron Mann's Listen to the City (1984), Tom Shandel's Walls (1984), William MacGillivray's Stations (1984), Atom Egoyan's Next of Kin (1984), Patricia Gruben's Low Visibility (1984), and Lea Pool's La Femme de I'hotel (1984). 198 Scott, Jay. The burnout factory: Canada's Hollywood. Midnight Matinees, 69-81. Toronto, Ont: Oxford University Press, 1985. En. Jay Scott's critical overview of the Canadian film industry from the 1960s to 1985 concentrates on the attempts of the government and filmmakers to develop an industry capable of competing with the American market. His analysis provides a chronological account of films and filmmakers in relation to government efforts to support the industry. Illustrates how policies and developments such as taxshelters, the formation of Telefilm Canada, and the creation of the Capital Cost Allowance caused mediocre

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films, some actually achieving national and international success, to flood the market in the early 1980s. 199 Kroker, Arthur. "Create or perish": Canada, culture and technology. Cinema Canada no 114 (January 1985) 6. En. An excerpt from Arthur Kroker's book Technology and the Canadian Mind: Innis/McLuhan/Grant (Montreal: New World Perspectives, 1984) that adresses the influence of technology on Canadian culture and the paradox between a notion of Utopian existence and a fear of nuclear extermination that characterizes the relationship between technology and culture. Cites the special technological contributions of Canadian thinkers such as Harold Innis, Marshall McLuhan, and George Grant, focussing on their views about the practical workings of a technological society. 200 Pevere, Geoff. Images of men. Canadian Forum 64 (February 1985) 24-28. 7 ill, En. Examines the Northern Lights retrospective of Canadian films, featured as part of the 1984 Festival of Festivals in Toronto, Ontario, in relation to the thesis posited in Robert Fothergill's book Coward, Bully or Clown (1973), that the negative depiction of men in English Canadian films is a result of the cultural inferiority felt by Canadian filmmakers and cultural consumers in relation to the United States. Traces the pattern of the theme of radical alienation by examining a number of English Canadian films screened as part of the retrospective : David Secter's Winter Kept Us Warm (1965), Larry Kent's The Bitter Ash (1963) and Sweet Substitute (1964), Don (Donald) Shebib's Gain' Down the Road (1970) and Between Friends (1973), Peter Carter's The Rowdyman (1972), Peter Pearson's Paperback Hero (1973), Phillip Borsos's The Grey Fox (1983), and the films of David Cronenberg. Also examines this theme in relation to the portrayal of Canadians in American made films such as Bob Fosse's Star 80 (1983) and Dennis Hopper's Out of the Blue (1983). Argues that the theme of radical alienation is taking on a new form, one of comic irony, as illustrated in the films of Atom Egoyan, John Paizs, and Ivan Reitman. 201 Elder, R. Bruce. The cinema we need. Canadian Forum 44 (February 1985) 32-35. En. Reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 260-271. Peterborough, Ont: Broadview Press, 1988. R. Bruce Elder proposes that a new cinema should begin with the premise that the current cultural crisis is due to the technological domination of homogeneity. Citing Peter Harcourt and Piers Handling's promotion of a realistic cinema, he argues that narrative is merely an example of technological mastery over our lives and that narrative film succumbs to this mastery. Noting the misuse of "new narrative," suggests that true cinema belongs not to the imagination, but to perception and immediate experiences, and that rather than attempting to create meaning, film should deconstruct it through immediacy, multiplicity, and temporally free non-causal forms. 202 Bruce, Bryan. Rap / Punk / Hollywood : "Beat Street" and "Out of the Blue." CineAction! no 1 (Spring 1985) 6-11. 3 ill, En. Observes that Stan Lathan's Beat Street (1984) and Dennis Hopper's Out of the Blue (released in Canada as No Looking Back, 1983) are structured around music and subcultures,

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General Studies / Etudes generates thus resisting easy classification within Hollywood's established film genres. Compares the narrative structure of the films, their representations of subculture, sex, class conflict, and familial relationships.

203 Funding in place for 1985 celebration of National Film Day. Cinema Canada no 118 (May 1985) 50. En. Lists some of the Canadian films to be premiered at National Film Day '85 in Vancouver, British Columbia on 22 June 1985. This year's focus will be youth oriented films. 204 National Film Week in BC in 1986. Cinema Canada no 119 (June 1985) 39. En. National Film Week for 1986 will be part of British Columbia's centennial celebrations and will include a special tribute to Vancouver, British Columbia, filmmakers along with screenings of Canadian classic and current films. 205 The state and / or / of Canadian cinema : A debate around "The cinema we need." Cinema Canada no 120-121 (July-August 1985) 26. En. An introduction to a debate focussing on Bruce Elder's article "The cinema we need." Elder's article, originally printed in Canadian Forum 44 (February 1985): 32-35, forcefully challenges the traditions of mainstream feature film production in Canada. The debate involves such film writers as Bart Testa, Peter Harcourt, Piers Handling, Michael Dorland, Geoff Pevere, and Elder himself, whose views appear in print in Cinema Canada 120-121 (JulyAugust 1985) : 27-38. Provides a historical context for "The cinema we need," describing the history of feature film production in Canada as one which is characterized by a long series of compromises and concessions to dominant American interests. 206 Testa, Bart. So, what did Elder say? Cinema Canada no 120-121 (July-August 1985) 27-29.1 ill, bibl, En. Describes Bruce Elder's article "The cinema we need," originally printed in Canadian Forum 44 (February 1985): 32-35, as an artistic manifesto characterized by a broad, combative declaration of purpose and a prescription for artistic practise. States that Elder argues for one politic, as associated with experimental filmmaking practise in Canada, while deconstructing and criticizing the counter-politic which informs what Edler describes as independent personal narrative films. Argues that Elder strives to maintain a strict opposition between narrative and experimental film and criticizes what he sees as the tendency to appropriate experimental film to narrative cinema through the concept of "new narrative," a concept associated with film writers Peter Harcourt and Piers Handling. States that Elder's manifesto explains his reasons for choosing to maintain this opposition, and examines how the controversy surrounding "The cinema we need" has informed interpretations of Elder's text, citing the critical responses of Robin Wood and Harcourt as examples. Concludes that there are reasons for taking Elder's warnings seriously, for the critical confusions surrounding "new narrative" films may serve to damage the further possibilities of Canada's avant-garde cinema. 207 Handling, Piers. The cinema we need? Cinema Canada no 120-121 (July-August 1985) 29-30.1 ill, En.

Argues that while the importance of Bruce Elder's article "The cinema we need," originally printed in Canadian Forum 44 (February 1985): 32-35, must be recognized, Elder's assumptions and conclusions regarding cinema in general and Canadian cinema in particular must be countered and questioned. Addresses Elder's critical stance on the issue of cinematic realism in relation to Canadian cinema, and Elder's abhorrence of what he describes as the technically and managerially oriented state of Canadian film. Describes and challenges Elder's objections to the concept of the "new narrative," as articulated by film critics Piers Handling and Peter Harcourt, and challenges the concept of the cinema we need as proposed by Elder, arguing that it is conceived entirely in terms of formal principles and thus seriously limited. Argues for a plurality of cinematic forms in Canadian cinema which call into quesion the dominant ideology, and insists that the narrative mode, considering its dominance as a film form, must be directly addressed and not merely discarded. Concludes that while Elder's vision may represent a cinema we need, it does not represent the cinema we need. 208 Harcourt, Peter. Politics or paranoia? Cinema Canada no 120-121 Quly-August 1985) 31-32.1 ill, En. Argues that while Bruce Elder's article "The cinema we need," originally printed in Canadian Forum 44 (February 1985): 32-35, is both challenging and insightful, it reflects the confusion of a theoretical debate with a political position, and makes assumptions that beg contestation. Challenges Elder's comments regarding the Canadian film retrospective, organized as part of the 1984 Festival of Festivals in Toronto, Ontario, and addresses his critical views on technocracy, realism, and narrative as they relate to cinema. Argues for a plurality of film form in Canadian cinema which would include, but not be defined by, Elder's concept of the cinema we need. 209 Elder, Bruce. A vindication. Cinema Canada no 120-121 (July-August 1985) 32-34.1 ill, bibl, En. Filmmaker and critic Bruce Elder defends the position articulated in his article "The cinema we need," originally printed in Canadian Forum 44 (February 1985): 32-35. Claims that his article was not intended as a contribution to film theory, and insists that it should be read as a polemic by those committed to developing a distinct Canadian culture. Emphasizes the threat to alternative cinematic practises posed by the neglect of such practises by professors, theorists, and critics of cinema. Incorporating Hegelian philosophy and what he describes as the modified relativist theories espoused by most critical theorists, Elder challenges the effectiveness and value of contemporary narrative practise. Describes the views of critics Piers Handling and Peter Harcourt as technologically determinist, in that they advocate a representational aesthetic and neglect avant-garde cinematic practises as a serious alternative to the status quo. 210 Dorland, Michael. The shadow of Canadian cinema: Bruce Elder's immodest proposal. Cinema Canada no 120121 (July-August 1985) 35-36.1 ill, bibl, En. Argues, within the context of the theories of philosophers Georg Wilhelm Friedrich Hegel and Walter Benjamin, that cinema is primarily part of a larger propaganda system and only very rarely does it achieve status as a simu-

Canada lacrum of individual consciousness. States that Bruce Elder's "The cinema we need," originally printed in Canadian Forum 44 (February 1985): 32-35, seriously considers what it means to dwell within this system of cinema, both as individuals and as Canadians. Describes Elder's article as a manifesto that urgently calls for manifestations of the Canadian imagination at this time of cultural crisis, and situates it in relation to other manifestos which constitute the most incandescent moments of Canadian history. Provides an outline of the debate regarding Canadian cinematic realism as articulated by Elder and critics Bart Testa, Piers Handling, and Peter Harcourt, and states that the political focus of Canadian cinema has been the source of both its strengths and limitations. Argues that in his article Elder anchors the Canadian cultural project in the concept of the nation itself, that he posits a profoundly ethical critique of the American technological universe, and that he propounds absolutely the Canadian critique of American modernity into a concept of cinema from within the technological closure. 211 Pevere, Geoff. The rites (and wrongs) of the Elder or the cinema we got: The critics we need. Cinema Canada no 120-121 Quly-August 1985) 36-38.1 ill, bibl, En. Argues that the prescriptive mode of film criticism is the most prevelant mode among Canadian film critics, and analyses Bruce Elder's article "The cinema we need," originally printed in Canadian Forum 44 (February 1985): 32-35, as an example of this tendency. States that the prescriptive mode of film criticism is grounded in certain critical assumptions, the most significant and problematic of these assumptions being that there is a perfect state, condition, and context for Canadian film as object. Briefly examines some of the conditions that have instigated and sustained the predominance of the prescriptive mode in Canadian film criticism in relation to Elder's article. Concludes that a shift from the prescriptive and evaluative method of criticism to one that is descriptive and analytical will result in a better understanding of Canadian popular culture and thus of Canadian cultural identity. 212 Winston, Brian. On Marshall McLuhan's television picture. Sight and Sound 54 no 4 (Fall 1985) 258-263. 7 ill, En. Examines recent technological developments in television and refutes theoretical arguments, such as those maintained by Marshall McLuhan, that assume a distinction between television and filmic qualities, and distinguish between modes of spectatorship relating to television and film. Contends that such a theoretical position defies scientific research, the facts of image making, and the psychological realities of spectatorship, and cites the innovations of Japan's NHK public broadcasting corporation in the area of high-definition television to support this thesis. States that Tadokoro has perfected a television that produces a 1,125 line picture that corresponds to the resolving capacity of standard 35mm film. Argues that such technological development proves that there are only quantitative and not qualitative differences between film and television, and maintains that an electronic image can be made to stimulate the retina of the human eye as effectively as a filmic image does. 213 Cantin, Roger. Le dilemme du court metrage (de fiction, independant, etc.). Copie Zero no 25 (septembre 1985) 4-6.1 ill, fr.

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L'auteur aborde les problemes de diffusion du court metrage qui, trop souvent, est peu connu du grand public. II souligne la difficulte des cineastes d'acceder a la notoriete dans le domaine, rappelle les budgets non proportionnes alloues a leurs productions, de meme que la reticence des distributeurs a presenter leurs films. Cantin propose ensuite des solutions possibles a la situation, dont 1'imposition d'un contingentement sur les distributions par la Loi sur le cinema, la mise en place de programmes de courts metrages ainsi que la creation de festivals de courts metrages. 214 Hebert, Pierre. Notes de court metrage... Copie Zero no 25 (septembre 1985) 9-10.1 ill, fr. Le cineaste Pierre Hebert rappelle les differents statuts attribues au court, au moyen et au long metrage. II considere le court metrage comme une marchandise culturelle devaluee qui repond presque uniquement a des fonctions utilitaires dans les mass medias. 215 Leach, Jim. The body snatchers : Genre and Canadian cinema. Film Genre Reader, edited by Barry Keith Grant, 357369. Austin, Texas : University of Texas Press, 1986.4 ill, bibl, En. Shortened version reprinted in Cinema Canada no 141 (May 1987) 18-21. Jim Leach suggests that the Canadian filmmaking experience is a product of the colonizing effects of American mass media and a reaction to American popular culture. Canadian film, while adopting American genres, has attempted to express the Canadian experience and similarly Quebecois film has evolved to define its culture as different from the dominant English Canadian culture. The economic pressure and temptation to tailor both English and French language films to established American genres, and to offer a sense of security to producers, investors, and audiences alike, is contrasted with the uncertainty evident in Canadian cinema. In the 1960s American controlled film distribution suppressed the first wave of Canadian feature filmmaking which originated at the National Film Board (NFB) of Canada with Don Owen's Nobody Waved Good-bye (1964) and Gilles Groulx's Le Chat dans le sac (1964), and by the late 1970s both English and French language films were using and changing American genres to reflect Canadian regional experiences. Explores Harvey Hart's The Pyx (1973), Peter Pearson's Paperback Hero (1973), Denys Arcand's La Maudite Galette (1972), Jean Pierre Lefebvre's Pigs Are Seldom Clean (1975), and Donald Shebib's Between Friends (1973), and points out that the bleakness of these films, arising from Canadian scepticism towards American values, foreshadowed their rejection by American critics. 216 Pevere, Geoff. Projections : Assessing Canada's films of '85. Canadian Forum 65 (March 1986) 39-42. En. Contends that the difficulty in establishing categories of film criticism and history in Canada stems from the eclecticism of Canadian film, using the films exhibited in the 1985 Perspective Canada series of the Festival of Festivals in Toronto, Ontario, as an example. This diversity is presented as giving rise to a distinctive Canadian cinema, and the author looks at Ted Kotcheff's Joshua Then and Now (1985), Donald Brittain's Canada's Sweetheart (1985), Roger Frappier and Jacques Leduc's Le Dernier Glacier (1984), Francois Bouvier and Jean Beaudry's Jacques et

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General Studies / Etudes generates Novembre (1984), Sophie Bissonnette's « Quel numero what number? » on le Travail automatise (1985), Nick Sheehan's No Sad Songs (1985), Sandy Wilson's My American Cousin (1985), Bachar Chbib's Memoirs (1985), John Paizs's Crime Wave (1985), and Giles Walker's 90 Days (1985). Analyses the dissolving barriers between fiction based and documentary filmmaking, the effects of American cultural hegemony on contemporary film, and the growing use in film of Canada's distinctive form of humour.

217 Canshow runs into Losique's opposition. Cinema Canada no 129 (April 1986) 42. En. Discusses the Film and Television Council of Canada's decision to cancel this year's plans to organize Canshow, which would have viewed television oriented Canadian products in an effort to attract foreign buyers, because Serge Losique, president of the World Film Festival of Montreal, Quebec, has organized a video component to the festival and purportedly felt threatened by Canshow plans. 218 Anglo / Franco Canadian film scholars gather in Quebec City. Cinema Canada no 131 (June 1986) 56. En. Reports on the historic reunion of some 200 Canadian film scholars which took place at Universite Laval in Quebec, Quebec as the Film Studies Association of Canada and its Quebec counterpart, the Association quebecoise des etudes cinematographiques held its first joint colloquium on Canadian and Quebec cinema. 219 Pay TV slots Canadian. Cinema Canada no 131 (June 1986) 73. En. Announces the Canadian Independent Cinema program that will be screened on First Choice-Superchannel at midnight every second Tuesday. 220 Dorland, Michael. The shame and the glory. Cinema Canada no 132 (July-August 1986) 20-23. 2 ill, bibl, En. Reprinted and expanded as Beyond shame and glory : Preface to a critical dialogue in Canadian / Quebecois cinema in Dialogue : cinema canadien et quebecois I Canadian and Quebec Cinema, edited by Pierre Veronneau, Michael Dorland, and Seth Feldman, 311-327. Montreal, Quebec : Mediatexte Publications and Cinematheque quebecoise, 1987. An overview of "Canadian and Quebec Cinema : A Critical Dialogue," the joint colloquium on Canadian and Quebec cinema held 21-24 May 1986 at Universite Laval in Quebec, Quebec. The colloquium was organized by the two national associations representing institutional film studies in Canada : the Association quebecoise des etudes cinematographiques, and the Film Studies Association of Canada. Describes the colloquium's two keynote addresses, historian Peter Morris's "Rethinking Grierson : the ideology of John Grierson" and Jean Pierre Lefebvre's "Le concept de cinema national," as reflecting the contradictory discourses within English Canadian and Quebec cinemas with respect to the nation and the state, and closely examines the question, addressed by the colloquium's feminist panel "Women and Cinema," as to whether there are distinct English Canadian and Quebecois feminisms each searching for their own representations of the national body. Also refers to discussions at the colloquium that dealt with the problematic feminist ideology in Canadian film, questions regarding the specificity

of Quebecoise film, and the films of Pierre Perrault. Concludes that if the colloquium proved anything, it was that English Canadian and Quebecoise cinematic discourses, despite their use of different languages, have much to say to one another. 221 Pevere, Geoff. Radical marginalia: Subversive signs from the hinterland. CineAction! no 6 (August 1986) 50-56. 3 ill, En. Argues that a rejection of American cultural hegemony, as well as subversive and radical responses to western ideology imbued in American politics and media, are frequently realized in Canada's independent and regional film productions. Illustrates the way in which the oppositional impulse in Canadian cinema manifests itself in John Paizs's Crime Wave (1985), Bachar Chbib's Memoirs (1985), Ron Mann's Listen to the City (1984), and Patricia Gruben's Low Visibility (1984). 222 Presant, Don. The Film / Video Interface. Cinema Canada no 133 (September 1986) 19. En. An overview of the Film-Video Interface seminar, held 24 May 1986 at the Ryerson Poly technical Institute in Toronto, Ontario, that was organized in an effort to create dialogue between the disparate and often competitive proponents of different technological developments in the film and video industry. Various panels, consisting of representatives from diverse professions within the industry, discussed such technical issues as original shooting on video or film, the process of transferring film to video, the minimization of the necessary generations of sound, and processes in audio and video post-production. States that the seminar proved that no one technological approach is suitable for every situation faced by film and video industry workers. 223 Trottier, Daniele. Alain Lacasse: des archeologues d'un nouveau genre. 24 Images no 28-30 (automne 1986) 33-35. 2 ill, fr. Alain Lacasse, collaborateur d'Andre Gaudreault de 1'Universite Laval a Quebec (Quebec), explique le travail immense requis pour la realisation d'une filmographie analytique du cinema des premiers temps. Cette entreprise a pris naissance en 1983, et est constitute d'une equipe de sept a huit etudiants qui analysent, plan par plan, des centaines de films datant de 1899 a 1907. 224 Trottier, Daniele. Le colloque de Laval: le cinema d'ici a temps et a contretemps. 24 Images no 28-30 (automne 1986) 52-60. 4 ill, fr. Resume des conferences tenues lors du colloque « Le Cinema au Quebec et au Canada : un dialogue critique ». Cet evenement bilingue, organise par les associations canadienne et quebecoise des etudes cinematographiques, s'est deroule a 1'Universite Laval a Quebec (Quebec) a l'automne 1986. Les conferences traitaient de trois sujets : les recherches sur 1'histoire du cinema canadien et quebecois, les femmes au cinema et le cinema de Pierre Perrault. 225 Billard, Jean-Antonin. Apercu sur les communications en anglais. 24 Images no 28-30 (automne 1986) 60. fr. Compte rendu de 1'apport des conferenciers anglophones lors du colloque « Le Cinema au Quebec et au Canada :

Canada un dialogue critique », qui s'est deroule a I'Universite Laval a Quebec (Quebec) a 1'autonrtne 1986. L'auteur se rejouit de 1'effort d'organisation d'un colloque biculturel et souligne les differences entre les themes abordes par les francophones et les anglophones. II commente, entre autres, les conferences de Seth Feldman, Peter Morris sur 1'ideologie de John Grierson, et celle de Jim Shedden concernant le manifeste theorique de Bruce Elder, « The cinema we need » (Canadian Forum 44 (fevrier 1985) 32-35). 226 Medicoff, Mark. Video mediation of theatrical film. Cinema Canada no 136 (December 1986) 13-16. 6 ill, En. Discusses the ever increasing popularity of video cassette recorders, and films mediated through video are received, distorted, and made to accommodate the problems inherent in the exhibition of a film through a television monitor. Such subjects as depth perception, close ups, frame and attraction of mass, magnetism, psychological closure, eye movement, vectors, the essence of television, internal technology, light environment, and made for television film are examined in this context. 227 Yacowar, Maurice. The Canadian as ethnic minority. Film Quarterly 40 no 2 (Winter 1986-1987) 13-19.3 ill, bibl, En. Presents the problems Canadian filmmakers have competing against American releases in Canada. American threats of trade embargoes exclude the imposition of a quota system, allowing a large percentage of film exhibition and profit in Canada to be under American control. Also discusses the problems that Canadian filmmakers have imitating American film style, often importing American stars and masking Canadian cities to look like American ones. Analyses the ethnic affirmations of the ten best Canadian movies chosen by Canadian film commentators for the 1984 Festival of Festivals in Toronto, Ontario. 228 Bedard, Yves. Images ecrites : etude de 1'ecriture dans le cinema de 1895 a 1912. Maitrise. Quebec, Quebec : Universite Laval, 1987. iv, 247 p, bibl, fr. L'image cinematographique a fait du scriptural une de ses composantes des les tout premiers temps du cinema. Envisagee ici dans sa difference de 1'image, 1'ecriture graphique fait 1'objet d'une etude visant a devoiler son role dans 1'evolution du cinema aux Etats-Unis de 1895 a 1912. Essentiellement destinee a assigner la meilleure place possible au spectateur et a mieux definir 1'univers et Faction montres a 1'ecrans, 1'ecriture est aussi etudiee dans la perspective de son moment d'intervention dans la chaine des images et en rapport avec la question plus generate du developpement du langage cinematographique. 229 Knelman, Martin. Home Movies: Tales from the Canadian Film World. Toronto, Ont: Key Porter Books, 1987. 248 p, index, En. Martin Knelman looks at the Canadian film industry's love-hate relationship with Hollywood from the 1960s to 1980s in terms of its economic control over Canadian filmmaking opportunities and its cultural impact on film approaches, themes, and techniques. Part one discusses connections Canadian film artists have had with Hollywood since Mary Pickford migrated to Los Angeles, California, the lure of fame and fortune, and the influences that have made filmmakers in Canada produce films in

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the American idiom. Describes the experiences of Canadian film artists in Hollywood, their films, how the Canadian Film Development Corporation (CFDC) has encouraged Hollywood norms of filmmaking, and the problems of filming producers Denis Heroux and John Kemeny's Louisiana (Philippe de Broca, 1984), and Ted Kotcheff's Joshua Then and Now (1985). Relates Denys Arcand's experiences resulting from the nomination of The Decline of the American Empire (1986) for an Academy Award and the fortunes of Garth H. Drabinsky and his Cineplex Odeon. Part two considers the concerns of the Canadian Broadcasting Corporation (CBC) for Canadian programming, the American domination of Canada's television and film industries, the responses of the Canadian government to the Canadian film industry, the connections of theatre and film, and the boom in American film production in Canada. Focuses on the experiences of the Second City Television troupe in Toronto, Ontario, and Canadian actors Margot Kidder, Kate Nelligan, and Christopher Plummer in Hollywood, and the operations of the Walt Disney corporation in Canada. Part three analyses Phillip Borsos's Bethune: The Making of a Hero (1991), the project pursued by expatriate Canadians in Hollywood from the early 1970s to 1987 which stars Donald Sutherland. An appendix describes "50 Notable Home Movies, 1978-1987" involving Canadians. 230 Pratley, Gerald. Torn Sprockets: The Uncertain Projection of the Canadian Film. (An Ontario Film Institute Book). London, England ; Toronto, Ont: Associated University Presses; Newark, NJ : University of Delaware Press, 1987. 330 p, 275 ill, bibl, index, En. Gerald Pratley surveys the history of filmmaking from 1900 to 1984 and provides a filmography of Canadian films made primarily for showing in cinemas between 1945 and 1984. Part one, on early Canadian filmmaking from 1900 to 1939, provides an introduction to Canadian cinema, biographies of Canadian cinema pioneers, a description of early production in Canada, sponsored mainly by the Canadian Pacific Railway (CPR) and the Canadian Government Motion Picture Bureau, and a history of documentary film in Canada from the work at the CPR, the Canadian and Ontario motion picture bureaus, and the Associated Screen News, to the founding of the National Film Board (NFB) of Canada under John Grierson. Describes Grierson's documentary filmmaking at the NFB and points out how the Canada Carries On (19401959) and The World in Action (1941-1945) series are representative of World War II documentary films produced by the NFB. Concludes that the topical productions made by the Canadian Broadcasting Corporation (CBC) diminished the relevance and social impact of the NFB productions. Part two covers the successful struggles of the Canadian film industry from 1940 to 1984, filmmaking in Quebec from 1945 to the 1960s, the founding of the Canadian Film Development Corporation (CFDC) in 1967 as a turning point in the history of the Canadian cinema, and the major films made until 1974. Analyses government efforts to challenge American control of the Canadian film industry from 1968 to 1984 and suggests that organizations, including the CFDC which promote marketable international productions and co-productions artistically dominated by foreign producers, are undermining the expression of Canadian culture through film. Argues that this trend to emulate American films in order to secure an

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General Studies / Etudes generates economically strong film industry denies the Canadian cultural identity, and predicts that future projection of a Canadian identity will lie in the combined efforts of the CBC and the NFB.

231 Clandfield, David. Canadian Film. (Perspectives on Canadian Culture). Toronto, Ont: Oxford University Press, 1987. viii, 136 p, bibl, index, En. This survey on the history of filmmaking in Canada, from its origins in 1896 to 1987, focuses on documentary film, fictional film, animated film, and experimental film. Part one looks at the introduction of film to Canada and indigenous efforts in filmmaking up to John Grierson's establishment of the National Film Board (NFB) of Canada in 1939. Part two deals with the documentary filmmaking of English Canada, particularly that of the NFB. Part three considers French Canada's documentary filmmaking and leads to part four's discussion of the fictional filmmaking of Quebec cinema. Part five covers English Canada's fictional films since 1939 and part six looks at animated and experimental film. 232 Feldman, Seth. Circling I's : Some implications of the filmmaker's presence in Michael Rubbo's "Margaret Atwood: Once in August" and Marilu Mallet's "Journal inacheve." Dialogue : cinema canadien et quebecois I Canadian and Quebec Cinema, edited by Pierre Veronneau, Michael Dorland, and Seth Feldman, 241-253. Montreal, Quebec: Mediatexte Publications and Cinematheque quebecoise, 1987.1 ill, bibl, En. Discusses the theme of authorial presence as it is developed in Michael Rubbo's Margaret Atwood : Once in August (1985) and Marilu Mallet's Journal inacheve (1982). Argues that authorial presence, or the foregrounding of the filmmaker as creator, is a predominant theme in Rubbo's mature work, concerning himself as he does with the ambiguities inherent in the foregrounding of his own participation in the process of filmmaking. Examines Margaret Atwood: Once in August in this context, discussing as well Rubbo's use of the image of the mask to convey the primacy of the superficial and to examine the literal and figurative uses of the term "persona." States that the concept of the mask is also central to Mallet's Journal inacheve in which the mask image works as an icon of avoidance and implies the wish for androgyny. States that although Mallet as filmmaker is subjectively present in her film, she lacks a succinct point of view, thereby establishing her withdrawl from her subject matter. Also briefly refers to similar thematic concerns addressed in Rubbo's earlier film, Sad Song of Yellow Skin (1970). 233 Lewis, Brian; Gaetz, Jamie. Canadian films meet the press. Cinema Canada no 137 (January 1987) 15-23. 9 ill, En. Discusses the influence of the film critic on audience response to a film, focussing on the differences between Canadian and American approaches to film criticism. Analyses a variety of responses by American and Canadian film critics to five Canadian films, Denys Arcand's Le Declin de I'empire americain (1986), David Cronenberg's Scanners (1981), Francis Mankiewicz's Les Bon Debarras (1981), Phillip Borsos's The Grey Fox (1983), and Sandy Wilson's My American Cousin (1985), concluding that while the commercial quality of the American film industry results in self-promotion, low budget Canadian films

rely on the critical response of the media for publicity. Also concludes that the critical success of a film in the United States is determined by the critics assessment of the film's entertainment value, the universality of its message, and its success within the genre. In Canada, by contrast, critics determine the quality of a film by how successfully it reflects Canadian national identity. 234 World tour for Chbib and independents. Cinema Canada no 138 (February 1987) 37. En. Discusses the world tour of ten Canadian feature films which is being organized by filmmaker Bachar Chbib in order to inform film audiences, the press, and members of the American film industry that quality Canadian independent films are being produced despite inadequate financial assistance from distributors, funding agencies, and broadcasters. Explains that Chbib hopes that this word tour will result in an increase in both the financial assistance and programming time granted to Canadian low budget films. 235 Pevere, Geoff. Maple laughs : The Canadianization of popular comedy. Cinema Canada no 138 (February 1987) 7-10. 5 ill, En. An attempt to trace, examine, and analyse the growth and development of Canadian humour in popular media from 1967 to 1987. Notes the instrumental role Canadians have played in the recent popular comic phenomenon in the United States, but argues that Canada itself has recently produced culturally distinguished and artistically mature comic works, such as the television comedy series SCTV. States that Canadian feature film comedies have also developed culturally and artistically, and attributes this development to a change in comic sensibility, from the sober fatalism characteristic of Canadian films from 1964 to 1978, to detached irony, critical concern, and cultural solidarity which is characteristic of such recent works as Al Razutis's Amerika (1983), Bachar Chbib's Memoirs (1985) and Evixion (1986), John Paizs's Crime Wave (1985), Atom Egoyan's Next of Kin (1984), Giles Walker's 90 Days (1985), and Michael and Andy Jones's The Adventure of Faustus Bidgood (1988). 236 Taylor, Drew. Adapting native scripts. Cinema Canada no 141 (May 1987) 16-17.2 ill, En. Describes the procedures used by native writers to collect stories on native culture and translate them into scripts for a Canadian Broadcasting Corporation (CBC) series devoted specifically to native life. Discusses the format of the scripts, the unique style and content of native writing, and the often risky process of adapting native stories to a medium that is notorious for its commercial sensibility. Notes the benefits of hiring native scriptwriters to adapt native stories, and argues that non-native writers frequently fail to express the subtle qualities of native culture when they adapt native stories to film. Includes an insert entitled "Overview" that examines some television series which used non-native writers on episodes dealing with native themes. 237 Celebration of Canadian film. Cinema Canada no 144 (September 1987) 52. En. Announces the objectives of Canadian Film Year, in-

Canada eluding enhancing Canadians' awareness of their own film heritage and film culture, and focussing national and international attention on past and present achievements. 238 Yael, B. H. Film and video : On the level. Fuse 11 no 3 (Fall 1987) 8-9. En. Explores how the Plains Canada Film and Video Conference and Exhibition, held 10-12 September 1987 in Winnipeg, Manitoba, affirmed the pluralistic basis of Canadian art. The conference focussed on curatorial practises with four panel discussions. Raises concerns including the increasing bureaucratization of curatorial functions, regionalism, and marginalization. 239 Pevere, Geoff. What is an independant film? Cinema Canada no 145 (October 1987) 21-22.10 ill, En. Attempts to construct a definition of independent cinema within the context of Canadian film production. Argues that the quality of "independence" is suggested in a film by the presence of certain intra-textual and extra-textual characteristics such as a small budget, regional specificity, and a critical, ironic and occassionally positive treatment of the theme of alienation. Cites Michael and Andy Jones's The Adventures of Faustus Bidgood (1988), Patricia Gruben's Low Visibility (1984), Atom Egoyan's Family Viewing (1987), and Patricia Rozema's I've Heard the Mermaids Singing (1987) as examples of how monetary restrictions force the independent filmmaker to focus on the environment in which he or she lives and understands. Nine independent Canadian filmmakers, Bachar Chbib, Peter Wintonick, Jean Beaudry, Patricia Gruben, Francois Bouvier, Sophie Bissonnette, Chris Gallagher, Brigitte Berman, and Leon Marr, attempt to address the question as to the nature of independent film, and all do so within the contextual framework of low budget and culturally oriented film production. 240 Wintonick, Peter. The maple leaf manifesto. Cinema Canada no 145 (October 1987) 28-29.1 ill, En. Independent filmmaker Peter Wintonick introduces his manifesto on independent film production in Canada, focussing on his research into various sources in an attempt to create the document. Wintonick states that the purpose of the manifesto is to unite Canadian independent filmmakers in a process of artistic exploration and in defence of Canadian film in the face of overwhelming American cultural influence. Includes a copy of the manifesto, that consists of a series of demands articulated in the context of the motto "Our Canada or Theirs?". 241 Indies on the road. Cinema Canada no 145 (October 1987) 77. En. Mentions the Canadian Independent Film tour's preparations to display 20 independently produced films in Europe after a successful tour of the Midwest United States. Lists the films taking part in the tour. 242 Coulombe, Michel. Un pays, deux cinemas, une menace. Cine-Bulks 7 no 2 (novembre 1987-janvier 1988) 2-3. fr. Editorial portant sur la question des deux cinemas au Canada. L'auteur nous parle des differences entre le cinema quebecois et le cinema canadien mais aussi de leur point commun qui demeure le financement par 1'Etat.

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243 Martinique hosts festival. Cinema Canada no 146 (November 1987) 40. En. Notes the participation of Canadian films in a festival of francophone cinema to be held on the Caribbean island of Martinique. 244 Knight, Deborah. Exquisite nostalgia: Aesthetic sensibility in the English Canadian and Quebec cinemas. CineAction! no 11 (December 1987) 30-37. 6 ill, bibl, En. A critical analysis of the cinemas of English Canada and Quebec in terms of the theoretical problems of representation, narrative, space and time, and the identification of the object of desire. Argues that there is an aesthetic sensibility, described as exquisite nostalgia, produced by these cinemas, and supports this thesis by examining a variety of narrative, documentary, experimental, and feminist films from English Canada and Quebec. Particular attention is paid to Jean Pierre Lefebvre's Les Maudits Sauvages (1971), Wolf Koenig and Colin Low's City of Gold (1957), Patricia Gruben's Sifted Evidence (1981), Mireille Dansereau's La Vie revee (1972), and Bruce Elder's The Art of Worldly Wisdom (1979). 245 Quebec shows stuff in California fest. Cinema Canada no 147 (December 1987) 53. En. Notes the 11 Quebec films which were screened at the Festival of New Quebec Films, which took place in Santa Monica, California 6-12 November 1987. Also notes that a retrospective of Canadian film from 1967 to 1987 is scheduled to run at the Cinematheque in Paris, France 9 November-29 December 1987 and that numerous Canadian films will be screened during a week of Canadian cinema at the ninth International Festival of New Latin Cinema, which is taking place in Havana, Cuba 5-12 December 1987. 246 Association quebecoise des etudes cinematographiques. Cinema et sexualite: actes du septieme colloque. Dirige par Claude Chabot et Denise Perusse. Textes par Gilles Blain et Pierre Veronneau. Quebec, Quebec: Prospec, 1988.172 p, 16 ill, bibl, fr. Selection de textes de conferences prononcees au colloque de 1'Association quebecoise des etudes cinematographiques (AQEC), tenu a Montreal (Quebec) du 4 au 6 decembre 1987. On aborde, entre autres choses, 1'expression de la sexualite au-dela de la nudite des corps et des conventions cinematographiques, la fascination du cinema pour le sexe feminin et les modeles sexuels presentes au cinema. Dans son texte, Gilles Blain analyse la place du sexe et la fonction du rire dans le film Deux Femmes en or (1970) de Claude Fournier. Pierre Veronneau analyse, quant a lui, les rapports entre la censure et le discours de la critique dans un con texte quebecois. 247 Larouche, Michel. Le cinema aujourd'hui: films, theories, nouvelles approches. Textes par Gilles Marsolais, Denyse Therrien, Monique Larue Lamy, Pierre Veronneau, Denise Perusse, Real La Rochelle, Gilles Blain, Jocelyn Deschenes, Andre Gaudreault, Yves Picard, Martin Lefebvre, Helene Vanier et Rene Payant. Montreal, Quebec : Guernica, 1988. 262 p, ill, fr. Transcription des communications presentees a 1'Universite de Montreal a Montreal (Quebec), du 14 au 16 mai 1986, dans le cadre du 54e congres de 1'Association cana-

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General Studies / Etudes generates dienne-frangaise pour 1'avancement des sciences. Les textes ont ete divises en trois champs de recherche distincts. Premierement, on retrouve les textes ou les auteurs s'interessent a 1'emergence d'un amalgame de genres dans les modes de representation filmique, aux rapports image / musique et aux docu-fictions, puis, ceux dont les auteurs se penchent sur 1'etude des tendances propres au cinema d'aujourd'hui. Enfin, on retrouve les textes dont le sujet traite des differents precedes enonciatifs et narratifs qui sont utilises au cinema. Les contributions sur le cinema quebecois font 1'objet d'une analyse particuliere. Ainsi, on trouve les textes de Pierre Veronneau, «La Beaute-meme (1964) de Monique Fortier ou 1'imaginaire feminin entrave » et celui de Denise Perusse, « Mise en espace-temps des femmes dans le cinema quebecois: Mourir a tue-tete comme point d'ouverture ».

248 Miller, Robert E. The Canadian feature film conundrum : 1894-1967. Current Research in Film : Audiences, Economics, and Law, volume 4, edited by Bruce A. Austin, 125-146. Norwood, New Jersey: Ablex Publishing, 1988. bibl, En. Robert E. Miller attempts to isolate the reasons why the national feature film industry did not begin to coalesce until the introduction of the Canadian Film Development Corporation (CFDC) in 1967. Discusses films that appeared at critical phases of national filmmaking history in terms of their production difficulties, and highlights Canadian filmmaking problems relating to the absence of a studio system, the pervasive influence of Hollywood, exhibition, production, distribution, the lack of government initiative, the Canadian Cooperation Project, the National Film Board (NFB) of Canada, and the Canadian Broadcasting Corporation (CBC). At the close of his historical analysis, Miller suggests ten factors that combined to inhibit a viable feature film industry before the advent of the CFDC, including: commercial inconsistency; inability to master popular taste; emigration of film artists; broad distribution of American films at the expense of indigenous films; audience satisfaction with American films due to the supposed common heritage of Canadians and Americans ; foreign control of indigenous exhibition and distribution; government neglect; the restriction of the private sector by the NFB and the CBC ; too many small, inexperienced companies; and inadequate exposure for Canadian films internationally, particularly in the United States. 249 Dorland, Michael. A thoroughly hidden country : "Ressentiment," Canadian nationalism, Canadian culture. Canadian Journal of Political and Social Theory /Revue canadienne de theorie politique et sociale 12 no 1-2 (1988) 130-164. bibl, En. Argues that the theme of ressentiment is explicitly pervasive in Canadian cultural and political practises, and implicitly in the administration of their institutions. Contends that ressentiment is conspicuously absent in Canadian critical writing. Claims that the history of Canadian cinema is constituted by the dramatic intensification of ressentiment in films such as Denys Arcand's Le Declin de I'empire americain (1986), Michel Brault's Les Ordres (1974), Arthur Lamothe's Le Mepris n'aura qu'un temps (1970), Gilles Groulx's Normetal (1960), and Robert Anderson's contribution to the National Film Board (NFB) of Canada series Mental Mechanisms (with Stanley Jackson, 19471950). Argues that Le Declin de I'empire americain attempts,

with limited success, to go beyond ressentiment. Observes the persistant cliche of the landscape in Canadian cinema, where the relationship between fiction and realism has been complicated by the deceptive and propagandistic intentions of the state. 250 Hedley, Tom. Colossus from the North. Documents in Canadian Film, edited by Douglas Fetherling, 204-214. Peterborough, Ont: Broadview Press, 1988. En. Tom Hedley's review of Pierre Berton's Hollywood's Canada: The Americanization of Our National Image (Toronto, Ont: McClelland and Stewart, 1975) presents Berton as a geniune Canadian cultural hero and national celebrity who personifies Canada's documentary tradition. Explores Berton's argument that Hollywood films distort Canada's image to the world, and questions what kind of cultural image Berton is defining for Canadians when he limits his discussion to America's version of Canada. Douglas Fetherling notes how this selection transcends the usual scope of a book review by addressing the documentary impulse in Canadian culture. 251 Dunn, James. Some notes on an essay about the death of Canadian cinema. Documents in Canadian Film, edited by Douglas Fetherling, 337-343. Peterborough, Ont: Broadview Press, 1988. En. James Dunn suggests that the current trend in Canada to make commercial films by emulating American genres has displaced the cinematic honesty and social consciousness of the films of the 1960s. Compares American films constructed on the polarity between good and evil with Canadian films made between 1964 and 1970 that emanate a national consciousness and indicate an ambivalence about the notions of good and evil. In his introductory remarks, Douglas Fetherling emphasizes Dunn's early understanding of the educated Canadian film goer's complaint that they are being forced to view film incompatible with indigenous Canadian experience. 252 Motion pictures come to Canada. Documents in Canadian Film, edited by Douglas Fetherling, 7-9. Peterborough, Ont: Broadview Press, 1988. En. Provides an English translation of the articles that appeared in the Montreal, Quebec, newspaper La Presse 27 and 29 June 1896, announcing the invention of the Cinematographe by Auguste and Louis Lumiere of Lyon, France and describing the moving images seen. Douglas Fetherling notes that these articles reveal that the Lumiere's Cinematographe was demonstrated in Montreal a month earlier than was Thomas Edison's Vitascope in Ottawa, Ontario. 253 U. of Victoria celebrates 25th. Cinema Canada no 149 (February 1988) 35. En. Discusses the screening of Canadian films during the exhibition "The Adaskin Years: A Celebration of Canada's Arts, 1930-1979," beginning 16 February 1988 at the University of Victoria in Victoria, British Columbia. 254 A package of independents. Cinema Canada no 150 (March 1988) 75. En. Discusses plans for a series of ten films by independent filmmakers. The series, to be known as the Canadian

Canada Independent Feature Film Series, will be produced by Bachar Chbib of Canadian Film / Video Productions based in Montreal, Quebec and will be shot in 35mm for both theatrical and broadcast release. Provides a tentative list of the properties, writers, and filmmakers selected for the series including Kingsgate (Jack Darcus, 1989), Dine and Dash (John Paizs, 1989), A Merry Christmas, Dukes (Patricia Rozema, 1989), Chasing Windmills (Jan Zarzycki, 1989), Ragged Island (Glenn Walton, 1989), The Archie Patterson Project (Peter Mettler, 1989), Roadhouse (Attila Bertalan, 1989), Electric Beach (Atom Egoyan, 1989), A Roundstone Would (Demetri Demetrios, 1989), and Hey Now (Alex Klenman, 1989). 255 Pevere, Geoff. Rebel without a chance: Cycles of rebellion and suppression in Canadian teen movies. CineAction! no 12 (April 1988) 44-48. 3 ill, En. Argues that an analysis of the recurrent theme of thwarted adolescent rebellion in Canadian cinema may prove to be profoundly revealing in terms of the preoccupations of Canadian culture. Contrasts the sombre dramatic realism of Canadian teen movies to the often comic American model and suggests that in the Canadian rendition, a form of socio-political resignation, fatalism, and cynicism pervades. Supports this thesis by discussing in particular Don Owen's Nobody Waved Good-bye (1964), John N. Smith's Train of Dreams (1987), and Stuart Clarfield's Welcome to the Parade (1986). 256 Spires, Randi. Depth of field. Fuse 11 no 6 (July 1988) 44. 2 ill, En. Reviews the Super-8 films by Canadian filmmakers shown at the exhibition "Super 8 : Moving Image as Art" held 5-12 February 1988 at Pitt International Galleries in Vancouver, British Columbia and 16-26 March 1988 at A Space in Toronto, Ontario. The films, mostly documentaries with political themes, included Dot Tuer's Boarding House (1987), Claude Ouellet's Spray It Loud (1987), Natasha Moric's Old Country (1987), Zoe Lambert's Masturbation (1987), Bruce LaBruce's Boy /Girl (1988), and Peter Sandmark, Patricia Kearns, and Claude Ouellet's Over Our Dead Bodies (1985). 257 Despite odds, Film Canada Year still on. Cinema Canada no 154 (July-August 1988) 56. En. Andra Sheffer, executive director of the Academy of Canadian Cinema and Television, discusses plans for the Canadian Film Year project in 1989, which will celebrate Canadian cinema. 258 Bailey, Bruce. The daily grind : Why Canadian film is ignored by mainstream media. Cinema Canada no 155 (September 1988) 34-35. 2 ill, En. Outlines the constraints of newspaper film criticism and compares popular press criticism with that in specialized journals. Stresses the restrictive effect of deadlines and available space on newspaper film criticism. Concludes that daily newspaper critics are confined to the task of summarizing plots, identifying casts, and expressing standardized opinions without employing filmic vocabulary. 259 Alioff, Maurie. The Minee-Feechie experiment: Birth of a monster, or brave new film world? Cinema Canada no 155 (September 1988) 9-15.16 ill, En.

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Evaluates the economic and aesthetic viability of producing a Mini-Feechie, or television miniseries that has been converted into theatrical feature films, since the birth of Telefilm Canada and its Broadcast Program Development Fund. Compares the television series to their feature film releases in the cases of Les Plouffe (Gilles Carle, 1981), For Those I Loved (Robert Enrico, 1986), Maria Chapdelaine (Gilles Carle, 1983), Le Matou (Jean Beaudin, 1985), Joshua Then and Now (Ted Kotcheff, 1985), The Blood of Others (Claude Chabrol, 1984), The Tin Flute (Claude Fournier, 1983), Le Crime d'Ovide Plouffe (Denys Arcand, 1984), and Louisiana (Philippe de Broca, 1984). Concludes that "MiniFeechies" have given Canadian filmmakers the opportunity to experiment with large budgets and better locations. Provides statistical tables of budgets, Canadian content, and production companies. 260 McDonald, Bruce. The revolution will be televised. Cinema Canada no 156 (October 1988) 26-27.1 ill, En. Favourable critique of the Canadian Broadcasting Corporation (CBC) television program Canadian Reflections (1988), which acts as a showcase for the work of young Canadian filmmakers. Suggests that the program should air later in the evening, when content restrictions are more lax. 261 Shoub, Rob. Beats per minute. Cinema Canada no 156 (October 1988) 39. En. Argues for Canadian filmmakers to create a more visceral and passionate cinema rather than making films that are so wholly intellectual. Suggests that filmmakers pay greater attention to the storyline and encourage both the intellectual and emotional involvement of the spectator. 262 Popovich, Gary. To the devil with God's country. Cinema Canada no 156 (October 1988) 8-9.1 ill, En. Argues that Canada can establish its own film tradition if it rejects the American model of filmmaking. Suggests that a Canadian identity in film can best be established by using cinematic imagery and sound, rather than writing stories with superficial Canadian content. 263 Benjamin, Dominique. La television tuera-t-elle le cinema? Sequences no 137 (novembre 1988) 34.1 ill, fr. L'auteur donne les grandes lignes de la table ronde portant sur 1'influence de la television sur le cinema, qui a eu lieu lors du Festival des films du monde, tenu a Montreal (Quebec) en 1988. Les participants ont souligne le peu de protection qu'ont les auteurs centre le morcellement de leurs oeuvres lors de la telediffusion. Les interruptions publicitaires, les coupures et la colorisation sont les principaux obstacles aux droits d'auteurs. On commente egalement 1'influence du media televisuel qui occupe une place de plus en plus grande dans le financement des films, ainsi que les attentes et les apprehensions face a 1'arrivee de la television a haute definition. 264 Canada Film Year: 1989-1990. Cinema Canada no 157 (November 1988) 34. En. Announces the plans for a celebration known as Canada Film Year. Notes the event will begin in early fall 1989 and continue until the end of summer 1990 and will be organized by the Academy of Canadian Cinema and Television.

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General Studies / Etudes generales

265 Elder, R. Bruce. Image and Identity: Reflections on Canadian Film and Culture. Waterloo, Ont: Wilfred Laurier University Press in collaboration with the Academy of Canadian Cinema and Television, 1989. xviii, 483 p, bibl, index, En. One chapter is a reprint from Forms of cinema, models of self : Jack Chambers' "The Hart of London" in Take Two, edited by Seth Feldman, 264-274. Toronto, Ont: Irwin Publishing, 1984. R. Bruce Elder explores the evolution of the national outlook that began with a primal reaction by European settlers to the Canadian landscape. The concept of community in the scattered settlements across Canada and the European dualist view of reality influenced the development in Canada of a predominantly nation based artistic tradition of realism. Part one contrasts the dominant imported philosophical tradition of dualism, or common sense, with the indigenous forms of absolute idealism and shows how the post-modern movement was intent on reconciling the division between spirit and matter central to the dualist tradition. This dualist tradition, along with the national sense that the individual only comes into being in the context of community, helped to give rise to a perception of national identity as a quest to highlight the distinctions and differences between Canadian culture and the cultures of Great Britain and the United States. In part two, Elder explores the dualist world-view of the realist tradition in national filmmaking by investigating the documentary form influenced by John Grierson, with its cinema verite and the Candid Eye film series (1958-1961). Analyses Bonnie Sherr Klein's Not a Love Story (1981), Terence Macartney-Filgate's Blood and Fire (1958) and The Days Before Christmas (1958) with co-directors Wolf Koenig and Stanley Jackson, and Donald Shebib's Coin' Down the Road (1970), to show the limitations of documentary in representing reality. Part three looks at how Canadian avant-garde films challenge the visual reality of the documentary form by inquiring about the conditions of their representation, as well as questioning the film medium. A chapter on each of Michael Snow's films Wavelength (1967), Back and Forth (1969), Presents (1981), and La Region centrale (1970), and Jack Chambers's Circle (1969), explores the conflicts between the post-modern aesthetic and American romanticism and demonstrates how this conflict, accepts that reality need not correspond with human cognitive faculties. This reflexive approach to film releases the variability of an image and photography attempts to connect consciousness with nature. Discusses these post-modern experiments with image and identity in David Rimmer's Surfacing on the Thames (1970), Canadian Pacific (1974) and Canadian Pacific II (1975), Joyce Wieland's Solidarity (1973) and La Raison avant la passion (1969), Chris Gallagher's Atmosphere (1975) and "Seeing in the Rain" (1981), Michael Snow's So 7s This (1982), and Jack Chambers's The Hart of London (1969). Elder concludes by noting that the changing forms of national cinema reflect the changing conceptions and perceptions of self as the old dualities of body and spirit are replaced by the postmodern realities of connection and unity with nature. 266 Levesque, Sylvain. L'industrialisation de 1'audiovisuel: de la convergence du cinema et de la television. Maitrise. Montreal, Quebec : Universite de Montreal, 1989. vii, 151 p, ill, bibl, fr. Dans cette analyse socio-economique, Sylvain Levesque etudie les causes fondamentales qui sont a la source de

1'interdependance qui est nee entre le cinema et la television, dans les annees 1980, autant au Canada qu'a travers le monde. La methodologie employee consiste en une revue de la documentation, ainsi qu'en analyses de statistiques qui ont ete recueillies aupres de diverses sources. Selon 1'auteur, 1'ancien systeme audiovisuel (cinema et television conventionnels) est peu a peu remplace par un nouveau modele qui laisse place a un certain nombre d'innovations caracterisees par une interdependance economique entre ces deux medias, une internationalisation de leur marche, une integration des formes culturelles existantes et une symbiose entre le langage formel de la television et celui du cinema. 267 Sabourin, Daniel. Cites-Cines. Montreal, Quebec : EdiForma, 1989. 45 p, 39 ill, fr, En. Catalogue de 1'exposition Cites-Cines presentee a Montreal (Quebec) au Palais de la Civilisation, du 25 mai au 15 octobre 1989. Les photographies de decors de cinema illustrant la vie urbaine sont accompagnees de la liste des films ou Ton a utilise ce type de decors. On trouve, entre autres, un decor de Montreal qui sert de lieu de projection aux films des cineastes Gilles Carle, Claude Jutra, Andre Forcier, Micheline Lanctot, Denys Arcand, Patricia Rozema, Caroline Leaf, Don Owen et David Cronenberg. Catalogue of the Cites-Cines exhibition held at the Palais de la Civilisation in Montreal, Quebec, 25 May-15 October 1989. Photographs from movie sets illustrating cinema's portrayal of urban life are accompanied by a list of films that employed such sets. Includes a set depicting Montreal used in the films of Gilles Carle, Claude Jutra, Andre Forcier, Micheline Lanctot, Denys Arcand, Patricia Rozema, Caroline Leaf, Don Owen, and David Cronenberg. 268 Lafond, Jean-Daniel. L'obscurite et la lumiere. Lumieres no 17 (janvier-fevrier 1989) 5-6. 2 ill, fr. Etude des differences et des rapports qui lient la television et le cinema. L'auteur voit dans les telefilms un avenir a la fois pour le cinema, qui avec le surplus d'argent pourra augmenter sa production, et pour la television, qui beneficiera d'une programmation de plus grande qualite. 269 Bourgault, Helene; Tana, Paul. Les telefilms, on en parle: les telefilms: tout va bien. Lumieres no 17 (janvierfevrier 1989) 8-10. 2 ill, fr. Table ronde portant sur les telefilms. Les realisateurs Anne Claire Poirier, Jean-Claude Labrecque et Michel Poulette discutent des contraintes du format des telefilms, des methodes de travail inherents a ce genre et de son style formel. Ils parlent des liens entre la television et le cinema et commentent leurs experiences reciproques face a ce nouveau genre hybride. 270 Wood, Robin. Towards a Canadian (inter)national cinema (part 1 of a 2-part article). CineAction! no 16 (May 1989) 59-63. 3 ill, En. Argues that the "Great Canadian Film Renaissance" of the 1980s, like the Australian film renaissance of the 1970s, has been founded on four films of questionable merit: Denys Arcand's Le Declin de I'empire americain (1986), Patricia Rozema's I've Heard the Mermaids Singing (1987), Jean-Claude Lauzon's Un zoo la nuit (1988), and Jackie Burrough's A Winter Tan (with Louise Clark, John Frizzell, John Walker, and Aerlyn Weissman, 1987). Critiques these

Canada films, contending that they do not constitute a renaissance in Canadian film. Proposes that the work of filmmaker Atom Egoyan, including Next of Kin (1984) and family Viewing (1987), is more deserving of critical acclaim than the above films, as are the feminist films Loyalties (1985), by Anne Wheeler, and William (Bill) MacGillivray's Life Classes (1987). 271 Morris, Peter. The uncertain trumpet: Defining a (Canadian) art cinema in the sixties. CineAction! no 16 (May 1989) 6-13. 2 ill, En. An analysis of film criticism as practised by Englishspeaking Canadians in the 1960s. Contrasts theories on art cinema held by established critics with the views held by younger critics who emerged during the decade. Argues that traditionalists accepted the concept of alternative film, yet resisted applying the appropriate critical apparatus to Canadian films. Outlines the tenets of mainstream critical film theory, noting its emphasis on coherent narrative, its preference for realistic film with moral imperatives, its belief that subject matter is more significant than voice, and its assumption that film is an international language. Explains how emerging film critics, such as Wendy Roland Michener, Joan Fox, and Germaine Warkentin, did not subscribe to this theory because they did not expect film to act as mass media. Concludes that established English Canadian critics had a negative impact on the development of art cinema in the 1960s. 272 Chartrand, Alain. Pour la suite du cinema. Lumieres no 19 (ete 1989) 5.1 ill, fr. Editorial portant sur la situation des realisateurs et des producteurs qui doivent, de plus en plus, s'assujettir aux nombreux compromis afin de garantir leurs productions, laissant ainsi peu de place a 1'aspect creatif du realisateur. 273 Film Trek Ontario. Cinema Canada no 165 (July-August 1989) 25. En. Announces Film Trek, a 1989 summer tour of 23 Ontario small towns to view films produced by independent Canadian filmmakers. 274 Montreal movie exhibition surpasses Paris. Cinema Canada no 165 Quly-August 1989) 33. En. A description of the North American premiere of CitesCines in Montreal, Quebec, 25 May-15 October 1989. The three-part exhibition jointly produced by the Grande Halle de la Villette de Paris in Paris, France, and the Societe du Palais de la Civilisation de Montreal in Montreal includes exhibits of famous movie sets, costumes, and a tribute to Claude Jutra. 275 Homier-Roy, Rene. La magie pure. Chatelaine (aout 1989) 26. fr. Rene Homier-Roy raconte avec verve sa visite a 1'exposition Cites-Cines, tenue a Montreal (Quebec) en 1989. 276 Jutras, Pierre. Entretien avec Gilles Nadeau. La Revue de la Cinematheque no 2 (aout-septembre 1989) 4-7. fr. Gilles Nadeau a ete 1'un des concepteurs de 1'exposition Cites-Cines, presentee a Montreal (Quebec) en 1989. II relate de quelle maniere le choix de la ville et des extraits selectionnes a ete fait.

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277 Cine-TV-Video. 1 no l-(septembre 1989-). Cinq jours de la semaine. Quotidien telecopie. Montreal, Quebec : Editions Mediatextes, septembre 1989-. fr. Ce journal electronique est realise par Jean-Pierre Tadros et 1'equipe de Cinema Canada. Le journal est destine a tous ceux et celles qui s'interessent au cinema, a la television et au video, et s'obtient par abonnement. II traite des productions a venir, du sous-titrage, de distribution de films canadiens a 1'etranger, des projets de loi et des reseaux de television. Quelques annonces ont ete realisees en anglais, mais seulement jusqu'au 1 no 19. Les articles, qui ne sont pas signes, parlent de divers sujets telles les annonces d'ouverture de films, les ententes de coproduction, les critiques de films, les donnees de revenus pour des films canadiens en salles. Apres le 4 no 1, on retrouve parfois des sections comme « Visionnements » sur les films qui sortent et « Critiques » sous la rubrique de « La Revue de Presse ». En general il y a peu de publicite. 278 Rousseau, Yves. Dans le ventre du dragon. Cine-Bulles 9 no 1 (septembre-novembre 1989) 16-17. 3 ill, fr. Discussion sur 1'exposition Cites-Cines, tenue a Montreal (Quebec) en 1989, dans laquelle 1'auteur se rejouit de 1'equilibre entre les decors et les films mais denonce la portee geographique de 1'exposition. 279 Lamothe, Arthur. L'imaginaire du reel. Revue beige du cinema no 27 (automne 1989) 22-23.1 ill, fr. En citant Pour la suite du monde (Michel Brault, Marcel Carriere et Pierre Perrault, 1964) et Man of Aran (Robert Flaherty, 1934), 1'auteur avance 1'idee que tout cinema, qu'il soit nomme cinema verite ou documentaire, n'est finalement que mensonge; ce n'est que le discours du cineaste qui est filme. 280 Wood, Robin. Towards a Canadian (inter)national cinema (part 2 : "Loyalties" and "Life Classes")- CineAction! no 17 (September 1989) 23-35. 6 ill, En. States that Anne Wheeler's Loyalties (1985) and William (Bill) MacGillivray's Life Classes (1987) are outstanding Canadian films, yet stresses that their thematic concerns know no national boundaries. Observes that both films are centred on the evolution of a woman's consciousness and her movement towards liberation. Notes that Loyalties conforms to the principles of classical narrative, while the structure of Life Classes is less conventional. Provides an in-depth analysis of each film, and a comparison of their authorial personalities. 281 LTncontournable. 1 no 1 -(octobre 1989-). Mensuel. Montreal, Quebec : Ghila Benesty Sroka, octobre 1989-. ill, fr. Ce magazine contenait des revues de films et videos recents, des dossiers, des entrevues, des critiques et palmares de festivals, ainsi que des articles commentes par des correspondants internationaux. Fonde et dirige par Ghila Benesty Sroka, L'Inconsumable recevait aussi des collaborations ecrites par des personnes comme Antonio D'Alphonso, Martin Bilodeau, Elie Castiel, Michel Euvrard, Linda Giguere, Loraine Lamoureux, Pierre Lisi, Jocelyne Morissette, Pascale Malaterre, Daniel Larriere, Yves Alavo, Maxine Arnoldi, Serge Ouaknine, Joelle Soriano, Claude Blouin et Magali Clement, entre autres. Quelques numeros comprenaient une section « Video »

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General Studies / Etudes generates ecrite par Pascale Malaterre en avant-derniere page, et la plupart des magazines avaient la page sommaire en derniere page, sauf les numeros 8 et 9 ou le sommaire etait en premiere page. Tous les numeros comprenaient des photos en noir et blanc et un editorial qui se nommait soit «Quoi de neuf a 1'Incontournable» (no 3-4), «Point de Vue » (no 5), « Editorial » (no 6), ou encore « Edito » (no 9).

282 Major New York showcase of Cdn. films under way. Cinema Canada no 168 (November 1989) 32. En. Describes a major exhibition of Canadian cinema entitled "O Canada : L'Amour du cinema from North to South" presented at the Museum of Modern Art in New York City, New York, 13 October-24 December 1989, and sponsored by the Museum of Modern Art and Telefilm Canada. 283 Indie films tour Quebec. Cinema Canada no 168 (November 1989) 36. En. States that the Tour of Independent Cinema, organized by the film cooperative, Main Film of Montreal, Quebec, will be presented at galleries, cultural centres, colleges, and universities across Quebec, in Moncton, New Brunswick, and in Ottawa, Ontario, until 18 November 1989. 284 Krawagna, Rena; Gouin, Judy; Spring, Lori. An untapped resource. Cinema Canada no 168 (November 1989) 4. En. Three members of the jury for the first National Film Board (NFB) of Canada short film award at the 1989 Festival of Festivals in Toronto, Ontario write Cinema Canada in order to draw attention to the lack of Canadian venues for the exhibition of independent short films.

Atlantic Canada / Provinces de 1'Atlantique 285 Hancox, Rick. The P.E.I. Centennial Film Retrospective. Cinema Canada no 6 (February-March 1973) 32-33. 1 ill, En. Argues that the upcoming Prince Edward Island Centennial Film Retrospective, to be held 20-25 March 1973 at the Confederation Art Gallery and Museum in Charlottetown, Prince Edward Island, will provide Prince Edward Islanders with a means of confronting, through film, the anthropological facts and fictions of their cultural identity. States that the retrospective, designed to discover and articulate the rich human element in Prince Edward Island, will exhibit films in a chronological order within categories representing such distinct perspectives as that of the National Film Board (NFB) of Canada, Crawley Films, the Canadian Broadcasting Corporation (CBC), Hollywood, the Island Information Service, and educational institutions. The retrospective will also include a large number of films by such indigenous independent artists as Kent Martin, Brian Pollard, Niall Burnett, Tom Galland, Rick Hancox, and Barry Burley.

286 Lapp, Charles. P.E.I. Centennial Retrospective. Cinema Canada no 8 (June-July 1973) 24-25.1 ill, En. Provides an overview of the Prince Edward Island Centennial Film Retrospective, held 20-25 March 1973 in Charlottetown, Prince Edward Island. The films featured in the retrospective, which were all by and/or about P.E. Islanders, included the product of such institutions as Hollywood, the National Film Board (NFB) of Canada, the Canadian Broadcasting Corporation (CBC), and the Island Information Service, as well as the experimental films of Rick Hancox, Barry Burley, and Niall Burnett, the documentaries of Kent Martin, Tadeusz Jaworski, and Jeremy Bisley, and a Japanese produced commercial by Don MacLeod. 287 Newfoundland Independent Filmmakers Co-operative. Film in Newfoundland and Labrador 1904-1980: A Project of the Newfoundland Independent Filmmaker's Co-operative. St. John's, Nfld : NIFCO, 1981. 64 p, bibl, En. This history of film in Newfoundland and Labrador notes that filmmaking in the region has consistently been hampered by economic factors, particularly in the area of postproduction, leaving behind much uncatalogued, untitled, and eventually discarded rough footage. Chapter 1 chronicles early filmmaking in Newfoundland from 1904 to the 1940s, the American and British films shot on the island and in Labrador, particularly American filmmaker Varick Frissell's The Great Arctic Seal Hunt (1928) and The Viking (1931), and profiles works by indigenous filmmakers the Reverend Lionel Burry, W.J. Ryan, Frank Kennedy, and Len Earle. Chapter 2 looks at the Hollywood films of the 1940s and 1950s, with footage from, or shot in, Newfoundland and and suggests that no other Hollywood films set in Newfoundland were completed until 1974. Discusses a British wartime film with scenes from the Newfoundland coast and a film on the life and industries of Newfoundland. In the early 1980s, documentaries on different facets of Irish culture in Newfoundland life were filmed for Irish television, and filmmakers from the National Film Board (NFB) of Canada and the crew of Jacques Cousteau shot footage in Newfoundland in the summer of 1983. Chapter 3 covers the institutions involved in filmmaking in Newfoundland and their films, the NFB, the Memorial University Extension Service in St. John's, Newfoundland, the Newfoundland government, the Newfoundland Broadcasting Corporation and the Canadian Broadcasting Corporation (CBC). Chapter 4 looks at independent and private filmmakers working in Newfoundland, focussing on the Newfoundland Independent Filmmakers Co-operative, Atlantic Films, Crawley Films, Anchor Films, Northlight Photographic, Colbourne Productions, Anigraph Services, and the Bramar Film Club in Cornerbrook, Newfoundland. The history concludes with optimism for the future of filmmaking in Newfoundland, and includes a chronological filmography listing all films shot or made in Newfoundland and Labrador between 1904 and 1979. 288 Howell, Colin D. Film and history in Atlantic Canada. Acadiensis 11 no 2 (Spring 1982) 140-145. En. Analyses the interrelationship of film and history in Atlantic Canada, emphasizing how films of the region produced by the National Film Board (NFB) of Canada reveal its cultural history. Criticizes Kent Martin's Empty

Quebec Harbours, Empty Dreams (1979), and its portrayal of a golden age of sail giving way to industrialism, for its sentimentalism and simplistic historical analyses. Martin's Moses Coady (1976) investigates the Antigonish Movement and claims that the cooperative movement was effective in combating oppression by corporations, merchants, and bureaucrats in the 1920s and 1930s. Cites a flaw in the movement as its inability to recognize the state as a component of the oppressive hierarchy. Martin Duckworth's 12,000 Men (1978) and its look at Cape Breton coal worker unions is contrasted with Giles Walker's J Like to See the Wheels Turn (1981), a film about the region's renowned capitalist Kenneth Colin Irving. Gary Toole's Potatoes (1976) documents the loss of independence by New Brunswick potato farmers as mechanization destabilizes the market and makes them dependent on multinational food processing corporations. Films produced for the Fish or Cut Bait Collective concentrate on the historical struggles of people involved in fishing as a livelihood. They include Bill McKiggan and Tom Berger's The Finest Kind (1979) recording the Lockeport strike of 1939, and their Fish or Cut Bait (1981) examining how inshore fishermen are being deprived of their way of life by offshore multinational freezer trawlers that deplete the fish stocks. 289 Powning, Beth. Filmmaking in New Brunswick. ArtsAtlantic 8 no 3 (Spring-Summer 1988) 38-40.5 ill, En. Outlines a history of filmmaking in New Brunswick that began with the aid of the National Film Board (NFB) of Canada, which contributed equipment and a training allowance to the province's first filmmakers Art (Arthur) Makosinski, Jon Pedersen, and Charles McLelland, as well as commissioned films. Lists award-winning films produced in New Brunswick. Also lists alternatives to the NFB where young filmmakers can learn, practise, and experiment, including Cinemarevie in Edmundston, New Brunswick and the New Brunswick Filmmakers' Co-op in Fredericton, New Brunswick which are both non-profit co-operatives. Mentions new markets such as commercials, music videos, industrial films, and films for government agencies which sometimes offer opportunities for private filmmakers. Also discusses Capitol Films, a nonprofit organization, that is devoted to the development of a commercial film industry in New Brunswick. Also looks at the problems of finding funding, good technicians, and overcoming a sense of isolation. Gives Jon Pedersen's views of filmmaking, using local talent in New Brunswick and discusses his film Tuesday Wednesday (1987). Expresses concern for local government perception of the film industry as a business. 290 Powning, Beth. State of the art: New Brunswick filmmaking update. Cinema Canada no 153 (June 1988) 22. 1 ill, En. Provides an overview of the history of the filmmaking industry in New Brunswick, where independent filmmakers continue to pursue their cinematic vision despite a general lack of funding and increased competition for funding between commercial video companies and artistic filmmakers. Discusses the contribution of the National Film Board (NFB) of Canada and two filmmaking co-ops, Cinemarevie and the New Brunswick Filmmakers' Co-op, to New Brunswick's film culture and mentions Capitol Films, New Brunswick's first commercial film company, and Carota Films, which provides the only independently

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owned sound studio in the Maritimes. Discusses several film projects currently in production in New Brunswick.

Quebec 291 Suggestion for Quebec movies. Saturday Night 43 (14 July 1928) 1-2. En. Supports the suggestion of L.A. David, provincial secretary of Quebec, that films depicting the history of French Canadian culture should be produced and shown in Quebec as alternatives to the morally suspect movies produced in America. Notes that Quebec's dramatic history would provide interesting subject matter for films, provided that the filmmakers did not sensationalize. Suggests that David become personally involved in making worthy films about Quebec. 292 Cine-Orientations. 1 no 1-3 no 4-5 (octobre 1954-maijuin 1957). Trimestriel. Montreal, Quebec : Federation des centres diocesains, octobre 1954 -mai-juin 1957. ill, fr. Cine-Orientations a ete public par le Centre catholique du cinema de Montreal a Montreal (Quebec). Des le 1 no 4-5, on retrouve, sous le titre du magazine, la rubrique « Organe officiel de la Federation des centres diocesains du cinema ». Le magazine s'adresse aux membres du centre tels les ecoles, les institutions, les jeunes et adultes, ainsi qu'aux cine-clubs. Chaque numero contient un article sur le Centre lui-meme, ainsi qu'une « nouvelle » et des articles traitant de sujets comme « Cinema et Education »,« Cinema et Morale » et« Cinema et Adolescence ». Le 1 no 1 presente un historique du centre, le 1 no 4-5 porte sur les cine-clubs. On ne fait reference a aucune equipe de redaction, mais plusieurs collaborateurs sont cites, dont Madeleine Joubert, Michel Dubreuil et le cardinal Paul-Emile Leger. On y trouve de 1'information concernant les stages de formation en cinema et des articles sur des figures importantes comme Norman McLaren. 293 Le realisme. Sequences no 18 (octobre 1959) 1-2. fr. Dans cet editorial qui commemore les cinq ans de Sequences, on etudie le realisme au cinema. 294 Moyens de culture cinematographique 4: les organisme officiels et les activites de groupe. Sequences no 25 (avril 1961) 13-16.1 ill, fr. Dossier sur les differents moyens pour approfondir la formation cinematographique au Quebec. L'auteur parle des organismes officiels ou 1'on prepare des conferences, des journees d'etudes, de stages d'initiation cinematographique et des cours de cinema. Puis, il discute des activites de groupe telles les cine-clubs et les cine-debats. 295 Lefebvre, Jean Pierre; Pilon, Jean-Claude. L'equipe francaise souffre-t-elle de « Roucheole ». Objectif 2 no 5-6 (aout 1962) 45-53. fr. Jean Pierre Lefebvre et Jean-Claude Pilon deplorent 1'utilisation de la methode du candid eye dans le cinema francophone de 1'Office national du film (ONF) du Canada. II est aussi question des resultats de certaines corealisations comme le film Quebec-USA (Michel Brault; Claude Jutra,

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General Studies / Etudes generates 1962) qu'ils critiquent et analysent. De plus, ils font allusion aux films Les Raquetteurs (Michel Brault; Gilles Groulx, 1958), Golden Gloves (Gilles Groulx, 1961), Seul ou avec d'antres (Denis Heroux; Denys Arcand; Stephane Venne, 1962), La Lutte (Michel Brault; Marcel Carriere; Claude Fournier; Claude Jutra, 1961) et A Saint-Henri le cinq septembre (Hubert Aquin, 1962). On parle brievement de la rencontre de Brault et Groulx avec Jean Rouch.

296 Lefebvre, Jean Pierre. Les annees f olles de la critique ou petite histoire des revues de cinema au Quebec. Objectif no 29-30 (octobre-novembre 1964) 42-46. fr. Jean Pierre Lefebvre parle de 1'apparition progressive de revues de cinema au Quebec, a partir des annees 1950. 297 Bonneville, Leo. Le cinema canadien a 1'heure de la revolution quebecoise. Sequences no 40 (fevrier 1965) 12-19. 4 ill, fr. Survol des longs metrages canadiens-franc,ais produits sous 1'influence de la Revolution tranquille. Leo Bonneville critique les films suivants : Seul ou avec d'autres (1962), de Denis Heroux, Denys Arcand et Stephane Venne, A tout prendre (1964) de Claude Jutra, Trouble-fete (1964) de Pierre Partry, Le Chat dans le sac (1964) de Gilles Groulx, La Terre a boire (1964) realise par Jean-Paul Bernier et ecrit par Patrick Straram et, enfin, Jusqu'au cou (1964) de Denis Heroux. Ces oeuvres refletent, selon 1'auteur, une revolte qui a pu s'exprimer librement. 298 Lefebvre, Jean Pierre. La crise du langage et le cinema canadien. Objectifno 32 (avril-mai 1965) 27-36. 3 ill, fr. Jean Pierre Lefebvre parle du langage dans les films quebecois, de la fac.on dont les cineastes doivent percevoir la realite, du candid-eye, du cinema verite. II est aussi question du film Le Chat dans le sac (Gilles Groulx, 1964). 299 Mahaux, Jacques. Situation du long metrage canadien francais. Sequences no 41 (avril 1965) 51-54. fr. Bilan de la situation de 1'industrie cinematographique canadienne-franc.aise. En premier lieu, Jacques Mahaux remarque que la transition entre le court metrage documentaire (la tradition de 1'Office national du film (ONF) du Canada) et le long metrage de fiction se fait difficilement. Selon lui, cela est du a un manque de moyens techniques et de formation cinematographique. Mahaux note qu'on laisse peu de place au scenariste et au directeur d'acteurs. Enfin, il constate que 1'identite nationale naissante ne facilite pas la tache des cineastes et que la representation de la femme dans le cinema canadienfranc.ais devra faire preuve d'un peu plus de maturite. 300 Daudelin, Robert. Vingt ans de cinema au Canada frangais. (Collection Art, vie et sciences au Canada francais, no 8). Quebec, Quebec: Ministere des Affaires culturelles, 1967. 69 p, 24 ill, bibl, index, fr. L'auteur decrit 1'emergence du cinema canadien-franc,ais qui a suivi la Deuxieme Guerre mondiale. II se concentre d'abord sur la « prehistoire », soit les films produits entre 1945 et 1955. Apres avoir souligne 1'arrivee de 1'Office national du film (ONF) du Canada a Montreal (Quebec), 1'auteur presente les realisateurs qui font figure de proue entre 1955-1965 : Gilles Groulx, Michel Brault, Claude Jutra, Gilles Carle, Raymond Garceau et Jean Pierre Lefeb-

vre. On trouve de courtes sections sur les cineastes artisans qui n'avaient pas encore fait leurs marques au moment de la publication: Rene Bonniere, Guy L. Cote, Jean Dansereau, Bernard Devlin, Leonard Forest, Jacques Godbout, Clement Perron, Louis Portugais, Pierre Patry et Arthur Lamothe. De courtes sections sont reservees aux techniciens, c'est-a-dire aux monteurs, cameramen ou ingenieurs de son, a la section francophone des films d'animation de 1'ONF, et en particulier, a Pierre Hebert. 301 Straram, Patrick. Lettre de Montreal. Take One 1 no 3 (fevrier 1967) 27-28. fr. Portrait de la vie cinematographique du Quebec. L'auteur dresse une liste des evenements importants prevus au cours de 1'annee 1967. 302 Straram, Patrick. Lettre de Montreal. Take One 1 no 4 (avril 1967) 26-27.1 ill, fr. Notes sur deux projets de films quebecois : Chantal: en vrac de Jacques Leduc (1967) et Chant premier de Gilles Groulx (sortie sous le titre Oil etes-vous done?, 1970). 303 Daudelin, Robert. 1945-1955 la prehistoire. Objectifno 38 (mai 1967) 18-20. fr. Une chronologie de production de cinema francophone au Quebec entre les annees 1945 et 1955. L'auteur decrit les films Le Pere Chopin (Fedor Ozep ; Georges Freedland, 1945), La Forteresse (Fedor Ozep, 1947), Un homme et son peche (Paul Gury, 1949), Le Gros Bill (Rene Delacroix ; JeanYves Bigras, 1949), Le Cure de village (Paul Gury, 1949), Seraphin (Paul Gury, 1950), Docteur Louise (Paul Vandenberghe; Rene Delacroix, 1950), Son copain (Jean Devaivre, 1950), La Petite Aurore, I'enfant martyre (JeanYves Bigras, 1952), Etienne Brule, gibier de potence (Melburn E. Turner, 1952) et Le Rossignol et les Cloches (Rene Delacroix, 1952). Ces films, qui constituent une bonne partie de 1'histoire quebecoise, nous ramenent a 1'epoque ou le cinema donnait des images aux sons de la radio. 304 Patry, Yvan; Quintal, Jean; Laroche, Maximilien; Larsen, Andre ; Patry, Louise ; Paquet, Andre ; Tana, Paul; Pageau, Pierre; Menard, Claude. Le Cinema quebecois: tendances et prolongements. (Les Cahiers Sainte-Marie, no 12). Montreal, Quebec : Les Editions Sainte-Marie, 1968. 167 p, 16 ill, bibl, fr. Ce livre, qui tente de cerner les tendances du cinema quebecois et ses prolongements, est divise en deux parties. En premier lieu, on presente des etudes sur le cinema quebecois. Jean Quintal analyse brievement les longs metrages quebecois; Maximilien Laroche etudie la decouverte du langage dans 1'oeuvre de Pierre Perrault; Andre Larsen examine le sens de la contestation chez Jean Pierre Lefebvre et enfin, Louise et Yvan Patry analysent 1'oeuvre de Don Owen, un cineaste canadien dont les preoccupations recoupent celles du cinema quebecois. Puis, on trouve le repertoire des cineastes quebecois dont Yvan Patry, Paul Tana, Pierre Pageau et Andre Paquet ont decrit la carriere. Y sont present les cineastes chevronnes ainsi que ceux n'ayant realise qu'un seul film. Dans 1'ordre alphabetique on trouve : Denys Arcand, Rene Bail, Michel Brault, Marcel Carriere, Gilles Carle, Guy L. Cote, Fernand Dansereau, Jean Dansereau, Bernard Devlin, Georges Dufaux, Leonard Forest, Claude Fournier, Raymond Garceau, Jacques Giraldeau, Jacques Godbout,

Quebec Gilles Groulx, Pierre Hebert, Denis Heroux, Claude Jutra, Jean-Claude Labrecque, Arthur Lamothe, Richard Lavoie, Werner Nold, Pierre Patry et Clement Perron. Yvan Patry presente les cameramen Bernard Gosselin et Guy Borremans. En annexe, on trouve une courte etude sur 1'education cinematographique et une analyse de Claude Menard sur les problemes des mass-media. 305 Robillard, Guy. Le nationalisme dans le cinema quebecois. Sequences no 53 (avril 1968) 10-18. 4 ill, fr. L'auteur discute de 1'emergence du nationalisme et d'une volonte de liberation dans le cinema quebecois apres la Revolution tranquille. Cette tendance que la revue Les Cahiers du cinema a appelee « Cinema nouveau » se fait sentir aussi dans le cinema bresilien et de 1'Europe de 1'Est. Guy Robillard distingue trois categories dans le cinema nationaliste quebecois. Dans la premiere categorie, on decrit l'homme quebecois, comme par exemple dans La Vie heureuse de Leopold Z. (1965) de Gilles Carle, Patricia et Jean-Baptiste (1968) de Jean Pierre Lefebvre et C'est pas lafaute a Jacques Cartier (1968) de Georges Dufaux et Clement Perron. La deuxieme categoric est celle du cinema regionaliste ou le cinema verite prend une place tres importante. Le cinema de Pierre Perrault, dont Le Regne du jour (1968) est une oeuvre-cle, fait partie de cette categoric. Enfin, certains films expriment une revolte, par exemple Le Chat dans le sac (1964) de Gilles Groulx et Le Revolutionnaire (1965) de Jean Pierre Lefebvre. Selon 1'auteur, cette derniere categoric est la plus interessante car elle illustre une symbolique proprement quebecoise : la revolte morte-nee. 306 Pontaut, Alain. Le cinema-identite. Sequences no 53 (avril 1968) 4-9. 3 ill, fr. Dans ce dernier article de la serie sur 1'histoire du cinema canadien (Voir Sequences no 50, 51 et 52), Alain Pontaut resume la production cinematographique quebecoise entre 1963 et 1967. II commence en 1963, par quatre longs metrages canadiens presentes lors du Festival du film de Montreal a Montreal (Quebec) Pour la suite du monde (1964), realise par Michel Brault, Marcel Carriere et Pierre Perrault, et produit par 1'Office national du film (ONF) du Canada, Drylanders (Un autre pays) (1963), un film realise par Donald Haldane et produit par 1'ONF, A tout prendre (1964) de Claude Jutra et Trouble-fete (1964) de Pierre Patry. L'annee 1964 est marquee par la sortie du film de Gilles Groulx, Le Chat dans le sac (1964). Puis en 1965, on voit les oeuvres de realisateurs tels que Gilles Carle, Claude Fournier, Clement Perron, Georges Dufaux, Jean Pierre Lefebvre, Fernand Dansereau, et du cote anglophone, Don Owen, dont le film Depart sans adieux (1964) est remarque par la critique Internationale. Enfin, en 1967, c'est, selon 1'auteur, 1'apparition d'une oeuvre majeure dans le cinema quebecois Le Regne du jour (1968) de Perrault. 307 Noguez, Dominique. La jeunesse dans le cinema quebecois / Youth in the Quebec cinema. Vie des arts no 54 (printemps 1969) 63-67; 94-95.11 ill, fr, En. Dominique Noguez avance 1'idee que le cinema, au Quebec, ne se preoccupe pas de livrer un message aux jeunes, car effectivement « il n'y a pas encore de jeunesse quebecoise, il n'y a que de jeunes quebecois. » L'auteur cite en exemple des films tels que Kid Sentiment (Jacques Godbout, 1968), Jusqu'au coeur (Jean Pierre Lefebvre, 1969), Le

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Temps perdu (Michel Brault, 1964), La Fleur de I'age (Michel Brault, 1965), Chantal: en vrac (Jacques Leduc, 1967), Les Bacheliers de la cinquieme (Clement Perron; Francois Seguillon, 1962), Patricia et Jean-Baptiste (Jean Pierre Lefebvre, 1968), Jeunesse annee zero (Louis Portugais, 1964), Le Chat dans le sac (Gilles Groulx, 1964), et Huit temoins (Jacques Godbout, 1965). L'auteur souligne des liens thematiques qui semblent particuliers au cinema quebecois. Dominique Noguez proposes the idea that cinema in Quebec is not responsible for delivering a message to the young since, effectively, "there is no more youth in Quebec, there is no young in Quebec These ideas are supported with the examples of the films Kid Sentiment (Jacques Godbout, 1968), Jusqu'au coeur (Jean Pierre Lefebvre, 1969), Le Temps perdu (Michel Brault, 1964), La Fleur de I'age (Michel Brault, 1965), Chantal: en vrac 0acques Leduc, 1967), Les Bacheliers de la cinquieme (Clement Perron and Frangois Seguillon, 1962), Patricia et Jean-Baptiste (Jean Pierre Lefebvre, 1968), Jeunesse annee zero (Louis Portugais, 1964), Le Chat dans le sac (Gilles Groulx, 1964), and Huit temoins (Jacques Godbout, 1965). Noguez underlines the thematic connections unique in Quebecois cinema. 308 Noguez, Dominique. Un cinema de 1'errance (Jutra, Don Owen, Carle, Garceau, Lefebvre, Ransen) / A cinema of wandering (Jutra, Don Owen, Carle, Garceau, Lefebvre, Ransen). Vie des arts no 55 (ete 1969) 52-57; 82-85. 12 ill, fr, En. Une analyse du theme de 1'errance qui est present dans les films Claude Jutra, Don Owen, Gilles Carle, Raymond Garceau, Jean Pierre Lefebvre et Mort Ransen. L'auteur decrit les films A tout prendre (Claude Jutra, 1964), The Ernie Game (Don Owen, 1967), Le Viol d'une jeunefille douce (Gilles Carle, 1968), Le Grand Rock (Raymond Garceau, 1969), Jusqu'au coeur (Jean Pierre Lefebvre, 1969) et Christopher's Movie Matinee (Mort Ransen, 1969). L'auteur avance que 1'errance est un sujet naturel pour les Quebecois qui, en somme, n'ont pas de pays, de nation concrete. An analysis of the theme of wandering in the films of Claude Jutra, Don Owen, Gilles Carle, Raymond Garceau, Jean Pierre Lefebvre, and Mort Ransen. Dominique Noguez discusses the use of this theme in A tout prendre (Claude Jutra, 1964), The Ernie Game (Don Owen, 1967), Le Viol d'une jeune fille douce (Gilles Carle, 1968), Le Grand Rock (Raymond Garceau, 1969), Jusqu'au coeur (Jean Pierre Lefebvre, 1969), and Christopher's Movie Matinee (Mort Ransen, 1969). Noguez concludes that the theme of wandering comes about naturally in Quebecois film. 309 Robillard, Guy. Cinema et politique. Sequences no 58 (octobre 1969) 4-12. 4 ill, fr. Guy Robillard discute 1'utilisation du cinema, a travers son histoire, comme instrument politique. II fait un survol rapide des sujets politiques traites dans le cinema international comme la denonciation des juntes militaires dans le cinema de 1'Amerique latine, du communisme dans les pays de 1'Europe de 1'Est, de la Deuxieme Guerre mondiale et de la guerre du Vietnam dans les pays de 1'Europe de 1'Ouest. Robillard note qu'il existe un courant politique dans le cinema quebecois. Les deux poles qu'on trouve sont le courant nationaliste tel qu'illustre dans Le Chat dans le sac (1964) de Gilles Groulx, et la critique des politiques gouvernementales telle que demontree dans Les Voitures d'eau (1969) de Pierre Perrault.

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General Studies / Etudes generates

310 Robillard, Guy. Deux createurs. Sequences no 58 (octobre 1969) 68-70.1 ill, fr. Discussion sur deux cineastes quebecois, Pierre Perrault et Jean Pierre Lefebvre. Selon 1'auteur, ces deux cineastes sont d'authentiques createurs. Pour s'en convaincre, il ne suffit que de visionner la trilogie de Vile-aux-Coudres (1963-1968) de Perrault comprenant Pour la suite du monde (avec Michel Brault et Marcel Carriere, 1964), Le Regne du jour (1968) et Les Voitures d'eau (1969), ainsi que les films Jusqu'au coeur (1969), La Chambre blanche (1969) et // nefaut pas mourir pour ga (1968) de Lefebvre. 311 Noguez, Dominique. Cinema peinture Quebec : nous sommes tous des Picassos. Vie des arts no 58 (printemps 1970) 98-99. 5 ill, fr. L'auteur examine les liens entre la peinture et le cinema. Avec Quebec en silence (Gilles Gascon, 1969), le cineaste nous amene dans 1'univers du peintre Jean-Paul Lemieux, et 1'auteur decrit la similitude entre les plans cinematographiques et la peinture de paysages. Bozarts (Jacques Giraldeau, 1969) avec une approche sociologique, parle du divorce entre 1'artiste et la societe. Memoire liquide (Denys Morisset; Paul Vezina, 1969) est compare a certains films « underground » new yorkais pour son aspect plutot experimental. 312 Cote, Guy L. Anybody making shorts these days? Artscanada 27 no 2 (April 1970) 35-38. 8 ill, En. Claims that Quebec feature filmmaking of the early 1970s overshadows the traditional short documentary which has earned Canadian filmmaking prestige abroad. Illustrates this statement by examining the careers of such Quebec directors as Denys Arcand, Denis Heroux, Gilles Carle, Gilles Groulx, and Jean Pierre Lefebvre, all of whom have turned to feature filmmaking. The number of federally funded projects suggests that the National Film Board (NFB) of Canada and the Canadian Film Development Corporation have been encouraging new talent without encouraging filmmakers to go through the apprenticeship of documentary production. Notes that some of the features being produced display a more resolutely documentary character, such as the work of Pierre Perrault, or the sociological films of the Challenge for Change (1967-1980) program at the NFB. 313 Noguez, Dominique. Essais sur le cinema quebecois. Montreal, Quebec : Editions du jour, 1971. 221 p, 60 ill, bibl, index, fr. Ce livre est compose de six essais portant chacun sur un aspect precis du cinema au Quebec. On trouve une critique des films produits entre 1958 et 1968, ainsi qu'une analyse sur la situation de 1'enseignement du cinema au Quebec, le nombre limite d'etablissements de formation, le besoin de creer des instituts specialises et d'enseigner autant la theorie que la pratique. Un essai retrospectif des films sur la jeunesse aborde ensuite les films suivants : A tout prendre (1964) de Claude Jutra, Chantal: en vrac (1967) de Jacques Leduc, Kid sentiment (1968) de Jacques Godbout, The Ernie Game (1967) de Don Owen, Le Viol d'une jeunefille douce (1968) de Gilles Carle, Le Grand Rock (1969) de Raymond Garceau, Jusqu'au coeur (1969) de Jean Pierre Lefebvre et Wow (1970) de Jutra. La section suivante comprend des essais sur le cinema d'animation, sur Norman McLaren et son oeuvre dont Pas de deux (1968), ainsi

qu'une reflexion sur le cinema comme prolongement de la peinture. Le livre se termine par un resume du caractere politique de la prise de conscience du cinema quebecois manifeste dans le documentaire, le cinema direct, le film erotique et le cinema poetique. 314 Bonneville, Leo. Vous etes pas ecoeures... Sequences no 65 (avril 1971) 2-3. fr. Plaidoyer centre les films a caractere sexuel qui sont presentes sur les ecrans quebecois. Leo Bonneville lance un appel centre ces films et leur publicite publiee dans des journaux tels que La Presse et Le Devoir. Les films mentionnes qui exploitent la recette facile de la pornographic sont Pile ou face (1971) de Roger Fournier et Apres-ski (1971) de Roger Cardinal. 315 Brule, Michel; Dumont, Fernand; Perrault, Pierre. De la notion de pays a la representation de la nation. Cinema Quebec 1 no 1 (mai 1971) 22-27. 2 ill, fr. Les films Un pays sans bon sens! (Pierre Perrault, 1971) et L'Acadie, I'Acadie?!? (Michel Brault et Pierre Perrault, 1972) constituent le point de depart de cette discussion. Michel Brule, Fernand Dumont et Perrault parlent de la situation de I'Acadie, de la definition du terme « nation », de la multiplicity des nationalismes. Us font egalement reference au film Pour la suite du monde (Michel Brault, Marcel Carriere et Pierre Perrault, 1964). 316 Demers, Pierre. L'alternative: un reseau de cinemas paralleles; 1'experience du cegep de Jonquiere. Cinema Quebec 1 no 2 (juin-juillet 1971) 22-27. 8 ill, fr. Analyse de 1'activite cinematographique quebecoise en dehors de Montreal (Quebec). L'auteur decrit le role et les objectifs du Conseil quebecois pour la diffusion du cinema. II decrit aussi le fonctionnement, la programmation et les activites du cinema parallele du cegep de Jonquiere a Jonquiere (Quebec). 317 Demers, Pierre. Contribution a une filmographie du cinema comique quebecois. Cinema Quebec 1 no 3 (aoutseptembre 1971) 6-9. 6 ill, fr. Analyse du cinema quebecois comique ou on explique comment le comique reside d'abord dans la vraisemblance quebecoise. Dans ce dossier, on fait reference a certains films dont: La Vie heureuse de Leopold Z. (1965) de Gilles Carle, La Petite Aurore I'enfant martyre (1952) de Jean-Yves Bigras, Les Petites Soeurs (1959) de Pierre Patry, Le Grand Rock (1969) de Raymond Garceau et L'Initiation (1970) de Denis Heroux. 318 Hamelin, Lucien; Walser, Lise. Petit guide. (Cinema quebecois. Petit guide, no 1). Montreal, Quebec: Conseil quebecois pour la diffusion du cinema, 1972. 47 p, 4 ill, bibl, fr. Guide qui repertorie certains courts et longs metrages produits entre 1958 et 1972 qui ont marque 1'histoire du cinema quebecois. Pour chaque film, on donne le generique, un court resume du scenario et des critiques de presses. On trouve une section biographiefilmographique des cineastes cites et un recueil d'adresses des organismes et compagnies de distribution. 319 Godbout, Jacques. Panorama d'une production « a

Quebec venir » : une rentree sous le signe d'« IXE-13 » : les longs metrages quebecois en 1972. Cinema Quebec 1 no 7 (janvierfevrier 1972) 34-37.1 ill, fr. Introduction au film de Jacques Godbout, IXE-13 (1972). Dans la deuxieme partie, on trouve le repertoire des productions quebecoises de 1972 qui comprend les longs metrages produits par 1'industrie privee, les longs metrages produits par 1'Office national du film (ONF) du Canada, les films qui attendent une distribution commerciale et ceux qui sont censures par 1'ONF. 320 Kardish, Laurence. "New Cinema from Quebec." Cinema Canada no 1 (March 1972) 12, 30.1 ill, En. Discusses the New Cinema from Quebec program featured at the Museum of Modern Art in New York City, New York 3-14 February 1972. States that the program, which consisted of 11 films by Quebecois directors produced since 1969, received favourable critical response and quotes New York film critic Roger Greenspun's review of the program as an example. Provides an excerpt from the program notes to "New Cinema from Quebec", that describes recent Quebec cinema as compassionate, humane, and anxious, as emphasizing a rich portraiture, and as primarily concerned with the dignity of human beings as they attempt to survive within a destructive materialistic order. 321 Bonneville, Leo. La deuxieme vague. Sequences no 69 (avril 1972) 2-3. fr. A la suite de la vague d'erotisme au cinema, 1'auteur critique 1'arrivee de films utilisant, selon lui, la religion sans aucun egard. II mentionne IXE-13 (1971) de Jacques Godbout, L'Apparition (1972) de Roger Cardinal, Le Diable est parmi nous (1972) de Jean Beaudin, tout en soulignant les intentions honnetes de Tranquillement, pas vite (1972) de Guy L. Cote. 322 Patry, Yvan. Cinema as it relates to the forces of our society. Cineaste 5 no 3 (Summer 1972) 10-19. ill, bibl, En. Argues that any concrete analysis of the medium of film must realize and understand the bourgeoisie and proletariat contradiction, and use this contradiction as a point of analytic departure. Also reiterates the importance, in the analysis of cinema, to address such questions as : what is cinema as a representation of reality?; why is it necessary to use cinema? ; and how is cinematic material organized? Analyses, using this analytic paradigm, Quebec cinema in terms of the nature of American imperialism and the misuse of the medium by the Quebec bourgeoisie. Supplements this analysis by developing a pyramid schema to illustrate the structure of socio-economic domination in Quebec, the economic structure of the cinema, and Quebec's cinematic structure, and by including statistical information pertaining to film production, distribution, and exhibition in Quebec. 323 Critical notes on the articles : The cinema as relates to the forces of our society: Political situation of Quebec cinema. Cineaste 5 no 3 (Summer 1972) 20. En. Brief critical description of the two articles : "Political situation of Quebec cinema" (Cineaste 5 no 3 (Summer 1972) 29) and "Cinema as it relates to the forces of our society" (Cineaste 5 no 3 (Summer 1972) 10-19). This introduction

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provides both articles with a theoretical and political context, and argues that a meaningful analysis of Quebec cinema must take the operations of ideological state apparatus into consideration, and must be situated according to Quebec's historical evolution. 324 Cinema, another face of colonised Quebec: Quebec film-makers manifesto. Cineaste 5 no 3 (Summer 1972) 2126. 3 ill, En. Reprints a manifesto published by the Association professionnelle des cineastes du Quebec in response to the political and jurisdictional disputes resulting from the Quebec government's interference with the legal mandate of the Quebec Cinema Supervisory Board, the provincial film censoring body. The manifesto attempts to clarify the overall situation of film production in Quebec by analysing the roles of exploitation directors, producers, and distributors, the church, the provincial and federal governments, and the professional film community, in the censorship debate, and by analysing the current American domination of the Quebec film market. The manifesto concludes by articulating specific demands directed at the Quebec minister of Cultural Affairs, which the association feels are mandatory in order to rectify the the troubling state of Quebec's film industry. 325 La Rochelle, Real; Maggi, Gilbert. Political situation of Quebec cinema. Cineaste 5 no 3 (Summer 1972) 2-9. 6 ill, En. Argues that Quebec cinema, in its national character, can be characterized as a cinema engaged in the socio-political reality of Quebec and as a political cinema. Also argues that a meaningful examination of the conditions for the existence of a political cinema in Quebec must include an examination of the problem of the existence of a national cinema in a colonized country. Situates the birth of Quebec cinema in the Quiet Revolution of the 1960s, and notes that Quebec cinema, in order to express Quebec reality and the aspirations and claims of the Quebec people, has revealed several distinct tendencies. Identifies such tendencies as : individual expression, exemplified in the cinema of Jean Pierre Lefebvre, Gilles Groulx, Andre Theberge, Jean Chabot, Hughes Tremblay, and Jacques Leduc; the return to national sources, which characterizes the work of Pierre Perrault; the social action cinema of the Cinema d'animation sociale, as practised by its organizer and leader Fernand Dansereau ; and the creation of action films and films of social conscience, examples of which include Arthur Lamothe's Le Mepris n'aura qu'un temps (1970), Roger Frappier's Le Grand Film ordinaire (1971), and Jean-Claude Labrecque's La Nuit de la poesie 27 mars 1970 (1970). 326 Lafrance, Andre. Cinema d'ici. Avec la collaboration de Gilles Marsolais. (Collections Les Beaux-arts). Montreal, Quebec : Lemeac, 1973. 215 p, 26 ill, index, fr. Differents intervenants du milieu cinematographique (Ross McLean, Fernand Belanger, Raymond Garceau) et des realisateurs canadiens tels que Michel Brault, Gilles Carle, Jean-Claude Labrecque, Denis Heroux, Marcel Carriere, Fernand Dansereau, Bernard Devlin, Claude Fournier, Gilles Groulx et Claude Jutra ont etc interviewes pour 1'emission de television Cinema d'ici, diffusee pendant 11 semaines au cours de 1'ete 1972 au reseau francais

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General Studies / Etudes generates de la Societe Radio-Canada. Ce recueil, qui regroupe le compte rendu de ces entrevues, decrit les tendances, 1'evolution et 1'histoire du cinema quebecois depuis les debuts en passant par 1'evolution des productions de 1'Office national du film (ONF) du Canada, le cinema direct et ses influences, jusqu'aux longs metrages realises vers la fin des annees 1960.

327 Villeneuve, Paquerette. Le cinema quebecois a Paris: c'est presque oui. Le Maclean 13 (Janvier 1973) 18-19, 34.1 ill, fr. Un examen de la popularite de films quebecois a Paris (France). Paquerette Villeneuve regarde plusieurs productions et note quelques donnees statistiques pour en deduire que le cinema quebecois pourra faire sa place en France. 328 Hennebelle, Guy. Les negres noirs d'Afrique: les negres blancs d'Amerique. Cinema Quebec 2 no 5 (janvierfevrier 1973) iii-iv. 1 ill, fr. Dans une etude sur le cinema senegalais, 1'auteur etablit un parallele entre le cinema d'Afrique et du Quebec, d'ou ressort une lutte commune contre 1'imperialisme et pour 1'affirmation d'une culture nationale. 329 Stern, Seymour. The Roman Catholic cinema of French Canada. Film Culture no 56-57 (Spring 1973) 227-256. En. Discusses the 1972 exhibition of a series of films by Quebecois filmmakers at the Museum of Modern Art in New York City, New York. Argues that with the exception of Gilles Carle's Les Males (1971) and Gilles Groulx's Le Chat dans le sac (1964), all the films functioned as Roman Catholic or Quebec separatist propaganda. Examines in detail, Gilles Gascon's Quebec en silence (1969), Carle's Red (1970), Jean Pierre Lefebvre's Les Maudits Sauvages (1971) and Un succes commercial ou Q-bec My Love ou Struggle for Love (1970), Andre Forcier's Le Retour de I'lmmaculee Conception (1969), Claude Jutra's Mon oncle Antoine (1971), Jacques Leduc's On est loin du soleil (1971), Jean Chabot's Mon enfance a Montreal (1971), as well as Le Chat dans le sac and Les Males. 330 Tadros, Jean-Pierre. «La Mort d'un bucheron»/ « Taureau » : A la recherche du pere et d'un film. Cinema Quebec 2 no 6-7 (mars-avril 1973) 50-51.1 ill, fr. Dans cette etude des films La Mort d'un bucheron (1973) de Gilles Carle et Taureau (1973) de Clement Perron, 1'auteur souligne les analogies qui existent entre les deux oeuvres : la figure du pere, 1'environnement et 1'exploitation. 331 Cervoni, Albert. Un cinema « moblie en haut » ou un cinema « mobile en bas ». Cinema 73 no 176 (mai 1973) 4869.11 ill, fr. Compte rendu d'une visite du Quebec pour decouvrir la situation presente du cinema quebecois. Ecrit dans le style d'un journal intime, cet article nous guide a travers plusieurs etapes des decouvertes de 1'auteur. Bref historique de 1'Office du film du Quebec, ainsi que de 1'Office national du film (ONF) du Canada. Rencontres avec Claude Fournier, Jean-Claude Labrecque, RaymondMarie Leger, Robert Daudelin, Claude Godbout, Jean Pierre Lefebvre, Arthur Lamothe, Denys Arcand, Pierre

Perrault, Gilles Carle et d'autres. Divise en plusieurs sections, 1'article touche la production videographique, les experiences des cineastes et videastes, la politique des organisations comme 1'Office du film du Quebec et 1'ONF ainsi que la Societe de developpement de 1'industrie cinematographique canadienne. 332 Langlois, Gerard. Table ronde: des jeunes realisateurs s'expliquent. Cinema 73 no 176 (mai 1973) 70-75. 3 ill, fr. Trois jeunes realisateurs, Roger Frappier, Jean Chabot et Guy Bergeron, discutent de la situation presente du cinema quebecois lors d'une table ronde tenue en decembre 1972. Les cineastes expriment leurs sentiments envers ceux qui les ont precedes, comme Pierre Perrault et Claude Jutra. Ils expliquent la creation et les operations de leur cooperative de production et Jean Chabot explique la motivation de son film Une nuit en Amerique (1975) qu'il realise apres 1'experience amere du tournage de son premier film Mon enfance a Montreal (1971). 333 Veronneau, Pierre. Lettre de Quebec: A propos de Denis Heroux et Gilles Carle. Cinema 73 no 176 (mai 1973) 76-78.1 ill, fr. Les films de Denis Heroux et Gilles Carle sont utilises comme exemples du nationalisme du cinema quebecois. Films cites : Les Males (Gilles Carle, 1971), La Vraie Nature de Bernadette (Gilles Carle, 1972), Quelques arpents de neige (Denis Heroux, 1972) et La Mort d'un bucheron (Gilles Carle, 1973). 334 Tadros, Jean-Pierre. Reponse a une enquete: les critiques vous influencent-elles? Cinema Quebec 2 no 10 (juillet-aout 1973) 30-32. fr. Resultats d'une enquete sur les influences des critiques de cinema sur le public. On parle des films etrangers et de quelques films quebecois. 335 Quebec films shown during Toronto's "Caravan." Cinema Canada no 9 (August-September 1973) 11.1 ill, En. Mentions the films shown in the French Canadian Pavilion at Toronto, Ontario's "Caravan," a festival of ethnic cultures in 1973. 336 Veronneau, Pierre. Quebec: la decadence. Cinema 73 no 182 (decembre 1973) 20.1 ill, fr. Discussion sur le cinema quebecois a savoir s'il devrait s'internationaliser et perdre son individuality ou se tourner vers lui-meme et tenter de survivre. Rejeanne Padovani (Denys Arcand, 1973) est cite en exemple. 337 Bastien, Jean-Pierre. Le cinema qu'on transcrit. Livres et auteurs quebecois (1974) 264-266. fr. Resume et critique des ouvrages portant sur le cinema pub lies au Quebec en 1974 dont « L'Aventure du cinema direct» de Gilles Marsolais et « Pierre Perrault ou un cinema national» de Michel Brule. Critique des films // etait unefois dans I'Est (1974) d'Andre Brassard et Bingo de Jean-Claude Lord (1974). 338 Euvrard, Michel. Le cinema quebecois a San Francisco: espoir et... deception. Cinema Quebec 3 no 5 (fevrier-mars 1974) 34-35. fr.

Quebec Entrevue avec Edith Kramer, directrice de la cinematheque du musee de San Francisco a San Francisco (Californie) suite a l'hommage rendu par son institution a 1'Office national du film (ONF) du Canada et au cinema quebecois. On fait un survol des films qui ont remporte du succes lors de cet evenement comme La Vraie Nature de Bernadette (1972) de Gilles Carle, La Vie revee (1972) de Mireille Dansereau et Le Mepris n'aura qu'un temps (1970) d'Arthur Lamothe. Parmi les difficultes a surmonter, elle mentionne le sous-titrage et elle explique aussi le role de 1'ONF et du Conseil quebecois pour la diffusion du cinema dans cet hommage. 339 Hausvater, Alexander. The film in Quebec "what now." Motion (March-April-May 1974) 52-53. En. Discusses the relationship between the political context in Quebec and the portrayal of Quebecois protagonists in recent films. 340 Marsolais, Gilles. L'ambiguite de la vie cinematographique au Quebec / The ambiguity of cinematographic life in Quebec. Vie des arts 18 no 74 (printemps 1974) 68-69 ; 102-103.1 ill, bibl, fr, En. Gilles Marsolais se penche sur 1'evolution du cinema quebecois et sur sa condition actuelle, en considerant certains evenements importants pour les cinephiles : les Palmares du film canadien, tenus a Montreal (Quebec) en 1973 et le Festival international du film en 16 mm, aussi tenu a Montreal. Begins a regular running article on the evolution of Quebec cinema by presenting the present condition of cinema in Quebec, with all of its ambiguities Discusses the Canadian Film Awards held in Montreal, Quebec, in 1973 and the International Festival of 16 mm Film, also held in Montreal. 341 Tadros, Jean-Pierre. Le jeune cinema quebecois : un cinema qui derange. Cinema Quebec 3 no 9-10 (aout 1974) 84-86. fr. Trois cineastes, Jean Chabot, Jean-Guy Noel et Michel Bouchard, discutent des rapports entres les cineastes du debut des annees 1970 et ceux du debut des annees I960, et du role du nouveau cinema quebecois. 342 Shek, Ben. Quebec films: Sharp image of a separate society. Performing Arts in Canada 11 no 3 (Fall 1974) 32-34. 1 ill, En. An overview of recent Quebec film productions including brief descriptions of Clement Perron's Taureau (1973), Gilles Carle's La Mart d'un bucheron (1973), Mireille Dansereau's La Vie revee (1972), Roger Frappier's L'Infonie inachevee (1973), Jean-Guy Noel's Tu brides... tu brides... (1973), Claude Jutra's Kamouraska (1973), Jacques Leduc's Tendresse ordinaire (1973), and Maurice Bulbulian's Richesse des autres (avec Michel Gauthier, 1973). 343 Bonneville, Leo. Information cinema. Sequences no 78 (octobre 1974) 2-3. fr. Comparaison des statistiques de classification des films etablies par le Bureau de surveillance du cinema pour les annees 1970-1971 et 1973-1974, en fonction des trois categories suivantes : films pour tous, pour 14 ans et pour 18 ans et plus. On constate une augmentation des films

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pour adultes au detriment des films familiaux et on met en lumiere la part des films pornographiques dans ces donnees. 344 Latour, Pierre. Quebec. Cinema Canada no 16 (OctoberNovember 1974) 26. En. Discusses six new features by Quebec directors : Claude Jutra's Pour le meilleur et pour le pire (1975), Richard Martin's Les Beaux Dimanches (1974), Pierre Harel's Vie d'Ange rapt de star (released as Vie d'Ange, 1980), Gilles Richer's Un petit amour de pompier (released as Tout feu tout femme, 1975), Roger Fournier's Les Aventures d'une jeune veuve (1974), and Clement Perron's Partis pour la gloire (1975). 345 Lionet, Gerard. Tendance actuelles du cinema quebecois. Jeune Cinema 75 (decembre 1974-janvier 1975) 21-25. fr. Un article qui tente de comparer les films quebecois realises il y a trois ans a ceux qui se font aujourd'hui. 346 Cinematheque quebecoise. Musee du cinema. Quebec 75: cinema. Textes et documentation, Jean-Pierre Bastien; cinema d'animation, Louise Beaudet; conception graphique et realisation, Pierre Monat et Rodolphe Conan. Montreal, Quebec: Cinematheque quebecoise, Musee du cinema; Institut d'art contemporain, 1975. 63 p, 70 ill, fr, En. Programme presente lors de la manifestation Quebec 75 organisee par 1'Institut d'art contemporain a Montreal (Quebec), en octobre et novembre 1975. Quebec 75 : cinema est 1'une des trois parties de cette manifestation. Ecrit par la Cinematheque quebecoise, il se veut le bilan de la production cinematographique du Quebec de 1970 a 1975. Dans ce document, on trouve une analyse de cette periode du cinema quebecois, un article qui fait le point sur le cinema d'animation et son evolution, ainsi que de courts textes de presentation pour chaque film presente lors de cet evenement (14 longs metrages, 10 courts metrages et 21 films d'animation). On ajoute aussi un repertoire des longs metrages qui ont ete produits de 1970 a 1975, ainsi qu'une liste des oeuvres en cours de production en juillet 1975. Dans « L'Animation, avant-garde pour demain? », Louise Beaudet etudie les possibilites qu'offre 1'ordinateur en animation et souligne 1'importance de cette nouvelle technique. Deja soustraite aux lois temporelles et spatiales, 1'animation pourrait, avec 1'aide de 1'informatique, aborder d'une maniere unique les problemes de tous les jours. A program of the Quebec 75 exhibition organized by the Institut d'art contemporain of Montreal, Quebec, OctoberNovember 1975 Quebec 75: cinema, compiled by the Cinematheque quebecoise, is one of three components of an exhibition which also includes art and video. This bilingual document presents an assessment of the cinematographic production of Quebec filmmakers between 1970 and 1975, with essays analysing this period in Quebec cinema and focussing on the evolution of the animated film in Quebec, along with short introductory texts for each film shown in the exhibition (14 feature films, ten short films, and 21 animated films). Also includes a list of all the feature films produced between 1970 and 1975 and a list of works in production as of July 1975. In the essay "Animation, Avant-garde of the Future?" Louise Beaudet studies the possibilities offered by the computer to animated films and suggests that animators utilize these new techniques.

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General Studies / Etudes generates

347 Jaubert, Jean-Claude. L'image du pays dans le cinema quebecois. Doctorat. Aix-en-provence, France: Universite de Provence, 1975. 330 p, index, bibl, fr. Jean-Claude Jaubert y aborde 1'image physique du pays (fleuve, hiver, geographic), les hommes (jeunesse, marginaux, femme, travail, minorites) les institutions (famille, religion, enseignement, gouvernement) et les problemes (chomage, langue, alienation) dans le cinema quebecois. 348 Raboy, Marc. Political cinema in Quebec. This Magazine 8 no 5-6 Ganuary-February 1975) 10-12.4 ill, En. Discusses the difficulty that Quebecois filmmakers have faced in their attempts to acquire financing for films that are critical of Quebec society. Discusses, in this context, the success of Michel Brault's Les Ordres (1974), a film about the political prisoners in Quebec taken during the implementation of the War Measures Act in 1970, which was funded by the Canadian Film Development Corporation only after the precarious political climate resulting from the event had subsided. Also discusses the censorship of Gilles Groulx's 24 heures ou plus... (1977), a film which promoted government reform and social change, by the National Film Board (NFB) of Canada. Groulx claims that the lack of support for his film on the part of other filmmakers at the board was evidence of the political stasis of NFB filmmakers, and states that he wishes to continue working at the board and attempting to change it so long as it depends on Quebec taxpayers for support. Notes that Sydney Newman, the NFB film commissioner who was responsible for the banning of Groulx's film, has decided to be more tolerant of political films, claiming that protests against NFB censorship generate publicity for films that would otherwise rarely be seen. 349 Veronneau, Pierre. Lettre du... Quebec: deux films, un evenement politique. Cinema 75 no 195 (fevrier 1975) 16-17.1 ill, fr. Discussion de 1'influence des evenements politiques d'octobre 1970 dans la cinematographic quebecoise. Action: The October Crisis of 1970 (1975) de Robin Spry, produit par 1'Office national du film (ONF) du Canada et Les Ordres (1974) de Michel Brault sont les films cites en exemple. 350 Huot, Frangois. Rejoindre le francais ordinaire. Loisir Plus 4 no 7 (fevrier 1975) 6. fr. Article relatif a la diffusion des films quebecois en France grace a une subvention de $20 000 du Service des relations du ministere des Affaires culturelles. Francois Huot fournit aussi des renseignements techniques et geographiques sur cette operation. De plus, on donne quelques details sur la collaboration entre le Conseil quebecois pour la diffusion du cinema et 1'Association technique pour 1'action culturelle en France. 351 Morgan, Jean-Louis. Arts et spectacles. L'Actualite 15 no 2 (fevrier 1975) 9-10,12.4 ill, fr. Reference aux films Les Aventures d'une jeune veuve (Roger Fournier, 1974), Born for Hell (1976) de Denis Heroux, Le Tonnerre rouge (1974) de Claude Fournier et Panique (1977) de Jean-Claude Lord. On traite aussi des films produits par la corporation des Films Mutuels en 1975 et par 1'Office national du film (ONF) du Canada.

352 Shek, Ben. Quebec cinema: A retrospective. Cinema Canada no 18 (March-April 1975) 50-51.1 ill, En. Outlines critic Jean-Pierre Tadros's analysis of Quebec cinema as articulated in a lecture entitled "1'Expression actuelle du quebecois dans le cinema, dans le theatre et dans les beaux arts" given by Tadros at the third annual Workshop on Quebec Studies, Universite du Quebec a TroisRivieres in Trois-Rivieres, Quebec. Tadros argues that the current commercialization of French language films has made a distinct Quebecois cinema difficult to define. He maintains that the commercial wave of Quebecois cinema began in 1969 with the creation of the Canadian Film Development Corporation, and cites Denis Heroux's Valerie (1969) as an example of this trend. Non-commercial Quebecois filmmaking, Tadros argues, originated about 1964 at the National Film Board (NFB) of Canada where filmmakers such as Gilles Carle and Gilles Groulx sought to create an authentic, autonomous cinema, and where filmmakers such as Pierre Perrault and Michel Brault were pioneering the cinema verite technique. Tadros cites a third trend of Quebecois filmmaking, the cinema auteur, which is represented by the work of Carle, Jean Pierre Lefebvre, Claude Jutra, and Denys Arcand. Tadros also examines some of the current problems facing Quebec cinema and analyses Jean-Claude Lord's Bingo (1974) as a possible prototype of the future of commercial cinema in Quebec. 353 Morgan, Jean-Louis. Arts et spectacles. L'Actualite 15 no 4 (avril 1975) 17, 48, 50, 53. 2 ill, fr. Article qui fait reference aux films La Gammick (1975) de Jacques Godbout et Les Vautours (1975) de Jean-Claude Labrecque. 354 Lever, Yves. Octobre 70 dans le cinema quebecois: une histoire a suivre. Cinema Quebec 4 no 5 (ete 1975) 10-15. 6 ill, fr. Analyse critique des films qui traitent des evenements d'octobre 1970 dont Faut aller parmi I'monde pour le savoir (1971) de Fernand Dansereau, Tranquillement, pas vite (1972) de Guy L. Cote, Les Smattes (1972) de Jean-Claude Labrecque, Bingo (1974) de Jean-Claude Lord, Les Ordres (1974) de Michel Brault, Les Evenements d'octobre 1970 (1975) de Robin Spry et L'lle jaune (1975) de Jean Cousineau. Dans une deuxieme partie, on commente une longue liste de films ou la crise d'octobre est un theme aborde. Parmi les principaux films, on trouve Quebec: Duplessis et apres... (1972) de Denys Arcand, Le Bonhomme (1972) de Pierre Maheu et Ultimatum (1975) de Jean Pierre Lefebvre. 355 Morgan, Jean-Louis. Arts et spectacles. L'Actualite 15 no 8 (septembre 1975) 8-11,41-42. 2 ill, fr. Notes sur les films Mustang (1975) de Marcel Lefebvre et Yves Gelinas, Partis pour la gloire (1975) de Clement Perron, A/JO... An coeur du monde primitif (1975) de Daniel Bertolino et Francois Floquet et Ne pour I'enfer (1976) de Denis Heroux. 356 Morgan, Jean-Louis. Arts et spectacles. L'Actualite 15 no 9 (octobre 1975) 11-14. 3 ill, fr. Notes sur les films Pour le meilleur et pour le pire (1975) de Claude Jutra, Partis pour la gloire (1975) de Clement Per-

Quebec

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ron, Mustang (1975) de Marcel Lefebvre et Yves Gelinas, Aho... Au coeur du monde primitif (1975) de Daniel Bertolino et Francois Floquet et Ne pour I'enfer (1976) de Denis Heroux.

perturbee par le conflit entre le Syndicat national du cinema et 1'Association des producteurs de films, ainsi que de 1'attitude des distributeurs face au cinema independant.

357 Veronneau, Pierre. Ou en est le cinema quebecois. Cinema 76 no 206 (fevrier 1976) 50-60. 6 ill, fr. Survol des longs metrages quebecois recemment produits par les realisateurs Gilles Carle, Jean Pierre Lefebvre et Claude Jutra. On y retrouve aussi six films realises par des femmes entre 1973 et 1975 a 1'Office national du film (ONF) du Canada, soit J'me marie, j'me marie pas (Mireille Dansereau, 1974), Souris, hi m'inquietes (Aimee Danis, 1973), Les Filles, c'est pas pareil (Helene Girard, 1974), A qui appartient ce gage? (Susan Gibbard; Clorinda Warny; Francine Sai'a; Jeanne Morazain; Marthe Blackburn, 1973), Les Filles du Roy (Anne Claire Poirier, 1974) et Le Temps de I'avant (Anne Claire Poirier, 1975). L'auteur analyse 1'industrie cinematographique quebecoise selon sa politique et ses intentions commerciales. II en deduit que le cinema quebecois cherche encore sa voix.

363 Lever, Yves. L'Eglise et le cinema au Quebec. Maitrise. Montreal, Quebec : Universite de Montreal, 1977. vii, 275 p, bibl, fr. L'auteur analyse le role de 1'Eglise catholique dans 1'histoire du cinema quebecois. Yves Lever divise cette etude en deux parties. Jusqu'en 1940, il semble que les films presentes au Quebec aient ete majoritairement etrangers, devenant, aux yeux du clerge et des nationalistes, des elements de corruption. C'est 1'epoque ou Ton instaure la censure. La deuxieme periode s'etend de 1940 jusqu'a nos jours. C'est une periode ou le cinema quebecois se developpe beaucoup. II devient, pour le clerge, un moyen de communication efficace et indispensable en education, malgre la mefiance qu'il inspire encore a 1'Eglise. Pour conclure ce document, 1'auteur propose un nouveau type d'interventions pastorales a 1'aide de ce media.

358 Quebec : Exhibition. Cinema Canada no 28 (May 1976) 12.1 ill, En. Notes that two low budget Quebecois films, Chanson pour Julie (Jacques Vallee, 1976) and La Piastre (Alain Chartrand, 1976), opened in Montreal, Quebec, in May 1976 and were poorly received. Jos Carbone (Hugues Tremblay, 1976) and Second Wind (Donald Shebib, 1976) also opened in May.

364 Chapleau, Pierre R. Du cinema parlant... de 1'an passe a 1'an prochain. Loisir Plus no 55 (mars 1977) 35. fr. Trois activates majeures a 1'agenda de 1'Association professionnelle des cineastes du Quebec pour 1'annee 1976-77: le Festival populaire de 1'image, le programme d'aide a la production ainsi que la diffusion et 1'information.

359 Straram, Patrick. Le cinema, bien, mais plus que le cinema des films qui ravissent le bison. Cinema Quebec no 44 (automne 1976) 36-37. 2 ill, fr. L'auteur discute des films qui portent a reflexion, des themes qu'on retrouve dans les romans feuilletons, ainsi que de la pietre qualite du cinema quebecois. II fait reference a certains films dont La Piastre (1976) d'Alain Chartrand. 360 Straram, Patrick. Le cinema, bien, mais plus que le cinema des films qui ravissent le bison. Cinema Quebec no 45 (automne 1976) 38-39. 2 ill, fr. Commentaires sur des films comme Ti-Cul Tougas (1976) de Jean-Guy Noel, Parlez-nous d'amour (1976) de JeanClaude Lord, 24 heures ou plus... (1977) de Gilles Groulx et L'Amour blesse (Confidences de la nuit) (1977) de Jean Pierre Lefebvre. 361 Robitaille, Louis-Bernard. Le cinema quebecois vide les salles. L'Actualite 1 no 2 (octobre 1976) 14.1 ill, fr. Compte rendu sur la situation du cinema quebecois en France. Statistiques a 1'appui, on donne des titres de films qui ont connu un echec commercial. On mentionne ensuite les conditions qui assurent le succes a un film etranger presente dans les cinemas francais. 362 Bonneville, Leo. Quand le cinema ne tourne pas rond au Quebec. Sequences no 86 (octobre 1976) 2-3. fr. Survol des problemes auxquels le Quebec est confronte dans sa production cinematographique. Leo Bonneville parle des ressources financieres, de 1'indifference de la population face au cinema quebecois, de la production

365 Martin, Marcel; Straram, Patrick. Trois aspects du cinema quebecois. Ecran 77 57 (avril 1977) 21-26. fr. Article en trois parties sur le cinema quebecois. On retrouve des articles sur les cineastes quebecois Pierre Perrault, Georges Dufaux et Patrick Straram. 366 Veronneau, Pierre. Quebec : 1976 : ressac, cul-de-sac. Cinema 77 no 220 (avril 1977) 74-76. fr. Critique de la faible qualite et quantite de productions cinematographiques au Quebec en 1976. L'auteur note TiCul Tougas (Jean-Guy Noel, 1976) comme etant la seule exception a cette banalite et ce manque de creativite dans le milieu du cinema quebecois puisque ce film a ete realise avec de modestes moyens et a ete bien accueilli par les critiques et le public. Parlez-nous d'amour (Jean-Claude Lord, 1976) est cite comme 1'extreme oppose de Ti-Cul Tougas pour sa valeur culturelle malgre son succes financier. 367 Daudelin, Robert. La rencontre direct-fiction. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 107-121. Montreal, Quebec: Cinematheque quebecoise; Paris, France: Pierre Lherminier, 1978. 5 ill, fr. Version anglaise : The encounter between fiction and the direct cinema. Partant de 1'influence du cinema direct, methode attribute a 1'Office national du film (ONF) du Canada, Robert Daudelin analyse le cinema de fiction quebecois. II commence avec Seul ou avec les autres (Denis Heroux, Denys Arcand et Stephane Venne, 1962), film sur la vie etudiante produit par un groupe d'etudiants de 1'Universite de Montreal a Montreal (Quebec), avec la cooperation de Michel Brault, Bernard Gosselin, Gilles Groulx et Marcel Carriere. On donne une description detaillee de quelques films dont A tout prendre (Claude Jutra, 1964), Pour la suite

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General Studies / Etudes generates du monde (Pierre Perrault, Marcel Carriere et Michel Brault, 1964) et Entre la mer et I'eau douce (Michel Brault, 1968). Reference breve a des films des annees I960, de Don Owen, Gilles Carle, Jacques Leduc, Allan King, Jean Pierre Lefebvre, Fernand Dansereau, Jacques Godbout et Carriere, contenant des aspects de ce nouveau genre cinematographique. Daudelin affirme que le cinema canadien a subi 1'influence du modele hollywoodien, oubliant son heritage du cinema direct.

368 Menard, Pierre. Action reaction: autour d'un debat sur la langue au cinema. Cinema Quebec 6 no 2 (1978) 12-13. fr. L'auteur denonce la domination de la langue anglaise sur les ecrans quebecois et accuse la commercialisation d'etre a la source de ces maux. 369 Houle, Michel. Quelques aspects ideologiques et thematiques du cinema quebecois. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 137-162. Montreal, Quebec: Cinematheque quebecoise; Paris, France : Pierre Lherminier, 1978. 9 ill, fr. Version anglaise: Some ideological and thematic aspects of the Quebec cinema. Michel Houle analyse les themes et les ideologies touchant 1'evolution des longs et courts metrages au Quebec entre les annees 1940 et 1970. Les productions cinematographiques des annees 1940 et 1950 etaient dominees par des themes catholiques et laissaient voir 1'influence de 1'Eglise sur la vie sociale et culturelle des Quebecois. De 1959 a 1968, 1'identite quebecoise s'est forgee autour d'une ideologic nationaliste et les films refletaient les preoccupations sociales et politiques des ci toyens. Les luttes politiques et ideologiques se sont etendues dans les annees 1970 et les dissidents, les opprimes, les marginaux et les minorites ont fait partie des themes abordes par le cinema. 370 Jaubert, Jean-Claude. La representation du pouvoir dans le cinema quebecois. Cinema Quebec 6 no 4 (1978) 1824. 5 ill, bibl, fr. Analyse de la representation du pouvoir a 1'ecran quebecois. L'auteur s'interroge sur 1'image du pouvoir politique, sur le jugement porte sur le pouvoir dans les films et sur les influences que cela peut exercer sur 1'individu. II se refere a des films realises entre 1952 et 1976 qui mettent en scene 1'evolution historique et politique du Quebec dont La Petite Aurore I'enfant martyr (1952) de Jean-Yves Bigras, Les Brides (1957) de Bernard Devlin, Le Chat dans le sac (1964) de Gilles Groulx, Poussiere sur la ville (1968) d'Arthur Lamothe, Les Ordres (1974) de Michel Brault, Bulldozer (1974) de Pierre Harel, Rejeanne Padovani (1973) de Denys Arcand et, enfin, Noel et Juliette (1973) de Michel Bouchard. 371 Veronneau, Pierre. 1944-1953: Premiere vague du long metrage quebecois. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 36-46. Montreal, Quebec : Cinematheque quebecoise; Paris, France : Pierre Lherminier, 1978. 4 ill, fr. Version anglaise: The first wave of Quebec feature films: 1944-1953. Extraits en anglais : Cinema Canada no 56 Qune-July 1979) 42-46. Entre 1944 et 1953, on compte 19 longs metrages commerciaux francais au Quebec. Ces chiffres dependent en partie

des liens etroits entretenus avec la France a partir de la Deuxieme Guerre mondiale et du fait que 1'audience francophone reclamait des films hollywoodiens traduits en franc,ais. Veronneau reconstitue les grandes lignes de la creation de la Renaissance Films Distribution a Montreal (Quebec) en 1944, par Joseph-Alexandre De Seve, du succes remporte par le film de Fedor Ozep, Le Pere Chopin (avec Georges Freedland, 1945), il parle de 1'accent mis sur le sentiment chretien pour gagner 1'appui des Quebecois catholiques et des efforts fournis lors de la production melodramatique de Paul Vandenberghe et de Rene Delacroix, Docteur Louise (1950). II souligne les activites paralleles de la Quebec Productions, fonde par Paul L'Anglais en 1946, parle de La Forteresse (1947), et de la version anglaise Whispering City (1948) que Ozep dirigea aussi. De meme, il analyse les films ulterieurs ayant trait a la culture quebecoise et a 1'ideologie catholique. Veronneau conclut en affirmant que les films americains produits au Canada, suite a la fondation de la Canadian Cooperation Project de 1948, sont des exemples parfaits pour illustrer la dependance continue du Canada sur Hollywood et 1'arrivee de la television en 1952 qui encouragea un different type d'industrie cinematographique. 372 Castonguay, Viateur. A la recherche de spectateurs pour le cinema d'ici: cinema artisanal. Cinema Quebec 6 no 5 (1978) 40-41. fr. L'auteur s'interroge sur 1'echec de la semaine de cinema artisanal qui s'est deroulee au cegep de Shawinigan a Shawinigan (Quebec) du 6 au 12 mars (1978) et ou 1'on esperait presenter 30 films de cineastes artisans. Selon 1'auteur, 1'echec de cette semaine serait attribuable au fait que la television s'est accapare de 1'attention du public et que le cinema quebecois possede une image negative. 373 Tadros, Jean-Pierre. Cinema artisanal: tentatives de regroupement. Cinema Quebec 6 no 2 (1978) 40-43.1 ill, fr. Historique des multiples tentatives de regroupement des cineastes artisans. On mentionne, entre autres choses, leur premiere rencontre en decembre 1976 a Montreal (Quebec) et 1'assemblee de fondation du Regroupement des artisans du film quebecois le 4 juin 1977. A la fin du texte, on trouve les definitions de quelques termes propres au cinema artisanal. 374 Petric, Vlada. Le cinema quebecois au carrefour: An oblique view by a foreigner. Parachute no 10 (Spring 1978) 37-39. 2 ill, En. An overview of contemporary Quebec cinema in the context of the month-long retrospective of Canadian films organized by the Conservatory of Cinematographic Art during the Olympic Games in Montreal, Quebec, JulyAugust 1976. Concentrates on the artistic aspects of Quebec filmmaking, such as documentary tradition, narrative, acting, and cinematography, but also examines Quebec cinema in terms of its social, historical, political, and thematic content. Briefly refers to a number of contemporary Quebecois films and filmmakers, and considers Claude Jutra's Kamouraska (1972), and Jean Pierre Lefebvre's Les Dernieres Fian$ailles (1973) in detail. 375 Bonneville, Leo. Ca ne tourne pas rond... Sequences no 92 (avril 1978) 2-3. fr. Remise en question de deux aspects souleves par 1'As-

Quebec sociation des realisateurs de films du Quebec dans son memoire La Culture et le cinema remis au premier ministre du Quebec en 1978 : 1'importance pour 1'industrie cinematographique quebecoise de donner naissance a un cinema populaire et la continuite du cinema des origines qui remonterait aux annees 1960. 376 Masse-Connolly, P. M. How to shoot a rubber gun. Cinema Canada no 46 (April-May 1978) 23-27. 7 ill, En. A personal and anecdotal description of the social and psychological climate in Montreal, Quebec, when Frank Vitale's Montreal Main (1974) and Allan Moyle's The Rubber Gun (1978) were produced. Provides updates on the lives and careers of a number of people involved in the production of the films, and includes a brief interview with Peter Brawley who discusses his role as supporting actor in The Rubber Gun. 377 Le Journal du jeune cinema quebecois. 1 no 1-no 5 (juin 1978 -fevrier 1979). Irregulier. Montreal, Quebec : Journal du jeune cinema quebecois, juin 1978-fevrier 1979. ill, fr. Le directeur en chef et 1'editorialiste est Daniel Lessard. Ce journal s'addresse aux jeunes cineastes et cinephiles. II comprend des entretiens, des dossiers sur des cineastes quebecois, des critiques de films, un repertoire de professionnels du cinema et des portraits de jeunes cineastes. Chaque numero a ete tire a 14 000 exemplaires, et les collaborateurs notables sont Yvon Larose, Denis Miron, Alain Ergas, Bernard Dansereau, Mireille Girard, Alain Geoffrey, Robert Racine, Yves Senecal, Suzannel Beaulne, Yves Robichon, Jean Gauthier, Franchise Wera, Anna Gural, Martin Cote, Yves Picard et Catherine Jasmin. 378 Fox, Terry Curtis. The new European cinema is Canadian. Village Voice 23 (26 June 1978) 44.1 ill, En. A review of Cinema Quebecois, a series of 29 films from Quebec currently being exhibited at the Museum of Modern Art in New York City, New York, through 29 June 1977. States that the series is a product of an emerging dissenting culture within a highly developed technological society, and argues that the diversity, intensity, individuality, and common political awareness of recent Quebec cinema marks it as the most important film movement since the New German Cinema. Provides a brief analysis of Jacques Leduc's Tendresse Ordinaire (1973), which was featured as part of the series. 379 Veronneau, Pierre. Quebec 1977: un cinema d'une langueur monotone. Cinema 78 no 235 (juillet 1978) 127-128. fr. L'auteur critique la banalite du produit cinematographique au Quebec en 1977. II cite des exemples de films comme Blood Relatives (Claude Chabrol, 1978), Cathy's Curse (Eddy Matalon, 1977), The Little Girl Who Lives Down the Lane (Nicolas Gessner, 1977) et La Menace (Alain Corneau, 1977) et situe le probleme du cinema quebecois au sein de crise de production et de qualite. Seulement Le Vieux Pays ou Rimbaud est mort (Jean Pierre Lefebvre, 1978) echappe a la critique de 1'auteur. II declare 1'importance d'une institution comme 1'Office national du film (ONF) du Canada pour la continuation d'un cinema quebecois. 380 Eley, David Roche. Notre pays: The Signification of the Wilderness Image in the Quebec Cinema during the

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Quiet Revolution. Ph.D. dissertation. Montreal, Quebec : McGill University, 1979. 2 volumes, iv, 536 p, 150 ill, bibl, En. This dissertation tracks the changing presentation of wilderness landscape in Quebec cinema to see how it reflects the Quebecois view of their own culture during the Quiet Revolution of 1960 to 1964. To provide a social context for the six films analysed, David Roche Eley begins with a study of the political and social changes during that time. A detailed analysis of Bernard Devlin's Les Brides (1957), Pierre Perrault and Michel Brault's Pour la suite du monde (with Marcel Carriere, 1964), Gilles Groulx's Le Chat dans le sac (1964), Jean Pierre Lefebvre's Mon amie Pierrette (1969), Paul Almond's Isabel (1968), and Perrault's Un pays sans bon sens! (1971) follows. Exploring the changes in the image of wilderness in these films from promise to argument through the intermediary stages of folklore, alienation, leisure, and allegory, Ely considers how they represent components of the Quebec collective process. Concludes that through the course of nine years, the films shift in attention from an exterior to an interior consciousness, then return to an exterior view with a new vision of the country. 381 Bonneville, Leo. Le cinema quebecois : par ceux qui le font. (Collection CMM, communication et mass-media, no 2). Montreal, Quebec : Editions Paulines et A.D.E., 1979. 783 p, 218 ill, bibl, fr. Recueil de 30 entretiens-temoighages de cineastes quebecois qui ont fac.onne le cinema national. Leo Bonneville, journaliste a la revue Sequences, regroupe les entrevues qu'il a effectuees pour ce periodique aupres de cineastes quebecois sur plusieurs annees. En guise d'introduction, 1'auteur traite de 1'histoire et 1'evolution du cinema canadien. Puis, il nous propose ses entretiens avec Paul Almond, Denys Arcand, Michel Audy, Jean Beaudin, Andre Brassard, Michel Brault, Gilles Carle, Marcel Carriere, Jean Chabot, Guy L. Cote, Mireille Dansereau, Georges Dufaux, Andre Forcier, Raymond Garceau, Jacques Godbout, Gilles Groulx, Denis Heroux, Claude Jutra, Jean-Claude Labrecque, Arthur Lamothe, Jacques Leduc, Jean Pierre Lefebvre, Jean-Claude Lord, Francis Mankiewicz, Andre Melanc.cn, Jean-Guy Noel, Pierre Perrault, Clement Perron, Anne Claire Poirier et Thomas Vamos. Ces entretiens sont accompagnes d'une courte biographic du cineaste, d'un apergu critique et, parfois, d'une breve bibliographic. 382 Veronneau, Pierre. Le succes est au film parlant francais (Histoire du cinema au Quebec I). (Les Dossiers de la Cinematheque, no 3). Montreal, Quebec: Cinematheque quebecoise, Musee du cinema, 1979. 164 p, ill, index, fr. Dans ce livre, 1'auteur relate les origines de la diffusion et de la production de films realises en frangais au Quebec, de 1930 a 1951. II nous fait connaitre les entreprises qui ont joue un role important dans ce domaine, France Film et Renaissance, ainsi que «le personnage le plus important de 1'industrie cinematographie quebecoise,» JosephAlexandre DeSeve. L'essor que connut le cinema commercial francophone au Quebec, et plus particulierement a Montreal (Quebec), apres la Seconde Guerre mondiale, nous est presente dans les contextes social, politique, religieux et economique de 1'epoque. L'ouvrage contient de nombreuses references (extraits de temoignages, documents archivistiques) en plus de neuf annexes et d'un index general se rapportant a cette periode du cinema quebecois.

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General Studies / Etudes generates

383 Veronneau, Pierre. Cinema de 1'epoque duplessiste (Histoire du cinema au Quebec II). (Les Dossiers de la Cinematheque, no 2). Montreal, Quebec : Cinematheque quebecoise, Musee du cinema, 1979.164 p, 104 ill, index, fr. Concentree sur la maison de production Quebec Productions, cette deuxieme partie de 1'histoire du cinema au Quebec relate les echanges avec Hollywood pour une premiere production Whispering City (1948) ou La Forteresse (1947) de Fedor Ozep. Apres avoir precise que Paul L'Anglais et Richard Jarvis se sont succedes a la direction de cette maison de production, on decrit les principales oeuvres qui y ont ete realisees: Un homme et son peche (Paul Gury, 1949), Seraphin (Paul Gury, 1950), Le Cure de village (Paul Gury, 1949), La Petite Aurore I'enfant martyre (Jean-Yves Bigras, 1952) et Tit-Coq (Rene Delacroix et Gratien Gelinas, 1954), pour ne nommer que les plus importantes. On parle egalement d'une premiere coproduction intitulee Son copain (Jean Devaivre, 1950). Le dernier film aborde est L'Esprit du mal, le triomphe du coeur (Jean-Yves Bigras, 1954). En annexes, on trouve un projet de cooperation Canada-E.-U., une lettre de Ross McLean a F. Harmon et une liste des films realises entre 1944 et 1954, pour lesquels on donne les dates de tournage et la sortie en salle. Le livre se termine par un article de Pierre Juneau qui souhaite une revision plus approfondie et une nouvelle definition de notre cinematographic. 384 Therien, Gilles. Le cinema quebecois: une recherche sur la voie de 1'ecriture. Revue des sciences humaines no 173 (1979) 105-114. fr. Gilles Therien attire 1'attention sur le caractere national du cinema quebecois. II parle aussi de la volonte de ce cinema de se tailler une place entre le cinema europeen et americain. 385 Quebec courts metrages 1978. Copie Zero no 3 (1979) 3-130. 74 ill, fr, En. Repertoire de 379 courts et longs metrages produits au Quebec entre juin 1977 et decembre 1978. Les films sont classes en ordre numerique, alphabetique, chronologique et selon le metrage et le sujet. On trouve aussi un index des noms, des titres et des maisons de production. Dans la presentation de ce catalogue, Pierre Jutras explique que 1'ampleur du document est une preuve de I'importance du cinema. Listing of 379 short and feature films produced in Quebec between June 1977 and December 1978 Films are ordered numerically, alphabetically, chronologically, and according to length and subject. Provides a name, title, and production company index. In the introduction to the text Pierre Jutras notes that the growth of this document proves that Quebec cinema is important. 386 Annuaire longs metrages Quebec 1978. Copie Zero no 4 (1979) 3-51. 35 ill, index, fr, En. Dans ce catologue qui recense les productions au Quebec de 1'annee 1978, on trouve 36 films qui sont classes en ordre alphabetique, chronologique et numerique. On donne des details sur le format, le generique et un resume du scenario. On trouve egalement des index pour les noms, les maisons de productions et les sujets. Included in this list of Quebec films produced in 1978 are 36 films ordered alphabetically, chronologically, and

numerically. Provides the format, credits, and a description of each film. Includes a name, production company, and subject index. 387 Sevigny, Marc. Le cinema pour enfants au Quebec. Education Quebec 9 no 4 (Janvier 1979) 27-30. 7 ill, fr. Compte rendu de la situation du cinema pour enfants au Quebec. Marc Sevigny parle, entre autres choses, du role et de 1'apport de 1'Office national du film (ONF) du Canada et de 1'evolution de ce genre cinematographique grace a I'lnstitut quebecois du cinema et a la television d'Etat. II note aussi que la distribution est un aspect « vital » pour 1'essor de ce cinema. 388 Savard, Remi. L'Indien, au fond de nous autres: des images floues. La Revue du cinema : Image et Son no 336 (fevrier 1979) 113-116. 2 ill, fr. L'auteur traite la question de representation des autochtones dans le cinema quebecois. Un bref historique de la colonisation du Canada et la position des autochtones amene a la conclusion que, peut-etre un jour, la vision pitoyable qu'ont les Canadiens des autochtones sera critiquee par la communaute internationale. 389 Lafond, Jean-Daniel. Le Quebec des vues. La Revue du cinema: Image et Son no 336 (fevrier 1979) 54-62. 6 ill, bibl, fr. Historique du cinema quebecois, de ses debuts jusqu'a 1979. L'auteur affirme qu'avant 1960, les films ont servi surtout les interets de I'Eglise et ont ete des creations etrangeres. Ce n'est qu'ensuite que les films vont montrer des images de la culture quebecoise. On parle aussi des problemes d'exportation de cette culture. 390 Comite d'action cinematographique; Lafond, JeanDaniel. Ne reveillons pas le geant qui dort a nos cotes. La Revue du cinema : Image et Son no 336 (fevrier 1979) 71-79. 6 ill, bibl, fr. Resume d'un debat du Comite d'action cinematographique qui fait le point sur la situation du cinema au Quebec. On fait etat de la volonte de la Societe de developpement de 1'industrie cinematographique canadienne de favoriser la creation de films a caractere commercial au detriment d'un cinema plus pres de la realite quebecoise. On parle des problemes relies aux coproductions qui tentent de reproduire le modele hollywoodien, et on denonce le manque d'appui de la part des fonctionnaires du gouvernement provincial. 391 Daudelin, Robert; Lafond, Jean-Daniel; Dansereau, Fernand; Dufaux, Georges; Lamothe, Arthur; Noel, JeanGuy; Perrault, Pierre. La lecon du direct. La Revue du cinema: Image et Son no 336 (fevrier 1979) 80-95. 7 ill, bibl, fr. Table ronde qui trace un portrait du cinema direct au Quebec. On parle des circonstances qui ont mene a sa creation a l'Office national du film (ONF) du Canada au debut des annees 1960, on definit en quoi consiste la technique du cinema direct, on fait mention de 1'influence de la Societe de developpement de 1'industrie cinematographique canadienne sur le cinema direct, et on le situe par rapport au cinema de fiction. 392 Houle, Michel. Citoyens, a vos films! La Revue du cinema: Image et Son no 336 (fevrier 1979) 96-101. 3 ill, fr.

Quebec On parle des films de fiction realises en collaboration etroite avec des groupes de citoyens. II est question des films Simple histoire d'amours (Fernand Dansereau, 1982), Thetford au milieu de noire vie (Fernand Dansereau; lolande Cadrin-Rossignol, 1980) et Tout le temps, tout le temps, tout le temps...? (Fernand Dansereau, 1970). 393 Marsolais, Gilles. Notre cinema, morne reflet d'un miroir sans tain? Vie des arts 23 no 94 (printemps 1979) 60-62. 2 ill, fr. Polemique sur 1'etat du cinema quebecois des annees 1970. L'auteur denonce le pouvoir quasi absolu de la Societe de developpement de l'industrie cinematographique canadienne (SDICC) dans son financement de projets. La production quebecoise, deja restreinte, se voit affectee par le fait que la SDICC favorise la production de longs metrages. L'auteur avance 1'idee que trop d'argent sert a produire des films conventionnels ou de « sexploitation » comme Valerie (Denis Heroux, 1969) et Deux Femmes en or (Claude Fournier, 1970). II parle de I'mfluence du direct au cinema quebecois comme etant une lueur d'espoir pour la continuation de notre industrie. II cite Les Ordres (Michel Brault, 1974) comme un bon exemple de la possibilite de contourner le pouvoir de certaines institutions telles la SDICC. Mentionnes aussi sont les films Montreal Blues (Pascal Gelinas; Raymond Cloutier, 1974), Montreal Main (Frank Vitale, 1974) et Le Temps d'une chasse (Francis Mankiewicz, 1972) pour ces memes raisons. 394 Veronneau, Pierre. Quebec: le cinema pour enfants. Cinema 79 no 243 (mars 1979) 64. fr. Bref historique du cinema pour enfants au Quebec. L'auteur souligne les efforts de cineastes comme les freres Marcel et Real Racicot, Roger Laliberte, Bernard Gosselin, Richard Lavoie et surtout Andre Melangon. II compare Comme les six doigts de la main (Andre Melanc.on, 1978) avec le neorealisme italien et applaudit les efforts de cineastes quebecois qui ont tente de produire des films pour enfants. 395 Gauthier, Guy. Le Quebec a Poitiers: pourvu que ^a dure. La Revue du cinema : Image et Son no 339 (mai 1979) 3543. 5 ill, fr. A travers les films quebecois presentes au festival de Poitiers (France), 1'auteur brosse un portrait de la situation du cinema documentaire et de fiction au Quebec. II affirme que 1'incompatibilite linguistique entre le franc.ais de France et le fran^ais tel que parle au Quebec incite les Quebecois a se tourner du cote du marche americain pour la distribution des films. 396 Billard, Jean-Antonin. Images en crise d'un cinema en desespoir de cause. Parachute no 15 (ete 1979) 5-8. 6 ill, fr. Jean-Antonin Billard tente de rompre avec les discours des multinationales afin de retrouver la creativite du cinema quebecois des annees 1950 et 1960. II s'inspire du film Manifeste pour le cinema libre de Rene Bail qui refuse d'imposer ses vues par le biais du militantisme et qui explique 1'exploitation culturelle et economique du pays par les multinationales. Billard accuse le gouvernement et la critique de mepriser le cinema quebecois, le premier ne tenant pas compte de 1'importance de I'enseignement du cinema quebecois et la critique, elle, faisant fi des diverses

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activites qui cherchent a promouvoir ce cinema national. En fait, la critique prefere informer plutot que de critiquer. II conclut done que ces deux institutions se font complices des « majors », plutot que d'eclairer les Quebecois sur leur propre richesse culturelle. 397 Therien, Gilles. Cinematographic du Quebecois: voyagerie a 24 images / seconde. Voix et Images 5 no 1 (automne 1979) 133-141. bibl, fr. Reflexions sur le cinema quebecois. L'auteur remarque que depuis les annees 1960, le cinema quebecois, noye dans le flot des films etrangers, essaie par tous les moyens de faire entendre sa voix. Dans cette quete de parole, des « decors » viennent successivement occuper le fond de la scene: une geographic physique, celle des lieux ou se deroule 1'action des films et aussi une geographic morale qui divise ces memes lieux. 398 Billard, Jean-Antonin. Mon cinema d'un moi(s) a 1'autre. Trajectoires no 5 (novembre-decembre 1979) 16-19. 3 ill, fr. Jean-Antonin Billard dedie son article a plusieurs personnes dont Pierre Goldman, Nicos Poulantzas, Patrick Straram, Andre Roy et autres, et denonce 1'absurdite et la manipulation qui a remplace 1'art et la qualite du cinema qu'il qualifie de « politique ». 399 Demers, Pierre. « Ces nouveaux films quebecois qui nous echappent». Focus no 28 (novembre 1979) 52. 2 ill, fr. L'auteur resume huit films quebecois et souligne la difficulte de voir les nouveaux films quebecois au SaguenayLac Saint-Jean (Quebec). 400 Pellicule. 1980-1981. Trois numeros publics. Montreal, Quebec : Cegep Andre-Laurendeau, 1980-1981. fr. Public par le cegep Andre-Laurendeau, ce bulletin contenait des entrevues, des commentaires sur des courts metrages realises par des femmes, sur des films etudiants et sur des films publicitaires. Dirigee par Jean-Pierre Sabourin et Michel Lalonde, cette publication regroupait Chantal Hebert, Marc Laberge, Luc Landry et Sophie Laniel au comite de redaction. 401 Houle, Michel. Some ideological and thematic aspects of the Quebec cinema. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 159-181. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 6 ill, En. French edition: Quelques aspects ideologiques et thematiques du cinema quebecois. Michel Houle analyses themes and ideologies in the evolution of Quebec feature films from the 1940s to the 1970s. Films in the 1940s and 1950s were preoccupied with Catholic themes, reflecting the influence of the church on the social and cultural life of Quebec society. From 1959 to 1968 the nationalistic ideology of Quebecois identity was evident in films dealing with social and political concerns of ordinary people. In the films of the 1970s these political, ideological, and economic struggles widened to include the dissidents, dispossessed, marginals, and minorities. 402 Annuaire longs metrages Quebec 1979. Copie Zero no 7 (1980) 3-65. 53 ill, index, fr, En.

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General Studies / Etudes generates Repertoire des longs metrages produits au Quebec en 1979. Pour chaque film, on donne le generique, un resume, le materiel, la societe de production, le distributeur, 1'equipe de production, et la collaboration financiere. Une liste des maisons de production et de distribution est incluse. On trouve aussi des index pour les titres, les noms, les maisons de production et les sujets. Listing of feature-length films produced in Quebec in 1979 Provides, for each film, the credits, a brief description, material, production company, distributor, production team, and financiers. Lists production companies and distributors. Provides title, name, production company, and subject indexes.

403 Veronneau, Pierre. The first wave of Quebec feature films: 1944-1953. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 54-63. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 3 ill, bibl, En. Excerpts in Cinema Canada no 56 (June-July 1979) 42-46. French edition : 1944-1953 : Premiere vague du long metrage quebecois. Nineteen French language commercial features film were produced in Quebec between 1944 and 1953 because the Second World War severed connections with France and French-speaking audiences wanted Hollywood films in French. Pierre Veronneau traces the formation of Renaissance Films Distribution by Joseph-Alexandre De Seve in Montreal, Quebec, in 1944, the success of Le Pere Chopin (Fedor Ozep and Georges Freedland, 1945), the stress on Christian inspiration in these films to gain Quebec Catholic support, and efforts to produce Paul Vandenberghe and Rene Delacroix's melodrama Docteur Louise (1950). Notes the parallel activities of Quebec Productions founded by Paul L'Anglais in 1946, describes their production of La Forteresse (1947), and the concurrent English production Whispering City (1948), both directed by Ozep, and explores subsequent films dealing with Quebec culture and Catholic ideology. Concludes that American films produced in Canada as a result of the Canadian Cooperation Project of 1948 demonstrated Canada's continuing dependency on Hollywood and that the arrival of television in 1952 encouraged a different kind of film industry. 404 Integrate longs metrages. Copie Zero no 6 (1980) 64-71. 22 ill, fr. Liste de 22 longs metrages realises par des cineastes quebecoises. Pour chaque film, on donne le generique, le format, la duree et un resume du scenario. 405 Daudelin, Robert. The encounter between fiction and the direct cinema. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 94-106. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 3 ill, En. French edition : Le rencontre direct-fiction. Robert Daudelin analyses how Quebec fiction films have been influenced by the cinema direct method associated with the National Film Board (NFB) of Canada. Begins with Seul on avec d'autres (Denis Heroux, Denys Arcand, and Stephane Venne, 1962), a feature film on campus life produced by a group of students at the Universite de Montreal in Montreal, Quebec, with the assistance of Michel Brault, Bernard Gosselin, Gilles Groulx and Marcel

Carriere. Describes in detail, Claude Jutra's A tout prendre (1964), Pierre Perrault, Brault and Carriere's Pour la suite du monde (1964), Groulx's Le Chat dans le sac (1964) and Brault's Entre la mer et I'eau douce (1968). Briefly mentions films from the 1960s by Don Owen, Gilles Carle, Jacques Leduc, Allan King, Jean Pierre Lefebvre, Fernand Dansereau, Jacques Godbout, and Carriere that also contained elements of this new cinema. Concludes that Canadian cinema, forgetting this heritage of cinema direct, came to be influenced by Hollywood, Jean-Luc Godard, and commercial film. 406 Euvrard, Michel; Queenan, Bernard. "Parlez-vous quebecois?" Film Comment 16 no 2 (March-April 1980) 45, 47-48. 2 ill, En. Argues that the Canadian film industry, concerned with producing international films, has effaced the distinctive quality of Quebecois cinema. Provides a brief history of filmmaking in Quebec and discusses the effects of the World Film Festival held in Montreal, Quebec, the National Film Board (NFB) of Canada, and the Canadian Film Development Corporation on the techniques, styles, and philosophies of Quebec filmmaking. 407 "La nouvelle nouvelle vague." Film Comment 16 no 2 (March-April 1980) 47.1 ill, En. Considers filmmakers Denys Arcand, Jean-Guy Noel, and Jacques Leduc, described collectively as the new generation of Quebecois filmmakers. 408 Demers, Pierre. Des films quebecois dans les salles ... Focus no 33 (avril 1980) 38. fr. Notes sur le cinema au Saguenay-Lac Saint-Jean (Quebec). L'auteur remarque que 1'appreciation du public pour les films quebecois ne cesse de grandir, comme le demontre 1'accueil pour Cordelia (1980) de Jean Beaudin, Mourir a tue-tete (1979) d'Anne Claire Poirier et Les Eons Debarras (1980) de Francis Mankiewicz. Ces films font 1'objet de comptes rend us. 409 Houle, Michel. Themes and ideology in Quebec cinema. Jump Cut no 22 (May 1980) 9-14. 8 ill, En. Identifies and analyses three overlapping phases in the evolution of Quebec cinema. Characterizes feature films from 1940 to 1950, the first phase, as dominated by religious themes and the cult of the "humiliated hero, beaten but morally righteous." Illustrates how these themes underwent an inversion in the second phase of Quebec cinema, from 1959 to 1968. Describes the cinema of this phase as tormented by a cultural identity crisis, featuring characters whose position within their culture gives them an acute sense of immobility and alienation. Argues that these films did not result from the Quiet Revolution, but acted to instigate the movement. Notes that Quebec filmmakers of the early 1970s emphasize the economic and social position of their protagonists, focussing on ethnic class struggle. Claims that one of the goals of this third phase of Quebec cinema is to consolidate the identity of the population by depicting it as made up of ordinary people. Notes recent trends in Quebec cinema, such as the emphasis on subcultures and marginal groups. Explains how cinema shifted from asserting the specificity of the Quebecois people to analysing the internal workings of their collectivity.

Quebec 410 Demers, Pierre. De bons films a Alma? Focus no 36-37 (juillet-aout 1980) 69. fr. Discussion sur la mauvaise qualite des films projetes au Saguenay-Lac Saint-Jean (Quebec). 411 Ramonet, Ignacio ; Paquet, Andre ; Gendron, Louise. Incertitudes quebecoises. Le Monde diplomatique no 321 (decembre 1980) 37. fr. Discussion sur les difficultes auxquelles font face, depuis quelques annees, les cineastes quebecois. On parle de 1'impact des emissions televisees etrangeres sur la culture quebecoise et de 1'importance de resister a cet ouragan electronique. 412 Haustrate, Gaston. Apres le « mois quebecois » a la Cinematheque. Cinema 80 no 264 (decembre 1980) 69. 1 ill, fr. Compte rendu du « mois quebecois » a la Cinematheque franchise de Paris (France), tenu en octobre 1980. Les films mentionnes, qui ont fait partie du programme, incluent L'Hiver bleu (Andre Blanchard, 1979), La Fiction nucleaire (Jean Chabot, 1979), Chronique de la vie quotidienne (19771978), une serie de films produite par 1'Office national du film (ONF) du Canada, Les Voleurs de job (Tahani Rached, 1980), Les Servantes du bon Dieu (Diane Letourneau, 1978), Anastasie, oh ma cherie (Paule Baillargeon, 1977) et Tierra y libertad (Maurice Bulbulian, 1977). 413 Tremblay-Daviault, Christiane. Un cinema orphelin: structures mentales et sociales du cinema quebecois, 19421953. Preface de Pierre Veronneau. Montreal, Quebec: Quebec / Amerique, 1981. 355 p, 30 ill, bibl, fr. Originalement presente en 1979 en vue de 1'obtention du grade de Doctorat sous le titre Structures sociales et ideologies dans la pre-histoire du cinema quebecois: longs metrages de fiction de 1942 a 1953. Montreal, Quebec : Universite de Montreal, 1979. Afin d'evaluer les valeurs socio-economiques de la societe quebecoise, 1'auteure se sert de quelques films commerciaux, dignes representants des classes dominantes, comme par exemple : Le Pere Chopin (1944) de Fedor Ozep, Seraphin (1950) de Paul Gury et La Petite Aurore, Venfant martyre (1951) de Jean-Yves Bigras. C'est aussi a partir de cette etude, concentree sur la periode 1942-1953, que 1'auteure tente d'eclaircir les mutations survenues au Quebec dans les annees 1960. Elle analyse les films a partir de leur structures internes et les place ensuite dans leur contexte historique afin d'illustrer ces changements et d'en comprendre les fondements. Cette premiere partie utilise done des approches techniques et historiques. Une seconde partie analyse le contenu des films A la croisee des chemins (1943) de Jean-Marie Poitevin et Paul Guevremont, Le Pere Chopin (avec Georges Freeland, 1945) et La Forteresse (1947) de Ozep, Un homme et son peche (1949), Seraphin (1949) et Le Cure de village (1949) de Paul Gury, Le Gros Bill (1949) de Rene Delacroix et Jean-Yves Bigras, Les Lumieres de ma ville (1950) et La Petite Aurore I'enfant martyre (1952) de Jean-Yves Bigras, Le Rossignol et les Cloches (1952) de Delacroix, Tit-Coq (1954) de Delacroix et Gratien Gelinas et Coeur de maman (1953) de Rene Delacroix. Pour chaque film, on donne des informations comme le generique et parfois meme les couts de production. On trouve egalement six annexes portant respectivement sur Un homme et son peche (le roman de Claude-Henri Gri-

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gnon, Montreal: Editions de vieux chene, 1934), La Dame aux camelias, la vraie (1942) de Gratien Gelinas, Etienne Bride, gibier de potence (1952) de Melburn E. Turner, L'Esprit du mal, le triomphe du coeur (1954) de Bigras, Le Village enchante (1956) film d'animation de Marcel et Real Racket et Docteur Louise (1950) de Paul Vandenberghe et Delacroix. 414 Waugh, Thomas. Negres blancs, tapettes et « Butch » : les lesbiennes et les gais dans le cinema quebecois. Copie Zero no 11 (1981) 12-29. 26 ill, fr. Dans son allocution au colloque de 1'Association canadienne des etudes cinematographiques, tenu a Ottawa (Ontario) en 1981, Thomas Waugh discute de la representation de la sexualite dans le cinema quebecois depuis les annees 1960. Ainsi, il critique la representation negative ou stereotypee de 1'homosexualite feminine ou masculine et se demande pourquoi le cinema des deux dernieres decennies a toujours desavoue l'homosexualite. D'une part, il s'interroge sur 1'absence de representations homosexuelles dans le cinema politique et le cinema «underground» francophone, d'autre part, il cite quelques films ou l'homosexualite est mieux representee. Parmi les films cites dans cet article, on trouve Trouble-fete (1964) de Pierre Patry, Anastasie, oh ma cherie (1977) de Paule Baillargeon, Delivrez-nous du mal (1969) de JeanClaude Lord, L'Homme a tout faire (1980) de Micheline Lanctot, L'Eau chaude Veau frette (1977) d'Andre Forcier, Fantastica (1980) de Gilles Carle, Plusieurs tombent en amour (1980) de Guy Simoneau et Valerie (1969) de Denis Heroux. 415 Annuaire courts metrages Quebec 1979. Copie Zero no 9 (1981) 3-184. 46 ill, index, fr, En. Repertoire bilingue des courts ou moyens metrages produits au Quebec en 1979. On y trouve 514 films qui sont classes en ordre numerique, en plus d'un index chronologique et des index alphabetiques par titre, nom, maison de production, metrage (court et moyen) et sujet. Pour chaque film, on donne egalement des details sur la duree, le format, le generique et un apergu du sujet traite. De plus, on trouve un annuaire des adresses des maisons de production et de distribution du Quebec. Dans sa « Presentation » de ce catalogue, Pierre Jutras explique, entre autres, la valeur de ce document, 1'importance de 1'annee 1979 dans la production de courts metrages et pourquoi ce genre cinematographique doit se lancer a la conquete du petit ecran. Bilingual listing of short and medium-length films produced in Quebec in 1979. The 514 films are listed numerically with a chronological index and alphabetical indexes for titles, names, production companies, length (short or medium), and subject. Includes, for each film, the duration, format, credits, and a description of the subject treated. Also included are the addresses of Quebec production companies and distributors. Pierre Jutras explains in the "Presentation" section of the text the value of the Annuaire, the importance of 1979 to the production of short films, and why short films must compete on the small screen. 416 Annuaire longs metrages Quebec 1980. Copie Zero no 10 (1981) 3-81. 67 ill, index, fr, En. Annuaire qui contient 47 longs metrages quebecois pro-

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General Studies / Etudes generales duits en 1980 et qui precise, pour chaque film, la duree, le format, le generique, les societes de distribution et de production et un resume du contenu. On presente les films exploites a Montreal (Quebec) en precisant le nombre de semaines de projection et le nombre de salles ou ils ont ete projetes. On trouve des index pour les titres, les noms, les maisons de production et les sujets en plus d'une liste des maisons de production et de distribution. Dans une breve introduction au catalogue, Pierre Jutras s'attarde sur la periode de crise que connait le cinema quebecois et conclut en reclamant plus de subsides au cinema et plus d'encouragements aux projets non traditionnels. Listing of 47 feature-length films produced in Quebec in 1980. Provides, for each film, the duration, format, credits, distributor and production company, and a brief description. Notes the films screened in the region of Montreal, Quebec, citing the number of weeks and the number of theatres where the films were shown. Provides a title, name, production company, and subject index and a listing of production companies and distributors. In the introduction to the text Pierre Jutras notes the difficulties of the period for Quebecois cinema and concludes that more assistance is necessary for cinema, including more encouragement for nontraditional projects.

417 Petrowski, Nathalie. Le cinema quebecois a la recherche de son imaginaire. Antennes no 21 (1981) 40-43. 9 ill, fr. Nathalie Petrowski deplore le manque d'imagination dont souffre le cinema quebecois; un mal qui, selon 1'auteure, va au dela d'une question d'ecriture ou de technique. Des personnalites du milieu cinematographique donnent leur opinion a ce sujet: Michel Bouchard et Claude Daigneault de 1'Institut quebecois du cinema, le scenariste Jacques Benoit, le cineaste Jean Chabot et la realisatrice Mireille Dansereau. 418 Leduc, Jacques. Quelques mots sur le cinema quebecois. Copie Zero no 11 (1981) 4-5. 5 ill, fr. Lors du colloque de 1'Association canadienne des etudes cinematographiques, tenu a Ottawa (Ontario) en 1981, Jacques Leduc, critique et cineaste, livre ses impressions sur le cinema quebecois. II precise que le cinema direct a eu une grande influence sur la premiere generation de cineastes quebecois (ceux qui avaient 35 ans en 1980) mais que la seconde generation a ete formee dans les ecoles de cinema, ce qui ne 1'empeche pas, par ailleurs, de realiser des documentaires. Leduc est cependant d'avis que le cinema de 1'avenir sera un cinema de point de vue. 419 Veronneau, Pierre. Le cinema gouvernemental. Copie Zero no 11 (1981) 6-12.17 ill, fr. Au colloque de 1'Association canadienne des etudes cinematographiques, tenu a Ottawa (Ontario) en 1981, Pierre Veronneau rappelle la participation gouvernementale a 1'industrie quebecoise du cinema depuis les annees 1920 jusqu'aux annees 1960. II discute de 1'utilisation du cinema dans la classe agricole et dans les institutions d'enseignement et de son aspect propagandiste. II parle egalement de 1'histoire de la Section des vues animees qui a ete creee, vers 1936, afin de servir le ministere de 1'Agriculture en matiere cinematographique dans sa grande entreprise de renovation rurale. II s'interesse aussi au Service de photographie dont il decrit en detail les fonctions et les orientations, et raconte comment cette institution a su repondre aux besoins

precis des fonctionnaires de 1'epoque. Dans son allocution, 1'auteur fait reference aux films En pays neufs (1937) de Maurice Proulx, Femmes depareillees (1948) d'Albert Tessier, Rameurs des glaces (1956) de Fernand Rivard et Saint-JeanPort-Joli (1962) de Pierre Dumas. 420 Lafond, Jean-Daniel. L'autre vague, enfin! La Revue du cinema : Image et Son no 357 (Janvier 1981) 88-91.1 ill, bibl, fr. Compte rendu sur la situation du cinema au Quebec. On parle de 1'influence de la Societe de developpement de 1'industrie cinematographique canadienne sur le contenu des films quebecois et on affirme, en s'appuyant sur quelques titres de film, qu'il y a un regain de vie du cinema. 421 Houle, Michel. Sur quelques films quebecois recents. Le Temps Fou no 17 (novembre-decembre 1981) 46-47. 2 ill, fr. Notes sur plusieurs films quebecois recents qui presentent une approche et une reflexion interessante sur 1'alterite dont On nest pas des anges (1981) de Guy Simoneau et Suzanne Guy, Les Adeptes (1981) de Gilles Blais, Distorsions (1981) de Jacques Godbout et Not a Love Story (1981) de Bonnie Sherr Klein. 422 Major, Ginette. Le cinema quebecois a la recherche d'un public: bilan d'une decennie, 1970-1980. Montreal, Quebec : Les Presses de 1'Universite de Montreal, 1982. 163 p, 36 ill, bibl, fr. Originalement presente en 1979 a la Faculte des etudes superieures en vue de 1'obtention du grade de Maitre en Sciences (M.Sc.) sous le titre Un cinema a la recherche d'un public. Montreal, Quebec : Universite de Montreal, 1979. Dans cette etude, 1'auteure analyse le manque d'interet du public quebecois pour son propre cinema national. Elle propose deux explications : 1'image passeiste, devalorisante et fausse de la realite quebecoise en devenir et la representation pessimiste et resignee de 1'existence qu'on trouve dans ce cinema. Dans son analyse a caractere semiologique, elle etudie 10 films-phares des annees 1970 : Ti-Cul Tongas (1976) de Jean-Guy Noel, L'Amour blesse (1977) de Jean Pierre Lefebvre, O.K. ... Laliberte (1973) de Marcel Carriere, Panique (1977) de Jean-Claude Lord, Pour le meilleur et pour le pire (1975) de Claude Jutra, L'Eau chaude I'eau frette (1977) d'Andre Forcier, Rejeanne Padovani (1973) de Denys Arcand, La Tete de Normande St-Onge (1975) de Gilles Carle, Le Soleil se leve en retard (1977) d'Andre Brassard et J.A. Martin, photographe (1977) de Jean Beaudin. Puis, 1'auteure etablit une comparaison entre ces films et trois films des annees 1980, soit L'Arrache-coeur (1979) de Mireille Dansereau, Les Bons Debarras (1980) de Francis Mankiewicz et L'Homme a tout faire (1980) de Micheline Lanctot. 423 Fournier-Renaud, Madeleine; Veronneau, Pierre. Ecrits sur le cinema (bibliographic quebecoise 1911-1981). (Les Dossiers de la Cinematheque, no 9). Montreal, Quebec : Cinematheque quebecoise, Musee du cinema, 1982.180 p, 50 ill, bibl, index, fr. Dans cette bibliographie, Madeleine Fournier-Renaud et Pierre Veronneau ont tente de reunir tous les ecrits qui ont ete rediges entre 1911 et 1981 sur le cinema quebecois, tant ici qu'ailleurs. On y trouve les references pour des analyses, des programmes de festivals, des biographies, des scenarios et meme des decoupages de films, afin de facil-

Quebec iter le travail des chercheurs et des etudiants qui s'interessent au cinema quebecois. Chaque document est brievement resume. L'ouvrage comporte un index general, un index des auteurs et un index des annees de publication. 424 Annuaire courts et moyens metrages Quebec 1980. Copie Zero no 12 (1982) 3-161. 47 ill, index, fr, En. Repertoire des courts et moyens metrages produits au Quebec en 1980 qui precise, pour chaque film, le genre, la duree, 1'annee de diffusion, la societe de production et de distribution, le generique et le sujet. On trouve des index pour les titres, les noms, les maisons de production, 1'annee de diffusion, le metrage et le sujet. On trouve egalement les adressses des maisons de production et de distribution. Dans la presentation du document, Pierre Jutras fait remarquer qu'un certain nombre de films publicitaires ont ete inclus dans le but de valoriser ce genre cinematographique. Listing of short and medium-length Quebecois films produced in 1980 which includes, for each film, the genre, duration, year of release, production company and distributor, credits, and the subject Includes indexes for title, name, production company, year of release, length, and subject. Aslo includes addresses for production companies and distributors. Pierre Jutras introduces this document by remarking that a certain number of publicity films are included in an attempt to give credance to this genre of filmmaking. 425 Annuaire longs metrages Quebec 1981. Copie Zero no 13 (1982) 3-57. 55 ill, index, fr, En. Catalogue des longs metrages produits au Quebec en 1981 ou les films sont classes en ordre alphabetique, numerique et selon les maisons de production. On trouve aussi un tableau qui donne un compte rendu des longs metrages quebecois en explotation a Montreal (Quebec) en 1981 et des adresses des maisons de production et de distribution. Listing of feature films produced in Quebec in 1981. Films are ordered alphabetically, numerically, and by production companies. Includes a table that summarizes the feature films screened in Montreal, Quebec, in 1981 and the addresses of production companies and distributors. 426 Quebec Perspective to L.A. Cinema Canada no 81 (February 1982) 37. En. Highlights the agenda of Quebec Cinema: A Perspective and the participation of Francis Mankiewicz, Denys Arcand, Louise Carre, and Mireille Dansereau. Notes that this is the first major exhibition of Quebecois films to take place in California and is scheduled for February and March 1982. 427 Berube, Robert-Claude. Colloque sur le cinema pour enfants au Quebec. Sequences no 108 (avril 1982) 21. fr. Court compte rendu du colloque sur le cinema pour enfants au Quebec, tenu a la Cinematheque quebecoise et a 1'Universite du Quebec a Montreal de Montreal (Quebec) en mars 1982. L'auteur commente la presence de certains realisateurs ainsi que 1'organisation d'ateliers couronnes par une pleniere. 428 Peloquin, Gilles. A historical perspective of Quebec's cinema. SMPTE Journal 91 no 4 (April 1982) 353-355. En.

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Surveys the history of filmmaking in Quebec, stressing the absence of fiction films made in Quebec before the Quiet Revolution, and the importance of documentary filmmaking at the French unit of the National Film Board (NFB) of Canada. Explains how Quebecois filmmakers, having learned their craft at the NFB, developed the cinema direct style of filmmaking that strove to create compelling portraits of the cultural, social, and economic situation of a nationalistic ideology that was beginning to become aware of itself. Identifies 1964 as a turning point in the growth of Quebecois cinema because in that year Gilles Groulx's film Le Chat dans le sac (1964) was released. States that Groulx's film successfully combined cinema direct with methods of feature filmmaking, thus influencing Quebec filmmakers leaving the NFB to make feature films. Describes how small the market is for Quebec cinema, and how many directors must gear their work towards television. 429 Veronneau, Pierre. Quebec: court metrage, longue vue. Cinema 82 no 283-284 (juillet-aout 1982) 121. fr. Reflexions de 1'auteur sur 1'avenir du cinema quebecois. II deplore le fait que des cineastes accomplis doivent faire des courts metrages a cause des contraintes financieres et politiques. II parle de Voyage de nuit (Roger Frappier, 1980), Bleue Brume (Brigitte Sauriol, 1982), La Bien-aimee (Michel Bouchard, 1980) et Le Toasteur (Michel Bouchard, 1981). L'auteur note aussi certains courts et moyens metrages, soit La Derniere y restera (Jacques Methe, 1982), Desire (Francine Langlois, 1982), Propriete privee (Louis Sai'a, 1982) et Elvis Gratton (Pierre Falardeau ; Julien Poulin, 1985) et constate que leur realisation a des aspects positifs pour le cinema quebecois de demain. 430 Bonneville, Leo. Le renouveau de notre cinema? Sequences no 110 (octobre 1982) 2-3. fr. Breve analyse du rapport de la Commission d'etude sur la situation du cinema au Quebec. Leo Bonneville accueille le document de maniere favorable, en se rejouissant qu'on favorise les entreprises canadiennes plutot que les societes americaines pour distribuer les films au Quebec. II emet, par contre, certaines reserves, notamment en ce qui concerne la place accordee a la fiction dans la definition du cinema quebecois, le nombre et le choix des personnes appelees a travailler dans les nouveaux organismes gouvernementaux ainsi que 1'application des visas de classification. 431 Burnett, Ron. The crisis of the documentary and fictional film in Quebec. Cine-Tracts 4 no 4 (Winter 1982) 29-35. 1 ill, En. Discusses the crisis of documentary and fictional film in Quebec and relates this crisis to the profound effect of the National Film Board (NFB) of Canada upon Quebec film culture. States that the NFB had at one time employed most of Quebec's best filmmakers as part of the board's French unit. As such, a whole generation of Quebecois filmmakers have been taught a method of filmmaking and a concept of Canada in accordance with the documentary tradition and social concerns that reflect the NFB mandate. Argues that the narrowly focussed cultural nationalism of the NFB does not allow for polemically political films that may challenge mainstream notions of cultural identity. Compares two NFB films by Denys Arcand, arguing that while one, On est au colon (1976) was

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censored by the NFB because it directly challenges the NFB's concept of cultural nationalism, the other, Le Confort et ITndifference (1982), was not censored because it complied with the NFB's narrow mandate. 432 Carriere, Louise. Quebec film 1966-1980: An historical overview. Cine-Tracts 4 no 4 (Winter 1982) 36-51. 1 ill, bibl, En. Provides a historical overview of Quebec cinema from 1966 to 1980. States that between 1966 and 1970 a crisis developed in the Quebec cinema due to a lack of interest in the established media as forms of expression, the lack of a stable and easily accessible distribution circuit for Quebec films, and the lack of film societies and specialized film journals. Argues that this problem intensified between 1970 and 1976 as a result of a polarization between the Canadian filmmaking community and Canadian audiences, as well as between anglophone and francophone productions. Such polarization was due mainly to the formation of the Canadian Film Development Corporation (CFDC) that favoured medium and large-scale production companies, supported international co-productions, and allowed tax breaks for investments in Canadian film productions. The Quebec film community responded to the CFDC mandate by privileging artistic cinema financed by the Quebec government, and by forming organizations such as the Association professionnelle des cineastes du Quebec and the Insitut quebecois du cinema, which allowed for the production of openly nationalistic films. Also discusses the current state of Quebec cinema in terms of the demand for Quebecois filmmakers, its principal problems, and possible solutions to these problems. 433 Association des cinemas paralleles du Quebec. Vers de nouveaux cinemas paralleles: information, organisation, animation. Redaction par Michel Coulombe. Montreal, Quebec : Association des cinemas paralleles du Quebec, 1983. v, 75 p, 7 ill, bibl, fr. Cet ouvrage portant sur les cinemas paralleles du Quebec est compose d'un bref historique du film et de la television au Quebec. Apres avoir etudie la transformation des cine-clubs issus du milieu scolaire en cinemas autonomes, on analyse le reseau des salles paralleles au Quebec, ainsi que son role educatif et social. L'ouvrage se termine par un glossaire de termes cinematographiques, une liste des festivals de cinema au Quebec, une enumeration des revues specialisees et un index des organismes-ressources (associations privees du cinema et organismes gouvernementaux). 434 Laverdiere, Suzanne. 1982. Une bonne annee? Copie Zero no 15 (1983) 10.1 ill, fr. L'auteure explique comment 1'annee 1982 a ete marquee par la diversite dans le cinema quebecois. 435 Annuaire courts et moyens metrages Quebec 1981-82. Copie Zero no 17-18 (1983) 3-171. 32 ill, index, fr, En. Annuaire ou Ton repertorie 620 courts et moyens metrages produits au Quebec en 1981-1982. Les films dont on a fait un resume sont classes en ordre numerique, alphabetique, chronologique et selon le metrage, les maisons de production et le sujet. On donne aussi une liste des maisons de production et de distribution et un index des noms.

Listing of 620 short and medium-length films produced in Quebec in 1981-82 The films are breifly described and ordered numerically, alphabetically, chronologically, and by length, production company, and subject. Includes a list of production companies and distributors and a name index. 436 Annuaire longs metrages Quebec 1982. Copie Zero no 15 (1983) 3-60. 31 ill, index, fr, En. Dossier sur le cinema quebecois ou Ton trouve une liste des longs metrages produits en 1982 et classes en ordre chronologique, alphabetique et numerique. On trouve aussi un index des sujets, des noms, des maisons de production et les adresses des maisons de production et de distribution. On donne egalement une liste des longs metrages quebecois en exploitation a Montreal (Quebec) en precisant le nombre de semaines et le nombre de salles ou ils ont ete projetes, et la langue des versions disponibles. (Quatre articles qui presentent cet annuaire sont resumes separement). Listing of feature-length films produced in Quebec in 1982 classified chronologically, alphabetically, and numerically. Provides a subject, name, and production company index and the addresses of production companies and distributors. Notes the feature films screened in the region of Montreal, Quebec, citing the number of weeks, the number of theatres where the film was shown, and the language versions available. 437 Ecrits sur le cinema 1982. Copie Zero no 15 (1983) supplement, 1-16. 9 ill, fr. Supplement au numero 15 de Copie Zero, une bibliographic des articles ou documents publies en 1982 sur le cinema quebecois. 438 Jasmin, Claude. Avant le cinemascope. Ticket 1 no 3 (juin-juillet 1983) 014-015, 059. fr. Claude Jasmin nous parle des cinemas d'apres-guerre. 439 La Rochelle, Real. Is there a future for a Quebec national cinema? Cinema Canada no 97, supplement (June 1983) 29-34.1 ill, En. Expresses concern about the future of nationalist Quebec cinema due to contradictions surrounding its definition. Provides an overview of various attitudes towards the necessity and validity of Quebec's national cinema and examines how these attitudes are tied to federal and provincial politics. 440 Bazzo, Marie-France; Boulad, Bernard. Les maitres de la saga quebecoise. Le temps foil no 31 (septembre 1983) 4649. fr. Entretien avec les cineastes quebecois Denys Arcand et Jean-Claude Labrecque. 441 Demers, Pierre. Jonquiere: une retrospective d'affiches et de films quebecois. Propos d'Art 6 no 2 (automne 1983) 7. fr. Bilan de la retrospective d'affiches et de films quebecois organisee par le Centre national d'exposition et les Vues animees de le ville de Jonquiere.

Quebec 442 Le cinema quebecois. Quebec franqais no 51 (octobre 1983) 30-53. bibl, fr. Discussion sur le cinema quebecois. On traite des sujets suivants : avenir de cette Industrie, recherche d'un public, scenario et cinema, titres des films, adoption de la litterature quebecoise par le cinema quebecois (le cas de Maria Chapdelaine), principaux changements qu'apporte 1'adoption de la loi 109 (Loi sur le cinema) au Quebec. 443 Six films quebecois primes en octobre. IQC Information 2 no 5 (novembre-decembre 1983) 3. fr. Liste des films quebecois primes durant le mois d'octobre 1983. 444 Larouche, Michel. Fotofilms. Parachute no 33 (decembre 1983-janvier-fevrier 1984) 42-43. 1 ill, bibl, fr. Compte rendu de 1'exposition « Henri Cartier-Bresson, photographe », presentee au Musee des beaux-arts de Montreal a Montreal (Quebec) du 25 juin au 4 septembre 1983. Lors de cette exposition, on presentait des films utilisant 1'image photographique, mais aussi des films realises par des photographes tels que Le Quebec vu par Cartier-Bresson (1969), produit par 1'Office national du film (ONF) du Canada. 445 Haustrate, Gaston. La revolution tranquille du cinema quebecois: le guide du cinema; initiation a 1'histoire et 1'esthetique du cinema. Syros 2 (1984) 112-118. fr. Bref historique de la naissance du cinema quebecois et canadien et portrait du cinema quebecois des annees 1960. On presente ensuite des cineastes et quelques films qui ont marque cette periode ainsi que des reperes historiques sur le Quebec. 446 Marsolais, Gilles. Cinema et realite : une fiction? Centre interdisciplinaire d'etude et de recherches sur I 'expression contemporaine (1984) 67-78. fr. Lecture d'oeuvres cinematographiques quebecoises autour de la notion de « mythe ». On y presente deux volets. Dans le premier, Gilles Marsolais discute de la difficulte d'interpreter trois films qui partagent la meme proposition, soit: En pays neufs (1937) de Maurice Proulx, Les Brides (1957) de Bernard Devlin et Le Retour a la terre (1976) de Pierre Perrault. Dans le second volet, 1'auteur propose une lecture du film de Perrault La Bete lumineuse (1982). 447 Lachance, Gabrielle. Le cinema et la television. La culture contemporaine face aux industries culturelles et aux nouvelles technologies : rapport-synthese de la rencontre franco-quebecoise sur la culture, 99-112. Quebec, Quebec : Institut quebecois de recherche sur la culture, 1984. fr. Rapport divise en deux parties. Apres une synthese des documents preparatories, 1'auteure souligne premierement les deux formes de production pour le long metrage de fiction: le cinema et la television. Ensuite, elle releve trois problemes principaux : les conditions d'echec ou de succes d'un film, la question de la coupe finale et 1'homogeneisation imposee par la television. 448 Huard, Michele. Le cinema quebecois pour la jeunesse. Lurelu (printemps-ete 1984) 3-9. fr.

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Historique du cinema pour enfant au Quebec. Depuis le milieu des annees 1960, ce type de cinema semble occuper un espace grandissant en dehors des frontieres de 1'Office national du film (ONF) du Canada qui etait le seul a le produire auparavant. 449 Bonneville, Leo. Ou est le cinema quebecois? Sequences no 116 (avril 1984) 30. fr. Tout en faisant reference aux films Le Crime d'Ovide Plouffe (1984) de Denys Arcand, Mario sen va-t-en guerre (sorti sous le titre Mario, 1984) de Jean Beaudin, Les Vautours (1975) de Jean-Claude Labrecque et Sonatine (1984) de Micheline Lanctot, 1'auteur s'interroge sur la situation du cinema quebecois. 450 Annuaire longs metrages quebecois 1983. Copie Zero no 20 (mai 1984) 13-42.13 ill, index, fr, En. Repertoire des films quebecois distribues en 1983, incluant certains films canadiens anglais tournes par des Quebecois ou au Quebec. Pour chaque cas, on donne le generique, les principales donnees de production et de distribution de meme qu'un resume du sujet. On presente les films distribues en 1983 dans la region de Montreal (Quebec). On trouve aussi une liste des principales compagnies canadiennes de production et de distribution. Listing of Quebec films released in 1983 including certain English Canadian films shot by Quebecors or in Quebec. Provides, for each film, the credits, production companies, distributors, and a brief description of the subject. Notes the films released in the region of Montreal, Quebec, in 1983. Lists the principal Canadian production companies and distributors. 451 Beauclair, Rene ; Palardy, Carmen. Ecrits sur le cinema 1983 : bibliographic quebecoise. Copie Zero no 20 (mai 1984) supplement 1-28. 7 ill, index, fr, En. Bibliographic regroupant ce qui s'est public au Quebec sur le cinema en general, et a 1'etranger, sur le cinema quebecois. Bibliography of materials published in Quebec on cinema in general, and on material published outside of Quebec on Quebecois cinema. 452 Quebec releases. Cinema Canada no 110 (September 1984) 53, 55, 61. En. Announces the upcoming release of Jean-Claude Labrecque's Les Annees de reves (1984) and Andre Melan^on's La Guerre des tuques (1984). 453 Annuaire 1983 : courts et moyens metrages quebecois. Copie Zero no 21 (septembre 1984) 6-106. 20 ill, index, fr, En. Repertoire des courts et moyens metrages quebecois contenant un index PRECIS qui regroupe les films selon leur sujet et leur langue. Une section est aussi reservee aux realisateurs et aux producteurs, aux films de series ainsi qu'aux adresses des producteurs et des distributeurs. Listing of short and medium-length Quebecois films with a PRECIS index that groups the films by their subject and language Includes a listing of filmmakers, producers, film series, addresses of production companies, and distributors.

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General Studies / Etudes generates

454 Lever, Yves. Nostalgic, quand tu nous (re)tiens... Relations no 505 (novembre 1984) 307-308. fr. Discussion sur les trois films quebecois Le Crime d'Ovide Plouffe (1984) de Denys Arcand, Les Annees de reves (1984) de Jean-Claude Labrecque et Le Jour « S » (1984) de Jean Pierre Lefebvre. 455 Lacasse, Germain. Des exploitants francais au Quebec (1896-1906). Les Cahiers de la Cinematheque: Revue d'histoire du cinema no 41 (hiver 1984) 27-30. 2 ill, bibl, fr. Bref historique des debuts du cinema au Quebec qui traite plus particulierement de 1'apport des exploitants francais. Lacasse mentionne d'abord Louis Minier, officier de la marine franchise, a qui on doit la premiere projection au Canada, le 29 juin 1896 a Montreal (Quebec). II etudie ensuite le travail d'Henry de Grandsaignes d'Hauterives, et de sa mere Marie-Anne (Treourret de Kerstrat), qui voyagerent de 1897 a 1914 aux quatre coins de 1'Amerique. Us firent neuf tournees generates au Quebec, dont la derniere en 1906. Leo-Ernest Ouimet travailla avec les d'Hauterives avant de fonder le Ouimetoscope a Montreal en 1906. C'est cette meme annee que les d'Hauterives abandonnerent les tournees dans la province. Enfin, il souligne comment ceux-ci finirent leurs jours en France. 456 Lacasse, Germain. « L'Historiographe » : les debuts du spectacle cinematographique au Quebec. Avec la collaboration de Serge Duigou. (Les Dossiers de la Cinematheque, no 15). Montreal, Quebec : Cinematheque quebecoise, Musee du cinema, 1985. 60 p, 24 ill, bibl, index, fr. C'est au vicomte Henry de Grandsaignes d'Hauterives et a sa mere, la comtesse Marie-Anne Treourret de Kerstrat, qu'on doit 1'arrivee au Quebec, en 1897. II s'agit d'un projecteur importe de France qu'on utilisait dans le but d'enseigner 1'histoire universelle dans les ecoles. L'auteur decrit ce type de spectacle cinematographique et resume les neuf tournees dans la province de Quebec, qui ont eu lieu entre 1897 et 1905, en precisant les villes visitees et les reactions du public. On retrouve, par ailleurs, des extraits d'articles de journaux de 1'epoque qui decrivaient les faits. 457 Blanchard, Claude. Point de vue sur le jeune cinema quebecois. Presences de jeunes artistes, 53-63. (Questions de culture, no 8). Montreal, Quebec: Institut quebecois de recherche sur la culture, 1985. 3 ill, bibl, fr. Dans ce temoignage sur la releve cinematographique quebecoise, Claude Blanchard decrit les situations auxquelles doivent faire face les jeunes cineastes a leur sortie de 1'universite. II denonce les attitudes des organismes comme 1'Office national du film (ONF) du Canada, 1'Institut quebecois du cinema, le Conseil national des Arts du Canada, la Societe de developpement de 1'industrie cinematographique canadienne, la Societe Radio-Canada et la Societe Radio-Quebec qui preferent subventionner les veterans comme Gilles Carle pour Les Plouffe (1981) et Maria Chapdelaine (1983), ou Claude Fournier pour Bonheur d'occasion (1983) plutot que d'aider la releve. II cite en exemple les demarches qu'ont suivies Denise Labrie et Claude Belisle pour amasser des fonds afin de produire leur film respectif Demi-Jour (1984) et Les lies de Mingan (1983). Puis, 1'auteur nous fait part de son entretien avec Francois N. Macerola, commissaire par interim de 1'ONF, qui parle de 1'attitude de cette institution face aux jeunes realisateurs. Enfin, Blanchard donne un exemple de solu-

tion possible pour le jeune cinema : le cas de la cooperative Main Film qui regroupe une quarantaine de membres et offre 1'acces a un milieu creatif et a des moyens de production a des couts reduits. 458 Lever, Yves. Images de jeunes. Relations 45 no 507 (janvier-fevrier 1985) 34-35. fr. Discussion sur quatre films quebecois sur les jeunes d'ici, La Guerre des tuques (1984) d'Andre Melangon, Mario (1984) de Jean Beaudin, Sonatine (1984) de Micheline Lanctot et Aux pieds de la lettre (1983) de Jacques Methe. 459 Denault, Jocelyne. Le cinema des femmes d'ici. Quebec francais no 57 (mars 1985) 18-21. fr. Caracteristiques techniques et originalite du contenu des films realises par des Quebecoises; particularites de leur ecriture cinematographique. 460 Cote, Jean-Guy. Editorial: aux grands maux... les grands films! Cine-Bulles 4 no 6 (avril-mai 1985) 1. fr. A 1'occasion de 1'Annee Internationale de la jeunesse, le president de 1'Association des cinemas paralleles du Quebec, Jean-Guy Cote, a elabore un projet de sensibilisation des jeunes au cinema quebecois et sa mise en valeur. 461 Martineau, Richard. J'ai toujours reve d'aimer le cinema quebecois... Sequences no 120 (avril 1985) 77-78. fr. Richard Martineau condamne les productions basees sur le passe historique qui evitent de traiter des questions actuelles. II considere que pour survivre, un peuple doit d'abord se construire un present et non adopter la politique de 1'autruche. II denonce en particulier la baisse de qualite qui frappe le film documentaire au Quebec et attaque les themes qui composent le plus souvent les films quebecois : 1'enfance pertubee, la folie et 1'alienation. 462 Lavigne, Nicole. Gros plan sur le cinema quebecois. Prance-Quebec no 57 (avril 1985) 9-13. 7 ill, fr. Dossier sur le cinema quebecois des annees 1960. On trouve des informations sur les divers organismes gouvernementaux bailleurs de fonds et quelques films de 1'epoque. En guise de conclusion, on trouve des informations biographiques sur certains cineastes qui ont laisse leur marque a cette epoque de la production cinematographique quebecoise. 463 Annuaire longs metrages quebecois 1984. Copie TLero no 24 (juin 1985) 12-46.10 ill, index, fr, En. Repertoire bilingue des productions quebecoises de 1'annee 1984 accompagne d'une liste des films quebecois distribues dans la grande region de Montreal (Quebec) et d'une chronologie des principaux evenements cinematographiques de 1984. Bilingual listing of films produced in Quebec during 1984. Includes a list of films released in the Montreal, Quebec, region and a chronology of major film related events in 1984. 464 Lamonde, Yvan. Le cheval de trois. Possibles 9 no 4 (etc 1985) 15-19. fr. Reflexion sur la radio, la television et le cinema au Quebec et sur 1'americanite de la culture quebecoise.

Quebec 465 Poupart, Jean-Marie. De vives voix. Copie Zero no 24 (juin 1985) 4-5. 3 ill, fr. Analyse du theme de la ville a travers six productions quebecoises de 1984 et 1985. Ces films sont: Sonatine (1984) de Micheline Lanctot, Jacques et Novembre (1984) de Jean Beaudry et Francois Bouvier, La Femme de I'hotel (1984) de Lea Pool, Les Annees de reves (1984) de JeanClaude Labrecque et La Dame en couleurs (1985) de Claude Jutra. 466 Beauclair, Rene ; Palardy, Carmen. Ecrits sur le cinema 1984 : bibliographic quebecoise. Copie Zero no 24 (juin 1985) 47-74. 8 ill, fr. Bibliographic des ecrits sur le cinema quebecois en 1984, divisee selon les journaux, les periodiques ainsi que les monographies. Comprend un index general et un index des sujets. 467 Michon, Daniel. Le cinema et les 15-30 ans. Cine-Bulles 5 no 1 (aout 1985) 46-48. fr. Presentation des resultats d'une enquete portant sur les gouts des jeunes Quebecois (entre 15 et 30 ans) en matiere de cinema, ainsi que sur leurs connaissances du septieme art. Cette enquete a ete realisee par 1'Association des cinemas paralleles du Quebec. 468 Annuaire 1984: courts et rnoyens metrages quebecois. Copie Zero no 25 (septembre 1985) 11-37.17 ill, index, fr, En. Repertoire des films quebecois distribues en 1984, comprenant un index des realisateurs, des maisons de production et des series. Lists Quebecois films distributed in 1984. Includes an index of filmmakers, production companies, and film series. 469 Lefebvre, Martin. Les Indiens dans le cinema quebecois. L'Indien imaginaire no 1 (octobre 1985) 12-19. fr. Liste des productions cinematographiques quebecoises ou 1'on trouve des personnages amerindiens. L'auteur donne, pour chaque oeuvre, le nom du realisateur, du producteur, du distributeur, la duree et le genre du film (documentaire ou fiction). 470 Therien, Michel. Le territoire imaginaire du cinema quebecois. Quebec frangais no 60 (decembre 1985) 3-5. bibl, fr. Commentaires sur quelques films quebecois choisis pour faire connaitre la culture quebecoise a un public americain et pouvant etre utilises dans un cours de frangais, langue seconde. 471 Bazzo, Marie-France; Paquin, Carole. Les representations de la nation dans le cinema quebecois de 1960 a 1984. Maitrise. Montreal, Quebec : Universite du Quebec a Montreal, 1986. iv, 423 p, bibl, fr. Les auteures etudient parallelement les transformations politiques de la societe quebecoise et les themes abordes dans son cinema entre 1960 et 1984. Elles distinguent trois epoques. La premiere, qui correspond a la periode de 1960 a 1967, est celle de la Revolution tranquille et de la « naissance » du long metrage de fiction quebecois. Les films analyses sont: Le Chat dans le sac (Gilles Groulx,

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1964), La Vie heureuse de Leopold Z. (Gilles Carle, 1965) et Entre la mer et I'eau douce (Michel Brault, 1968). La seconde epoque se situe entre 1968 et 1976 et est marquee par 1'emergence du Parti quebecois et de la Societe de developpement de 1'industrie cinematographique canadienne qui entraine la production de films plus commerciaux. Les oeuvres retenues pour cette periode sont: Mon oncle Antoine (Claude Jutra, 1971), Rejeanne Padovani (Denys Arcand, 1973) et Bingo (Jean-Claude Lord, 1974). La troisieme periode est celle des annees 1976 a 1984, caracterisee par 1'accession au pouvoir du Parti quebecois, la defaite du referendum et 1'ouverture du cinema quebecois vers 1'exterieur. Les films cites en exemple sont: J.A. Martin, photographe (Jean Beaudin, 1977), Les Bons Debarras (Francis Mankiewicz, 1980) et Bonheur d'occasion (Claude Fournier, 1983). 472 Leboutte, Patrick. Cinemas du Quebec: au fil du direct. (Dossiers Film / video / cinema). Liege, Belgique : Editions Yellow Now, 1986. 75 p, 113 ill, bibl, fr. Dossier ou 1'on explore le parallele entre le developpement de la societe quebecoise moderne et 1'evolution de son cinema. Ce document est divise en trois periodes distinctes. La premiere epoque couvre la decennie, soit la Revolution tranquille. Celle-ci est caracterisee par 1'emergence du cinema direct, dont les principaux representants furent les cineastes Gilles Groulx, Arthur Lamothe, Michel Brault, Pierre Perrault, Claude Jutra et Jean Pierre Lefebvre. On presente ensuite un portrait de Lefebvre et une serie de photographies du film-phare de Brault et Perrault, Pour la suite du monde (1964). La seconde epoque est celle des annees 1970, caracterisee par la crise d'octobre et une periode d'affirmation nationale. C'est aussi 1'epoque de la naissance des longs metrages de fiction realises par Jutra, Jean Beaudin, Francis Mankiewicz et Denys Arcand. Le chapitre se termine par un portrait de Arcand et par des photographies du film-symbole de cette epoque Les Bons Debarras (1980) de Mankiewicz. La troisieme periode est celle des annees 1980 marquee par 1'echec referendaire, une crise d'identite et, surtout, un malaise dans le domaine du film documentaire. On presente des cineastes comme Sophie Bissonnette et Lea Pool et Ton trouve des photographies du film de Groulx Au pays de Zom (1983). Enfin, dans la derniere partie, on trouve un mini-dossier sur le cinema d'animation a 1'Office national du film (ONF) du Canada qui decrit le travail des artisans quebecois, entre autres, celui du realisateur Pierre Hebert. 473 Carriere, Louise. Declin ou survie du cinema quebecois? Aujourd'hui le cinema quebecois : dossier, 11-19. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 5 ill, fr. Survol historique du cinema quebecois. 474 Predal, Rene. Donnez-nous aujourd'hui de nouveaux films quebecois. Aujourd'hui le cinema quebecois : dossier, 117125. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 3 ill, fr. Point de vue frangais sur les derniers dix ans de production cinematographique quebecoise. Selon 1'auteur, durant ces annees, les cinephiles franc,ais se sont desinteresses du cinema quebecois. Us ont perdu 1'interet de juger le travail des nouvelles generations de cineastes.

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General Studies / Etudes generales L'attitude des Francois, selon Rene Predal, vient du fait qu'ils ne veulent pas seulement voir d'oeuvres qui se tournent vers le passe, tendance qui a marque les films quebecois de la derniere decennie.

475 Gauthier, Guy. Petite histoire subjective du direct quebecois vu des rivages orientaux de la mer Atlantique. Aujourd'hui le cinema quebecois: dossier, 126-137. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 5 ill, fr. En 1960, le cinema direct faisait son entree en France creant des liens entre quelques intellectuels frangais et ceux du Quebec meme s'ils n'accordaient pas leurs preferences aux memes films. Bien que le cinema direct soit chose du passe, il demeure qu'une quantite non negligeable de ces films maintien une bonne place dans les cinematheques du monde entier. 476 Kermabon, Jacques. Un cinema a 1'epreuve du doute. Aujourd'hui le cinema quebecois: dossier, 138-142. Paris, France: Cerf et Office franco-quebecois pour la jeunesse, 1986. 4 ill, fr. Jacques Kermabon analyse les recentes productions du cinema quebecois. II note une forte utilisation de 1'image par d'autres medias (le super-8 et la video) integres dans la fiction. Selon lui, cette tendance demontre la trace d'un doute par rapport a 1'expressivite meme du cinema : peuton encore montrer quelque chose de nouveau dans le cinema? Peut-on sortir du modele televisuel qui devient omnipresent dans la production cinematographique? Peut-on, encore, representer le reel dans le cinema? L'auteur se demande comment cette situation est traduite dans le cinema quebecois : serait-ce un pis-aller ou un signe precurseur d'un nouveau cinema au Quebec? 477 Leboutte, Patrick. Une certaine tendance du cinema quebecois des annees 80. Aujourd'hui le cinema quebecois : dossier, 143-149. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 4 ill, fr. Le cinema quebecois des annees 1980 semble asphyxie par la recurrence des themes eprouves, comme la famille, et par 1'appel systematique a 1'histoire. L'insecurite dans laquelle baigne la mentalite quebecoise explique le phenomene. Passiflora (1986) de Fernand Belanger et Dagmar Gueissaz Teufel, film influence par le cinema direct, laisse entrevoir une lueur d'espoir et de renouvellement du cinema au Quebec. 478 Lafond, Jean-Daniel. Le choc du reel. Derives no 52 (1986) 25-44. 5 ill, fr. Notes sur le cinema direct. L'auteur constate que le cinema direct a fait son apparition, dans les annees 1960 au Quebec, parce que les moyens et 1'infrastucture dont disposaient les cineastes du Quebec ne valaient pas ceux des grands pays capitalistes. C'est aussi a partir de cette carence qu'ils ont invente un cinema a leur mesure et trouve une expression propre. Les cineastes reconstruisaient alors un monde imaginaire, politique et social, celui des Quebecois, pour lesquels une image existerait desormais. 479 Euvrard, Michel. Quand la mer se retire. Aujourd'hui le cinema quebecois : dossier, 27-34. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 3 ill, fr.

La cinematographic des annees 1960 rend compte des bouleversements provoques par la vague nationaliste tandis que 1'echec du referendum de 1980 desengage le cinema de ses quetes sociales et le tourne vers une approche plus formelle. On s'interesse davantage au « moi », on fait des films sur la vie privee. Les cineastes privilegient desormais 1'imaginaire ou le reve et les desirs predominent. 480 Jean, Marcel. Notes sur le regard de 1'autre. Derives no 52 (1986) 45-50. fr. Discussion sur les cineastes neo-quebecois. Ceux-ci possedent deux visions : la premiere est generalement tournee vers 1'interieur et traduit la position des immigres qui vivent une situation d'exil, et la deuxieme semble plutot tournee vers 1'exterieur, profite de sa position afin d'observer la societe quebecoise. Dans les deux cas, le genre documentaire domine. 481 Chevrier, Henri-Paul. La turlute des annees pequistes. Aujourd'hui le cinema quebecois : dossier, 50-55. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986.4 ill, fr. Analyse de la production quebecoise durant la periode ou le Parti quebecois etait au pouvoir (1976-1985). On remarque deux tendances importantes : un cinema commercial qui se tourne vers le passe et un cinema personnel qui se developpe a un niveau artisanal. Ces tendances se repercutent sur le genre meme de cinema qui est produit: le documentaire se teinte de folklore et la fiction se tourne vers le miserabilisme. 482 Therrien, Denyse. Le silence et la jasette. Aujourd'hui le cinema quebecois : dossier, 58-65. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986.1 ill, fr. Analyse de la langue dans le cinema quebecois a travers les trente dernieres annees. Selon Denyse Therrien, les differentes nuances qui teintent la langue dans les films quebecois illustrent les differentes etapes de 1'evolution politique du Quebec. Ainsi, dans les films quebecois des annees 1960, les personnages s'exprimaient avec une langue empruntee a la France, demontrant, ainsi, un desarroi politique et social dans lequel se debattait la societe quebecoise. Dans les annees 1970, c'est 1'affirmation de 1'identite du peuple quebecois et ainsi le joual, la langue du peuple, prend toute la place. Puis, avec 1'arrivee du Parti quebecois au pouvoir la langue s'assagit pour mieux refleter les differentes classes sociales et les diverses ethnies qui forment la population du Quebec. D'ailleurs 1'auteure remarque qu'a partir de 1976, on assiste a une depolitisation de la langue qui reflete celle qui se vit dans la societe. 483 Waugh, Thomas. Le cinema anglo-quebecois. Aujourd'hui le cinema quebecois : dossier, 66-75. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 3 ill, fr. La cinematographic des Anglo-quebecois semble avoir subi un changement depuis la prise du pouvoir, en 1976, du Parti quebecois. Le cinema de cette communaute minoritaire depeint une certaine schizophrenic et le genre dominant semble etre 1'auto-portrait collectif. C'est par le biais d'une vingtaine de films representatifs (fictions ou documentaires) qu'on per^oit une communaute acceptant progressivement cette idee de minorite.

Quebec 484 Bellemare, Denis. La melancolie et le banal. Derives no 52 (1986) 7-24. 1 ill, bibl, fr. Version anglaise : Melancholia and the banal. Etude des concepts de la melancolie et du banal dans le cinema quebecois selon une grille psychanalytique. Denis Bellemare constate que La Petite Aurore Venfant martyre (Jean-Yves Bigras, 1952) et La Dame en couleurs (Claude Jutra, 1985) representent deux extremes dans 1'histoire du cinema quebecois. II parle de 1'utilisation du banal dans Gina (Denys Arcand, 1975) pour signifier une presence invisible, ou meme une absence. L'auteur constate que le cinema direct, comme genre, facilite 1'expression du banal et de la melancolie. II avance que le cinema quebecois des annees 1942 a 1953 etait un cinema de « corps bloque », et que le cinema de 1958 a nos jours occupe la place d'un « corps ordinaire » qui sert de vehicule au banal et a la melancolie presents dans le cinema quebecois. 485 Waugh, Thomas. Les Autres : English Quebec cinema during the Parti quebecois regime 1976-1985. Cinema Canada no 129 (April 1986) 6-10. 6 ill, En. A survey of English Quebec cinema since the November 1976 election of the Parti quebecois. Examines how a number of Anglo-Quebecois films of the Parti quebecois period addressed such themes as Anglo-Quebecois identity, the relationship between Quebec anglophones and the francophone majority, feminism, peace and international solidarity, and elections and political marriages. Also provides a comprehensive overview of the state of the independent filmmaking community and the AngloQuebecois film industry since November 1976. Provides a list and brief description of 20 important Anglo-Quebecois films produced within the last nine years. 486 Jauber, Alain. Cinema quebecois : tradition et renouvellement. Jeune Cinema no 174 (mai-juin 1986) 17-20. ill, fr. Notes sur trois productions quebecoises recentes : Jacques et Novembre (1984) de Jean Beaudry et Francois Bouvier, Visage pale (1985) de Claude Gagnon et Le Dernier Glacier (1984) de Jacques Leduc et Roger Frappier. 487 Annuaire 1985: long metrages quebecois. Copie Zero no 28 (juin 1986) 13-50. 8 ill, index, fr, En. Repertoire des films quebecois distribues en 1985 accompagne d'une liste alphabetique des longs metrages distribues dans la region de Montreal (Quebec) et d'une liste des evenements cinematographiques d'importance pour le Quebec qui ont eu lieu en 1985. Listing of Quebecois films distributed in 1985. Includes an alphabetical list of feature-length films released in the Montreal, Quebec, region and a list of important film related events in Quebec during 1985. 488 Beauclair, Rene; Palardy, Carmen; Viens, Manon. Ecrits sur le cinema 1985 : bibliographic quebecoise. Copie Zero no 28 (juin 1986) 51-85.10 ill, fr. Bibliographic regroupant les ecrits cinematographiques de 1985 selon leur provenance : journaux, periodiques, monographies ou critiques de films. On inclut egalement un index general des sujets. 489 Marsolais, Gilles. La face cachee de la lune, ou 1'autre visage du cinema quebecois. Vie des arts 31 no 123 (juin 1986) 86-87.1 ill, fr.

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489 Marsolais, Gilles. La face cachee de la lune, ou 1'autre visage du cinema quebecois. Vie des arts 31 no 123 (juin 1986) 86-87.1 ill, fr. Article sur le nouveau cinema quebecois en fonction de son caractere international et multiculturel. L'auteur cite les films Le Choix d'un peuple (Hugues Mignault, 1985), Journal inacheve (Marilu Mallet, 1982), Caffe Italia Montreal (Paul Tana, 1985), La Familia Latina (German Gutierrez, 1986), Visage pale (Claude Gagnon, 1985), La Fuite (Robert Cornellier, 1985) et Anne Trister (Lea Pool, 1986). 490 Martineau, Richard. Le nouveau cinema quebecois ou la mort des bucherons. Allure (aout 1986) 34-36. 5 ill, fr. Apres le choc qu'ont subi les ideaux politiques du Quebec, la tendance du cinema des annees 1980 semble etre axee vers un esthetisme formel qui laisse en marge 1'importance du message. 491 Annuaire 1985: courts et moyens metrages quebecois. Copie Zero no 29 (septembre 1986) 18-50. 3 ill, index, fr, En. Liste alphabetique des courts et moyens metrages quebecois distribues en 1985, comprenant un index des realisateurs, des maisons de production et des series. Alphabetic listing of short and medium-length Quebecois films distributed in 1985. Includes an index of filmmakers, production companies, and film series. 492 Johnson, Brian D. Movie masterpieces. Maclean's 99 no 37 (15 September 1986) 44-46. 5 ill, En. Discusses the vitality, creativity, and excellence of Quebecois film. Notes the increasing financial sophistication of Quebec movie makers and the sources of funding, including the Quebec Societe generate du cinema, Telefilm Canada, and the National Film Board (NFB) of Canada. The influence of the NFB and the commercial success of soft-core sex filmmaking in the history of Quebecois film are traced through three decades of filmmaking to Denys Arcand's Le Declin de I 'empire americain (1986), Lea Pool's Anne Trister (1986), and Yves Simoneau's Pouvoir intime (1986). The thematic concerns of Quebec cinema, including a society in transition from the rural to the urban, national identity, and militant action are discussed and related to Gilles Carle's La Guepe (1986), Rock Demers's production plans, and the language and marketing questions facing filmmakers desiring a larger audience. 493 Lefebvre, Martin. Les Indiens dans le cinema quebecois. Revue d'histoire litteraire du Quebec et du Canada frangais no 11 (hiver-printemps 1986) 129-133. bibl, fr. Martin Lefebvre, dresse une filmographie sous le theme des Indiens dans le cinema quebecois. Ces films sont classes comme documentaires ou films de fiction. 494 Lever, Yves. La critique comme ecriture. Revue d'histoire litteraire du Quebec et du Canada franfais no 11 (hiverprintemps 1986) 23-32. fr. Discussion sur la question « Qu'est-ce qui caracterise la critique cinematographique quebecoise passee et actuelle en tant qu'ecriture? » Les hauts et les bas du metier de critique qui fait face a une multiplicite d'attentes de la part des lecteurs. Les revues specialisees ne rejoignent qu'un

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General Studies / Etudes generates micromilieu mais demeurent les sources les plus interessantes pour les critiques.

495 Blanchard, Andre. Le cinema regional dans le cinema quebecois: 1'exemple abitibien. Doctorat. Paris, France : Universite de Paris 1,1987. 510 p, bibl, fr. Situant la naissance du cinema quebecois au debut des annees 1920 et a 1'exterieur de la grande region montrealaise, 1'auteur se penche sur ce cinema regional quebecois constitue surtout de courts et de moyens metrages documentaires produits par quelques cineastes importants comme 1'abbe Maurice Proulx et monseigneur Albert Tessier. Prenant 1'Abitibi (Quebec) comme exemple, Andre Blanchard distingue trois periodes chronologiques de 1920 a 1980. La premiere periode, qui s'etend de 1920 a I960, se caracterise par la decouverte du territoire et par le fait que presque tous les films sont realises par des pretres. La seconde periode correspond au debut des annees 1960, la periode pendant laquelle la quete d'une identite devient le theme principal des productions de certains cineastes de 1'Office national du film (ONF) du Canada. Enfin, la periode de 1974 a 1980 est caracterisee par 1'apparition des films tournes par des cineastes de la region qui veulent faire croitre le sentiment d'appartenance a travers leurs oeuvres. 496 Gonthier, Claude. Analyse ideologique de critiques journalist!ques de cinema quebecois d'octobre 70 a novembre 76. Memoire presente a 1'Universite du Quebec a Montreal comme exigence partielle de la maitrise en etudes litteraires. Montreal, Quebec : Universite du Quebec, 1987. 229 p, ill, fr. Dans cette etude, on propose une analyse d'un corpus de critiques journalistiques de cinema. L'auteur examine les critiques publiees a partir de la crise d'octobre 70 jusqu'a 1'avenement au pouvoir du Parti quebecois, le 15 novembre 1976, en tenant compte d'imperatifs culturels, religieux, economiques et politiques. Les critiques proviennent des journaux La Presse, Montreal Gazette, Le Devoir, et Le Soleil. Selon 1'analyse, il ressort que les critiques de La Presse preconisent une tendance favorable au courant ideologique du Parti quebecois, que ceux du Devoir semblent avoir une ideologic plus conservatrice, qu'on partage plutot une attitude pro-liberaliste au Soleil tandis qu'au quotidien The Gazette on s'oppose farouchement aux idees pequistes de meme qu'on tend a preferer la realite culturelle americaine. 497 Warren, Paul. Les Quebecois et le cinema: un mode specifique d'exhibition. Dialogue: cinema canadien et quebecois / Canadian and Quebec Cinema, dirige par Pierre Veronneau, Michael Dorland et Seth Feldman, 109-120. Montreal, Quebec: Mediatexte Publications et la Cinematheque quebecoise, 1987.1 ill, fr. Notes sur le cinema quebecois et la fiction. L'auteur remarque que le cinema quebecois semble rejeter la fiction. En fait, ce refus de jouer a fond le jeu du divertissement remonte au cinema direct de Pierre Perrault qui s'est toujours reclame de 1'authenticite de ses personnages, de leur vecu et de leur langue. Des films comme La Quarantaine (1982) d'Anne Claire Poirier ou Laure Gaudreault (sorti sous le titre Rencontre avec une femme remarquable: Laure Gaudreault, 1983) de lolande Cadrin-Rossignol, ou le documentaire non seulement s'infiltre dans la fiction mais

y prend part entiere, sont le reflet de 1'heritage de Perrault. Mais avec la demande croissante de « vrai » cinema de fiction, Le Declin de I 'empire americain (1986) de Denys Arcand marque peut-etre le « declin » de la quebecitude cinema togr aphique. 498 Perusse, Denise. De 1'impossible reconciliation des sexes : « Mourir a tue-tete » et « La Cuisine rouge ». Dialogue : cinema canadien et quebecois / Canadian and Quebec Cinema, dirige par Pierre Veronneau, Michael Dorland et Seth Feldman, 255-267. Montreal, Quebec: Mediatexte Publications et la Cinematheque quebecoise, 1987. 1 ill, bibl, fr. Dans cette analyse de deux films quebecois, Mourir a tuetete (1979) d'Anne Claire Poirier et La Cuisine rouge (1980) de Paule Baillargeon, Denise Perusse degage quatre elements communs a ces deux oeuvres : un decoupage spatial tres net selon les sexes, une exclusion du pole masculin, une esthetique de morcellement et une utilisation de la parodie et du cliche. L'auteure voit dans ces deux films un desir des cineastes de lever le voile sur le viol (Mourir a tue-tete) et de rejeter les modeles traditionnels d'occupation de 1'espace selon le sexe (La Cuisine rouge). Selon elle, ces films sont des exemples d'une recherche de nouvelles formes de representation et de creation pour les femmes. 499 Lefebvre, Jean Pierre. Le concept de cinema national. Dialogue : cinema canadien et quebecois / Canadian and Quebec Cinema, dirige par Pierre Veronneau, Michael Dorland et Seth Feldman, 83-96. Montreal, Quebec : Mediatexte Publications et la Cinematheque quebecoise, 1987.1 ill, fr. Jean Pierre Lefebvre tente de faire le point sur le concept de cinema national quebecois (et indirectement canadien) en definissant, avant tout, les concepts de « nation » et de «creation». Puis, il donne 1'historique de ce cinema depuis ses origines en relevant les mesures economiques prises afin de le rentabiliser, et les difficultes face a la presence americaine dans le marche interieur canadien. II se pose la question suivante : Comment faire vivre le concept d'un cinema national avec une economic multinationale dans un monde de consommation? II faut apprendre a survivre, repond-il, en creant et en tentant de traduire notre environnement avec 1'espoir peut-etre, de le transformer. 500 Rousseau, Yves. Scenario, quand tu nous tiens. CineBulks 6 no 4 (mai-juillet 1987) 24-26. 2 ill, fr. En faisant reference aux films Evixion (1986) de Bachar Chbib, Equinoxe (1985) d'Arthur Lamothe, L'Homme renverse (1987) de Yves Dion et La Couleur encerdee (1986) de Jean Gagne, 1'auteur discute de la nouvelle generation des scenarios quebecois. II estime ceux-ci plus rigides et surcharges de sens en comparaison a la faiblesse des scenarios de la decennie 1975-1985. 501 Brousseau, Pierre. L'evolution du cinema au Quebec. L'Union Express (juin 1987) 35-36. fr. Bref survol historique de cinquante ans de cinema quebecois (1937-1987). 502 Roy, Michel. «L'Aventure c'est 1'aventure!»: du cinema d'exploration a 1'exploitation. Qui fait quoi? no 38 (15 juin 1987) 12. fr.

Quebec Discussion sur le cinema d'aventure et d'exploration au Quebec. 503 Beauclair, Rene; Palardy, Carmen; Viens, Manon. Ecrits sur le cinema 1986 : bibliographic quebecoise. Copie Zero no 32 (jufflet 1987) 42-85. 25 ill, bibl, fr. Bibliographic des ecrits sur le cinema quebecois classes selon leurs sources (journaux, periodiques et critiques de films) incluant un index des sections monographiques et un index des sujets. 504 Annuaire 1986 : longs metrages quebecois. Copie Zero no 32 (juillet 1987) 8-41.1 ill, index, fr, En. Repertoire des longs metrages quebecois distribues en 1986, comprenant un index des realisateurs accompagne aussi d'une chronologic des evenements cinematographiques marquants de 1'annee 1986. Listing of feature-length Quebecois films distributed in 1986. Includes an index of filmmakers and a chronology of film related events occurring in 1986. 505 Taschereau, Yves ; Moreau, Jean-Guy ; Grenier, Serge ; Latouche, Daniel. Suites quebecoises. Cine-Bulles 7 no 1 (aout-octobre 1987) 4-5. 2 ill, fr. Quatre personnalites quebecoises s'amusent a imaginer la suite de films tels que Deuxfemmes en or (1970) de Claude Fournier, IXE-13 (1972) de Jacques Godbout et Le Declin de I'empire americain (1986) de Denys Arcand. 506 Bedart, Myreille. Un nouveau cinema quebecois? Faut voir. Cinema 87 no 418 (2 decembre 1987) 15-17. 4 ill, fr. Bref historique de la production cinematographique du Quebec. Myreille Bedart souligne en premier lieu 1'importance de la forme documentaire dans les productions quebecoises ainsi que la forte presence du theme du patrimoine. L'auteure considere que le cinema quebecois des annees 1980 a atteint un calibre international en s'inspirant de la qualite technique des Etats-Unis et de la sensibilite europeenne. Selon Bedart, le concept de « nouveau cinema quebecois » est un mythe et la production cinematographique quebecoise ne suit que le cours normal de son evolution. 507 Coulombe, Michel; Bherer, Marie-Claude. A 1'affiche : le Quebec: repertoire de films quebecois. Montreal, Quebec : Association des cinemas paralleles du Quebec, 1988. 67 p, 56 ill, index, fr. Dans son introduction, Michel Coulombe precise qu'on a etabli la presente selection afin de donner aux jeunes une meilleure comprehension de la cinematographie quebecoise. On a done resume 50 films du repertoire quebecois realises entre 1963 et 1968, puis on les a presentes par le biais d'extraits de critiques de presse ou de documents precisant les intentions du realisateur et la reaction du public. On trouve, a la fin du document, un index des films choisis, un index des realisateurs ainsi qu'une liste des societes de distribution. 508 Coulombe, Michel; Jean, Marcel. Le Dictionnaire du cinema quebecois. Preface de Rock Demers. Montreal, Quebec : Boreal, 1988. xxv, 530 p, ill, bibl, fr. Repertoire du cinema quebecois, de sa naissance jusqu'a

63 la fin des annees 1980. II contient des donnees precises sur les realisateurs, les acteurs, les scenaristes, les techniciens et les producteurs, ainsi que des articles de fond sur divers sujets comme : les festivals, les organismes publics, les associations et les regroupements professionnels, la distribution, la coproduction, le cinema experimental, le cinema d'animation, les cine-clubs et la censure.

509 Lacasse, Germain. Histoires de scopes: le cinema muet au Quebec. Pierre Veronneau responsable de la publication. Montreal, Quebec: Cinematheque quebecoise, Musee du cinema, 1988.104 p, bibl, index, fr. Germain Lacasse decrit 1'histoire des debuts du cinema a partir d'une perspective quebecoise. Son approche globale (touchant la production, la distribution et 1'exploitation) est d'autant plus riche qu'il decortique les evenements sociaux marquants, causes par 1'arrivee de ce divertissement de masse dans la nouvelle metropole industrielle qu'est devenue Montreal (Quebec). Des premieres projections aux nouvelles salles de cinema, de la speculation a la Premiere Guerre mondiale, de la production de films de fiction au monopole d'entreprise, il nous fait voir les reactions des classes dirigeante et religieuse, et les contre-attaques du public et des promoteurs du cinema. La gloire du muet, ternie par 1'incendie du Palace Laurier a Montreal, connait sa decheance avec 1'arrivee du parlant. 510 Lever, Yves. Histoire generale du cinema au Quebec. Montreal, Quebec : Boreal, 1988. 555 p, ill, bibl, fr. Synthese historique sur le cinema quebecois. Dans ce livre, 1'auteur aborde plusieurs questions dont la production, la distribution, la legislation, 1'exploitation, les relations entre 1'Eglise et le cinema, la critique cinematographique et le role des differents intervenants prives et gouvernementaux dans cette Industrie. Yves Lever divise cette histoire en quatre parties. La premiere, 1'epoque du cinema muet, qui s'etend de 1896 a 1938. Puis, la periode de 1939 a 1955, pendant laquelle les organismes gouvernementaux sont mis en place (1'Office national du film (ONF) du Canada), ce qui permettra a longue echeance le developpement d'une production quebecoise. Suit la periode de 1956 a 1968 qui est caracterisee par la Revolution tranquille. Dans cette troisieme epoque, on remarque la naissance d'une demarcation entre la production quebecoise et celle du reste du Canada. Enfin, la periode de 1969 a 1987, caracterisee par la production de longs metrages quebecois connait une grande poussee grace a la creation de la Societe de developpement de 1'industrie cinematographique canadienne et de Telefilm Canada. Cette derniere partie se caracterise par la reputation internationale qu'ont gagne les films quebecois et ce, malgre le retour de 1'influence americaine dans la production. Lever note 1'ecart profond qui existe entre le film commercial et le film d'auteur aux visees culturelles. On trouve, en annexe, les criteres de la censure de 1931, un texte de Michel Brule, « L'imaginaire catalyseur », la liste des commissaires de 1'ONF, la liste des gagnants du Prix de la critique, la liste des laureats du prix Albert-Tessier, le palmares des dix meilleurs films canadiens (en date de 1984) et un bref recueil des bons mots sur le cinema quebecois par des gens de 1'industrie. 511 Lemire, Maurice. The universal and the particular in

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cultural identity. Image and Identity: Theatre and Cinema in Scotland and Quebec, edited by Ian Lockerbie, 131-141. (Occasional Papers, John Grierson Archive, no 2). Stirling, Scotland : John Grierson Archive; Dept. of French, University of Stirling, 1988. En. Quebec French language films are exported primarily to France, but cultural differences, such as dialect and local customs, have prejudiced audiences outside Quebec against viewing them. Maurice Lemire suggests that recent successes, such as Denys Arcand's The Decline of the American Empire (1986), indicate how Quebec has developed a cultural industry that has achieved universal appeal while still retaining the qualities of Quebec culture. 512 Lockerbie, Ian. Quebec cinema: An introduction. Image and Identity : Theatre and Cinema in Scotland and Quebec, edited by Ian Lockerbie, 79-87. (Occasional Papers, John Grierson Archive, no 2). Stirling, Scotland: John Grierson Archive; Dept. of French, University of Stirling, 1988. bibl, En. Traces the development of French language Quebec cinema, which originated at and was supported by the National Film Board (NFB) of Canada, from 1958 to 1984. Explores documentary form developed into cinema direct, concerned with the traditions of Quebec rural culture and the social issues of urban existence, describes how it was modified by experimental combinations with other genres such as drama, and demonstrates how the Quebec feature film emerged from these experiments. Concludes by calling attention to the need to educate audiences to appreciate Quebecois films. 513 Blanchard, Andre. Le cinema regional au Quebec. Composition 2 no 3 (printemps 1988) 12-14. fr. Dossier ou 1'on trace les grandes lignes de 1'histoire du cinema regional quebecois. On la divise en trois grandes periodes. La premiere s'etend de 1920 a 1930 ou ce sont les pretres cineastes qui produisent la plupart des films. La seconde periode est caracterisee par la predominance du cinema direct par les cineastes de 1'equipe franchise de 1'Office national du film (ONF) du Canada. Elle durera de 1950 a 1960. Puis la troisieme epoque, de 1967 a 1980, commence avec 1'idee d'independance et se termine apres 1'echec du referendum quebecois. 514 Beauchamp, Michel. Le court metrage dans la melee : le cinema quebecois en mutation. 24 Images no 37 (printemps 1988) 24-26. 3 ill, fr. Parallele entre la production de longs metrages et de courts metrages de fiction quebecois. Michel Beauchamp commence cette analyse en commentant la maturite cinematographique de cineastes tels que Jean-Claude Lauzon, Lea Pool et Yves Simoneau. Puis, il discute des projets des jeunes cineastes prometteurs de courts metrages comme Claude Demers qui a realise Le Bonheur (1987), Pierre Goupil, Jean-Claude Bustros, Louise Martin, Richard Roy et Catherine Martin. 515 Petillat, Gerard. Les Quebecois se degelent au soleil. Cinema 88 no 439 (27 avril 1988) 17.1 ill, fr. Survol des films quebecois qui ont ete projetes a Ales (France): La Mori d'un bucheron (1973), Fantastica (1980), Les Plouffe (1981), La Guepe (1986) et Maria Oiapdelaine

(1983) de Gilles Carle, La Corriveau (1984) de Colette Blanchard, Le Temps d'une chasse (1972) de Francis Mankiewicz, Bach et Bottine (1986) d'Andre Melangon et Les Liens de sang (1978) de Claude Chabrol. 516 Paquet, Andre. Le cinema et le francais : le francais langue vivante au cinema, qu'en est-il? Lumieres 2 no 13 (mai-juin 1988) 12-13.1 ill, fr. Les intervenants du Colloque sur 1'apprentissage du francais au Quebec ont conclu que la langue franchise au cinema etait menacee. On a identifie, comme 1'une des causes de ce phenomene, la diminution du nombre de films doubles en franc,ais au cours de la derniere decennie. 517 Beauclair, Rene; Palardy, Carmen; Viens, Manon. Ecrits sur le cinema 1987 : bibliographic quebecoise. Copie Zero no 36 (aout 1988) 60-97.15 ill, 3 index, fr, En. Bibliographie regroupant une grande partie de ce qui a ete public au Canada, sur le cinema canadien en 1987. On y mentionne des articles de journaux et de periodiques, des monographies et des critiques de film en francais ou en anglais. On donne des index pour les titres des monographies, les auteurs et les sujets. Bibliography of materials primarily published in Canada on Canadian cinema in 1987. Mentions newspaper and journal articles, monographs, and film reviews in French and English. Provides indexes by book title, author, and subject. 518 Bilodeau, Francois. Notre mur des lamentations. Copie Zero no 36 (aout 1988) 8-10. 3 ill, fr. Analyse de sept films quebecois produits en 1987. Francois Bilodeau remarque un desir important chez les cineastes de montrer toutes les formes de la misere sociale mais en laissant de cote leurs fonctions de createur, comme le demontrent des films tels que La Poursuite du bonheur (1988) de Micheline Lanctot, Les Bleus au coeur (1987) de Suzanne Guy, Marie sen va-t-en ville (1987) de Marquise Lepage, Un zoo la nuit (1988) de Jean-Claude Lauzon, Tinamer (1987) de Jean-Guy Noel et Le Frere Andre (1987) de Jean-Claude Labrecque. Bilodeau note, cependant, une exception: le film de John N. Smith, Train of Dreams (1987). 519 Lever, Yves. Le cinema au Quebec. Continuite no 41 (automne 1988) 23-26. fr. Tour d'horizon des debuts du cinema quebecois. L'auteur situe 1'annee 1906, ouverture du Ouimetoscope, comme la date charniere de 1'expansion de 1'industrie cinematographique quebecoise et ce, jusqu'aux annees 1930. II parle aussi de la position du clerge face a cette industrie qu'il trouvait « corruptrice » jusqu'en 1936, puis qu'il utilisa a partir de cette date comme outil de propagande dans le milieu scolaire. L'auteur situe la production organisee de films quebecois a la fin de la Deuxieme Guerre mondiale dormant naissance a des films comme La Petite Aurore I'enfant martyre de Jean-Yves Bigras (1952) et Un homme et son peche de Paul Gury (1949) qui connurent un grand succes vite eclipse par la venue de la television en 1952. 520 Bonneville, Leo. Deux pionniers disparus. Sequences no 135-136 (septembre 1988) 37. fr.

Quebec Bref hommage a deux pionniers du cinema quebecois, Jean-Marie Poitevin (1907-1987) et Maurice Proulx (19021988), tous deux pretres passionnes du cinema. Le premier a realise quelques films a 1'etranger et a reussi le premier long metrage quebecois, A la croisee des chemins (avec Paul Guevremont, 1943). C'est en 1955, sous son egide, que fut fonde Sequences en 1955. Pour sa part, Proulx a temoigne a travers ses multiples films de la vie rurale au Quebec. 521 Euvrard, Michel. Representation de Montreal au cinema: permanence et mutation. 24 Images no 39-40 (automne 1988) 58-62. 8 ill, fr. Analyse de la representation de la ville de Montreal (Quebec) a travers la production cinematographique quebecoise de 1960 a 1988. L'auteur mentionne trois films importants : La Vie heureuse de Leopold Z. (1965) de Gilles Carle, A tout prendre (1964) de Claude Jutra et Le Chat dans le sac (1964) de Gilles Groulx. II expose les principaux themes de la vie en ville : la vie de quartier, le village dans la grande ville, les innocents dans la ville et la ville comme lieu de transit. Michel Euvrard note que Montreal est surtout represente comme une grande ville dans les documentaires. 522 Deschamps, Yves ; Mallet, Marilu; Marsolais, Gilles. Cinema et architecture: notre espace au cinema: habiter Montreal a 1'ecran. 24 Images no 39-40 (automne 1988) 63-68. 7 ill, fr. Table ronde sur 1'ecart entre la representation de Montreal (Quebec) au cinema et sa realite architecturale. Marilu Mallet, architecte et cineaste, Yves Deschamps, architecte et professeur au departement d'histoire de 1'art de 1'Universite de Montreal, et Gilles Marsolais, auteur et journaliste, discutent des rapports entre le Quebecois et son architecture, autant dans sa realite quotidienne qu'a 1'ecran. 523 Beauchamp, Michel. Images de Montreal: entre revelation et trahison. 24 Images no 39-40 (automne 1988) 69-71. 5 ill, fr. Breve analyse des differentes manieres dont les cineastes quebecois ont filme la ville de Montreal (Quebec) depuis les annees 1960 jusqu'aux annees 1980. 524 Beaupre, Sylvie. Fragments autobiographiques. Copie Zero no 37 (octobre 1988) 13-15. 3 ill, bibl, fr. Dossier sur le film autobiographique au Quebec. Pour Sylvie Beaupre, ce genre remet en question les notions de subjectivite et d'objectivite, ce qui permet d'explorer les nouveaux horizons du langage filmique. On y examine les films suivants : Au rythme de mon coeur (1984) de Jean Pierre Lefebvre, Voyage en Amerique avec un cheval emprunte (1987) de Jean Chabot, Journal inacheve (1982) de Marilu Mallet et Mother Tongue (1979) de Derek May. 525 Goyette, Louis. L'opera revisite: «Rejeanne Padovani » et« Au pays de Zom ». Copie Zero no 37 (octobre 1988) 27-30. 2 ill, bibl, fr. Louis Goyette etudie les films Rejeanne Padovani (1973) de Denys Arcand et Au pays de Zom (1983) de Gilles Groulx qui utilisent, explorent, commentent et redefinissent 1'opera en 1'adaptant au film de fiction. Ces cineastes

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transgressent les codes traditionnels de 1'art lyrique pour lui redonner sa dimension politique. L'auteur mentionne, en terminant, le film de Martin Duckworth, Retour a Dresden (1986) qui integre 1'opera au documentaire. 526 O'Shea, Stephanie. Theatralite : le Grand cirque ordinaire au cinema. Copie Zero no 37 (octobre 1988) 38-41. 4 ill, fr. Stephanie O'Shea discute des influences que la troupe de theatre Le Grand cirque ordinaire a eu sur le milieu culturel quebecois de 1969 a 1973. Elle etudie quatre films ou jouent les acteurs de cette troupe : Le Grand Film ordinaire (1971) de Roger Frappier, Montreal Blues (1974) de Pascal Gelinas (avec Raymond Cloutier), Anastasie, oh ma dime (1977) de Paule Baillargeon et La Cuisine rouge (1980) de Paule Baillargeon et Frederique Collin. Dans ces quatre films, on trouve un style de jeu ou 1'improvisation est le principe de base. Selon 1'auteure, ces oeuvres demeurent des elements importants pour 1'etude des liens entre le cinema et le theatre. 527 Larue, Johanne. Narrations nouvelles et oubliees. Copie Zero no 37 (octobre 1988) 4-8. 4 ill, bibl, fr. Redecouverte de six films quebecois des annees 1970 ou 1'on trouve une experimentation au niveau narratif. Johanne Larue s'attarde davantage sur deux de ces films : Les Alices de la terre (1973) d'Andre Theberge, un exemple de narration brechtienne et Une nuit en Amerique (1975) de Jean Chabot, un exemple de narration excentrique. 528 Bouteiller, Line. Harel, Forcier et Noel: une etrange contamination du reel. Copie Zero no 37 (octobre 1988) 9-12. 4 ill, bibl, fr. Line Bouteiller etablit un lien entre les cineastes Pierre Harel, Andre Forcier et Jean-Guy Noel qui partagent un meme esprit surrealiste. Cet esprit se definit, dans leurs oeuvres, par le choix de themes comme le merveilleux dans Au clair de la lune (1983) de Forcier, 1'insconcient, le climat onirique tel que represente dans le film de Harel Grelots rouges et Sanglots bleus (1987), 1'absurdite et finalement 1'humour noir. Dans cette etude, elle s'interesse aussi aux films Bulldozer (1974) de Harel, Le Retour de I'lmmaculee Conception (1969), Night Cap (1974) et L'Eau chaude I'eau frette (1977) de Forcier et Tinamer (1987), Zeuzere de Zegouzie (1970) et Tu brules... tu brides... (1973) de Noel. 529 Euvrard, Michel. La critique prise de vitesse. Spirale no 83 (novembre 1988) 10. fr. Commentaires sur la critique cinematographique quebecoise. On deplore son manque de pertinence puisqu'elle se limite, bien souvent, au resume de 1'histoire et ne s'arrete pas aux caracteristiques cinematographiques de 1'oeuvre. On relie ce probleme au choix des films distribues a Montreal (Quebec). 530 Hebert, Isabelle. Jean Chabot et Hubert-Yves Rose : en quatrieme vitesse. Lumieres no 16 (novembre-decembre 1988) 22-23. 2 ill, fr. Jean Chabot, realisateur de La Nuit avec Hortense (1988), et Hubert-Yves Rose, realisateur de La Ligne de chaleur (1988), discutent de leur film, de la thematique du pere qui est tres presente dans le cinema quebecois actuel et des

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General Studies / Etudes generates problemes eprouves face au milieu cinematographique quebecois et face aux critiques.

531 Prevost, Alain. De cinema et du Quebec. Quifait quoi? no 55 (15 novembre 1988) 22. fr. Entretien avec le prof esseur et critique de cinema Yves Lever. Specialiste de 1'histoire cinematographique du Quebec, il discute de sa vision du cinema national quebecois. 532 Jutras, Pierre. Annuaire du cinema quebecois 1989. Montreal, Quebec : Cinematheque quebecoise, 1989. 412 p, ill, bibl, index, fr, En. Portrait de la production cinematographique quebecoise. On y trouve une presentation complete (avec generique) de tous les longs metrages produits au Quebec, une bibliographic des ecrits sur le cinema quebecois (livres, rapports de recherche, journaux, periodiques, etc.), une chronologic des evenements de 1'annee, une liste des prix remportes et des sorties en salles. Portrait of the cinema production in Quebec Provides a complete description (with credits) of all feature-length films produced in Quebec, a bibliography of material dealing with Quebec cinema (books, research reports, journals, peridical, etc.), a chronology of events that occurred during the year, a list of prizes awarded, and theatrical releases. 533 Veronneau, Pierre. Les annees 80: le sextant defaille. Quebec Studies no 9 (1989-1990) 1-8. bibl, fr. Caracterisation du cinema quebecois des annees 1980. Afin d'expliquer la depression qu'a connue le cinema au debut de la decennie, Pierre Veronneau releve certains facteurs socio- politiques, financiers et commerciaux. Quelques remarques suivent sur la production de documentaires. Veronneau considere que le renouveau cinematographique de la fin des annees 1980 est tributaire d'une evolution a la fois sociale et institutionnelle. 534 Perusse, Denise. Analyse spectrale autour de la representation des femmes. Le Cinema quebecois des annees 80, sous la direction de Claude Chabot, Michel Larouche, Denise Perusse et Pierre Veronneau, 22-37. Montreal, Quebec: Cinematheque quebecoise, 1989.1 ill, fr. Au colloque de 1'Association quebecoise des etudes cinematographiques, tenu a Montreal (Quebec) du 10 au 13 novembre 1988, on analyse la representation feminine dans les films quebecois realises dans la decennie 19761986. On fait ainsi reference aux films J.A. Martin, photographe (1977) de Jean Beaudin, Mourir a tue-tete (1979) d'Anne Claire Poirier, Strass Cafe (1980) et La Femme de I'hotel (1984) de Lea Pool, La Cuisine rouge (1980) de Paule Baillargeon et Frederique Collin, Les Bons Debarras (1980) de Francis Mankiewicz, L'Homme a tout faire (1980) de Micheline Lanctot et Le Declin de I 'empire americain (1986) de Denys Arcand. Ces films demontrent une presence feminine marquante dans le discours et dans la creation. De plus, 1'auteure estime que les rapports homme-femme y sont peints comme « irreconciliables ». 535 Moffat, Alain-N. Manifestations autobiographiques dans le cinema documentaire quebecois recent. Le Cinema quebecois des annees 80, sous la direction de Claude Chabot, Michel Larouche, Denise Perusse et Pierre Veronneau, 38-47. Montreal, Quebec : Cinematheque quebecoise, 1989.1 ill, fr.

Lors du colloque de 1'Association quebecoise des etudes cinematographiques, tenu a Montreal (Quebec) du 10 au 13 novembre 1988, on constate une tendance autobiographique dans la production des documentaires des annees 1980. On en distingue deux categories : les films a caractere uniquement autobiographique, dont celui de Marilu Mallet Journal inacheve (1982), celui de Jean Pierre Lefebvre Au ryihme de mon coeur (1984) et celui de Jean Chabot Voyage en Amerique avec un cheval emprunte (1987). Dans ces films, 1'enonciation sous forme de journal devient subjective grace a 1'intimite de la voix du realisateur ou de la realisatrice. Or, les autres films de la categorie «peri-autobiographique» ne presentent pas le sujet comme 1'enjeu principal du discours. Charade chinoise (1987) de Jacques Leduc et Chronique d'un temps flou (1988) de Sylvie Groulx sont cites en exemple. De ceux-ci, on remarque une approche ou le realisateur et la realisatrice tentent de s'exprimer par rapport a leur propre experience. Cela signifie une coupure avec le present car les auteurs reviennent vers le passe ou se projettent vers 1'avenir. 536 Goyette, Louis. L'insertion de la chanson dans le cinema quebecois des annees 80. Le Cinema quebecois des annees 80, sous la direction de Claude Chabot, Michel Larouche, Denise Perusse et Pierre Veronneau, 48-59. Montreal, Quebec : Cinematheque quebecoise, 1989.1 ill, fr. Expose presente lors du colloque de 1'Association quebecoise des etudes cinematographiques, tenu a Montreal (Quebec) du 10 au 13 novembre 1988. On realise que la chanson dans les films quebecois n'est pas simplement utilisee par interet musical mais surtout comme element de cohesion dans la forme. On etudie six utilisations de chansons telles que precisees par Louis-Jean Calvet et Jean-Claude Klein, dans les quatre films suivants: Les Fleurs sauvages (1982) de Jean Pierre Lefebvre, La Femme de I'hotel (1984) et Anne Trister (1986) de Lea Pool, et enfin Alias Will James (1989) de Jacques Godbout. 537 Lockerbie, Ian. Le cinema quebecois : une allegorie de la conscience collective. Le Cinema quebecois des annees 80, sous la direction de Claude Chabot, Michel Larouche, Denise Perusse et Pierre Veronneau, 8-21. Montreal, Quebec : Cinematheque quebecoise, 1989.1 ill, bibl, fr. Texte d'une conference prononcee au colloque de 1'Association quebecoise des etudes cinematographiques, tenu a Montreal (Quebec) du 10 au 13 novembre 1988. Ian Lockerbie conteste la notion qui avance que le cinema quebecois plus intimiste des annees 1980 constitue le reflux de la grande vague nationaliste des annees 1970. Selon 1'auteur, ce reflux existe pour le film documentaire, mais ne caracterise pas les longs metrages. Dans les annees 1980, les longs metrage continuent la grande tradition de la decennie precedente. Us tirent leur sujet dans le domaine de la vie privee des petites gens et non pas dans les grands themes nationalistes et politiques. Lockerbie reconnait que ce cinema intimiste manifeste, en utilisant des voies detournees, une conscience nationale collective et une identite nationale. C'est par 1'utilisation de 1'allegorie, au sens social, que ce cinema exprime ses visions politiques. Cette allegorie est caracterisee surtout par une surdetermination du recit, une surcharge du sens qui trahit un discours au deuxieme degre. 538 Pelletier, Esther. L'implantation de la fiction et de la

Quebec scenarisation dans 1'industrie du cinema quebecois. Le

Cinema quebecois des annees 80, sous la direction de Claude Chabot, Michel Larouche, Denise Perusse et Pierre Veronneau, 98-109. Montreal, Quebec : Cinematheque quebecoise, 1989.1 ill, fr. Suite au colloque de 1'Association quebecoise des etudes cinematographiques, tenu a Montreal (Quebec) du 10 au 13 novembre 1988, on remarque 1'empreinte etatique sur la cinematographic quebecoise qui engendre une preference nette du cinema de fiction au detriment du documentaire, entrainant un modele standardise de production. D'un autre cote, on note une recherche des valeurs sures en matiere de films a travers des adaptations d'oeuvres litteraires a succes au detriment de la nouveaute et de 1'originalite. Enfin, 1'auteur denonce le manque de programmes d'aide a la recherche et a 1'experimentation; lacune qui risque de nuire a la releve ainsi qu'aux realisateurs et producteurs d'oeuvres non cautionnees. 539 Jean, Marcel. Premiers longs metrages : un peu d'histoire. 24 Images no 42 (printemps 1989) 12-13. 6 ill, fr. Enquete sur les cineastes qui ont pu tourner leur premier long metrage avant la trentaine. On decouvre que depuis les annees 1960, ces cineastes sont en voie de disparition en raison de 1'industrialisation du milieu cinematographique quebecois et de la mefiance des producteurs qui preferent laisser la realisation a des mains plus expertes. 540 Fin de decennie : une releve en sursis. 24 Images no 42 (printemps 1989) 14-21.15 ill, fr. Table ronde sur le jeune cinema quebecois a laquelle participent des intervenants de divers milieux cinematographiques : cineastes, representants des organismes gouvernementaux (Societe generate du cinema et Office national du film (ONF) du Canada) et producteurs. Us discutent de plusieurs aspects de la situation des jeunes cineastes du Quebec vers la fin des annees 1980 : les difficultes pour 1'elaboration de leurs projets, la question de financement, le role et les politiques des organismes gouvernementaux au sujet du cinema d'auteur. Ont participe a cette table ronde : Jeanne Crepeau, Claude Demers, Guylaine Roy, Jean-Pierre Gariepy, Richard Roy, Arlette Dion, Louis Laverdiere, Jean Bureau et Francois Bouvier. 541 Beauchamp, Michel; Jean, Marcel; Racine, Claude; Soucy, Linda. Petit lexique en guise de boule de cristal. 24 Images no 42 (printemps 1989) 31-33. 3 ill, fr. Biographies et filmographies de Claude Demers, Pierre Jutras, Bernar Hebert, Catherine Martin, Jeanne Crepeau, Andre Dudemaine, Jean-Pierre Gariepy, Louise Martin, Francois Girard, Michel Langlois, Denis Laplante, Marie Potvin, Andre Turpin, Richard Roy, Guylaine Roy, Benoit Pilon, Pierre Gregoire, Arto Paragamian, Marie Decary et Jean-Claude Bustros, vingt jeunes cineastes, et de Martin Paul-Hus, Francois Pouliot et Bruno Jobin, trois jeunes producteurs quebecois. 542 Beauchamp, Michel. Cineastes de demain: les voies incertaines. 24 Images no 42 (printemps 1989) 4-9. 7 ill, fr. Dans ce dossier sur le cinema quebecois, on decouvre que

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le jeune cinema quebecois de la decennie 1975-1985 a sacrifie le cinema d'auteur pour de grosses coproductions anonymes. On mentionne cependant quelques films qui ont marque cette generation. On s'interroge sur les structures de production et on explique comment la cinematographic est eventuellement devenue un art de resistance. Discussion sur 1'apprentissage de la mise en scene et sur la difficulte de la langue. On fait reference a certains films comme : Kalamazoo (1988) d'Andre Forcier, Jesus de Montreal (1989) de Denys Arcand, Les Tisserands du pouvoir (1988) de Claude Fournier, Les Fortes tournantes (1988) de Francis Mankiewicz, A corps perdu (1988) et La Femme de I'hotel (1984) de Lea Pool. 543 Gingras, Nicole. L'ombre de la photographic dans le cinema quebecois. Cine-Bulles 8 no 3 (avril-mai 1989) 28-32. 3 ill, fr. Dossier portant sur 1'apport de la photographic aux niveaux formel et discursif dans le cinema quebecois. Premierement, Nicole Gingras etudie la photographic dans deux films de Jacques Leduc On est loin du soleil (1971) et Albedo (avec Renee Roy, 1982). Puis, 1'etude se tourne vers la photographic employee dans des films d'animation, precisement dans celui de Michele Cournoyer Old Orchard Beach, P.Q. (1982), celui de Veronika Soul How the Hell Are You? (1972), celui de Francine Desbiens Ah! vous dirai-je maman (1985), celui de Michel Murray Sylvia (1984) et celui de Thomas Corriveau Kidnappe (1988) ou le collage, technique employee par certains artistes surrealistes, est utilise. 544 Jutra honored. Cinema Canada no 162 (April-May 1989) 34. En. Announces three film related expositions to be held at the Palais de la civilization 25 May-15 October 1989 in Montreal, Quebec. The three expositions "Hommage a Claude Jutra," "Cites-Cines, " and "Hollywood et 1'histoire" are co-sponsored by la Societe du Palais de la civilisation and the city of Montreal. 545 Bellemare, Denis. Melancholia and the banal. Cine Action! no 16 (May 1989) 31-39. 4 ill, En. French edition : La melancolie et le banal. Contends that Jean-Yves Bigras's La Petite Aurore I'enfant martyre (1952) and Claude Jutra's La Dame en couleurs (1985) represent two filmic extremes in the history of Quebecois cinema. Explains how different periods in Quebec's filmmaking history are brought together by their common focus on themes of abandonment, mourning, the banal, and melancholy. Also discusses how Denys Arcand used the banal in Gina (1975) to signify an invisible presence, or an absence. Illustrates how cinema direct, as a film genre, facilitates the banal and melancholy. Describes Quebecois film from the 1940s and 1950s as a cinema of the "blocked body," while post-1958 films are described as having "ordinary bodies" inhabiting the circle of melancholy. 546 Horguelin, Thierry. L'espace-temps du telefilm. 24

Images no 43 (ete 1989) 64-65. 2 ill, fr. Trois films quebecois sont cites en exemple pour leur mise en scene et leur choix des sujets, composantes importantes pour la reconnaissance d'un statut d'oeuvre artistique. Ainsi dans Salut Victor (1988) d'Anne Claire Poirier,

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General Studies / Etudes generates Onzieme spedale (1988) de Micheline Lanctot et Sonia (1986) de Paule Baillargeon, on s'interesse surtout a la construction de 1'espace et a la gestion du temps.

547 Larouche, Michel. Godard et les Quebecois. CinemAction no 52 (juillet 1989) 158-164. fr. Description des liens existant entre le monde cinematographique quebecois et le realisateur fran^ais JeanLuc Godard. C'est dans les annees 1960 que debuta 1'interet des Quebecois pour 1'oeuvre de ce cineaste. L'auteur mentionne deux elements qui expliquent cette situation: 1'attention que lui porte 1'equipe de redaction de la revue quebecoise de cinema Objectifqui a analyse en details 1'ecriture de ses films, et 1'effervescence creatrice chez les realisateurs quebecois dont plusieurs elements stylistiques sont similaires a ceux utilises par Godard. Get enthousiasme a diminue quelque peu lorsque le cineaste, venant au Quebec pour realiser des emissions de television en 1968 et pour enseigner a 1'Universite Concordia a Montreal (Quebec) en 1977, a vu plusieurs de ses projets avorter. Cependant, cette derniere visite laissera une influence considerable sur le critique Patrick Straram. En 1989, seul Paul Warren, professeur de cinema a 1'Universite Laval a Quebec (Quebec), demeure un inconditionnel de Godard. II definit 1'oeuvre de ce dernier comme une « reaction de defense » face au cinema commercial. 548 Kendergi, Maryvonne. Americanisation #2. La Revue de la Cinematheque no 2 (aout-septembre 1989) 14. fr. De plus en plus, les salles de cinema quebecoises prennent un caractere americain et perdent ainsi leur image francophone. Maryvonne Kendergi lance un appel aux jeunes Quebecois a reagir face a cette situation. Selon 1'auteure, il faudrait associer la langue franchise aux images que les jeunes aiment voir. 549 Landry, Jean-Eudes. Le Bonimenteur. Contact 4 no 1 (automne 1989) 16-17. fr. Portrait d'Andre Gaudreault, un des grands specialistes du debut du cinema (1895-1915). II est 1'auteur de deux ouvrages sur le sujet et president de Domitor, 1'Association international pour le developpement de la recherche sur le cinema des premiers temps. 550 Montal, Fabrice. Histoire d'absence. Revue beige du cinema no 27 (automne 1989) 16-21. 4 ill, bibl, fr. L'auteur nous livre ses reflexions sur 1'utilisation de 1'image et le pouvoir, et estime essentiel de justifier le passe face a 1'histoire et de legitimer les nouvelles tendances sociales et politiques. L'auteur considere que les trois cineastes quebecois Pierre Perrault, Denys Arcand et Jean Chabot participent activement a une redefinition constante de 1'identite nationale quebecoise a travers leurs oeuvres. Perrault propose de se servir du reel comme symbole et guide a la survivance. Arcand se sert parfois de 1'histoire pour etablir la critique sociale comme dans ses films Le Confort et VIndifference (1982) et Quebec: Duplessis et apres... (1972). Dans Voyage en Amerique avec un cheval emprunte (1987), Chabot se fait temoin central du documentaire et denonce aussi la menace de 1'assimilation du Quebec par les Etats-Unis. 551 Larose, Jean. Images pressees. Revue beige du cinema no 27 (automne 1989) 24-28. 4 ill, fr.

L'epoque des annees 1980 est celle d'un reflet. Avec le cinema, les gens se nourrissent de plus en plus de reflets de 1'imaginaire que d'experiences de vie ou de pensees humaines. Selon Jean Larose, ces images, qui ne symbolisent plus rien, stimulent seulement le desir d'en voir plus. L'auteur utilise deux films quebecois pour illustrer cette situation : Un zoo la nidi (1988) de Jean-Claude Lauzon et Pouvoir intime (1986) d'Yves Simoneau. Ces deux oeuvres representent cette carence culturelle qui porte les realisateurs a attacher plus d'importance au nombre de films visionnes qu'a une pensee articulee autour d'une culture et d'une langue. 552 Weinmann, Heinz. La logique implacable des imaginaires collectifs. Revue beige du cinema no 27 (automne 1989) 2-6. 2 ill, fr. Analyse de 1'imaginaire collectif du Canada francais qui est represente dans le roman familial. Pour illustrer ses propos, 1'auteur utilise les films La Petite Aurore I'enfant martyre (1952) de Jean-Yves Bigras et Un zoo la nuit (1988) de Jean-Claude Lauzon. 553 Lanctot, Micheline. Nenni, vous n'y etes point m'y voila done? Pas encore. Revue beige du cinema no 27 (automne 1989) 29-30. 2 ill, fr. En reponse au texte de Jean Larose sur le cinema quebecois des annees 1980 (Revue beige du cinema no 27 (automne 1989) 24-28), Micheline Lanctot dit que le plus grand probleme de cet article se trouve dans le choix facile des oeuvres qui ne rendent pas compte de la realite cinematographique quebecoise. Ainsi, les deux films cites par Larose, Un zoo la nuit (1988) de Jean-Claude Lauzon et Pouvoir intime (1986) d'Yves Simoneau, sont des oeuvres importantes pour le cinema quebecois mais ne representent qu'en partie ce cinema qui est celui du compromis. Selon Lanctot, si les deux films choisis par Larose sont necessaires pour mieux prendre le pouls de la cinematographic quebecoise, d'autres oeuvres leur apporteraient un contrepoids. 554 Langlois, Michel. Une chaise vide derriere l'homme qui dort. Revue beige du cinema no 27 (automne 1989) 35-36.1 ill, fr. Discussion sur la « Quebecitude » dans deux oeuvres : La Ligne de chaleur (1988) du Quebecois Hubert-Yves Rose et La Femme de I'hotel (1984) de la Quebecoise d'adoption Lea Pool. Le film de Rose est indeniablement quebecois mais repose-t-il sur un imaginaire purement quebecois? II est difficile de dire avec precision ce que cela signifie d'etre Quebecois et ce qui releve de 1'imaginaire national. On a reproche au scenario du film La Femme de I'hotel de n'etre pas quebecois malgre qu'il ait ete ecrit par un scenariste quebecois, Michel Langlois. 555 Rousseau, Yves. Reves d'un temps flou. Revue beige du cinema no 27 (automne 1989) 48-52. 4 ill, fr. L'auteur tente d'analyser 1'imaginaire des jeunes cineastes quebecois des annnees 1980 face a un contexte cinematographique ou 1'element de rentabilite impose des restrictions a 1'esthetique et a la themathique. Ainsi, trois tendances se distinguent: la premiere tendance ou 1'image en mouvement remplace le recit oral ou ecrit, la deuxieme ou on note une presence marquee de la ville dans les oeuvres, tandis que la troisieme tendance reflete

British Columbia / Colombie-Britannique un « intimisme social » comme dans le film Clair Obscur (1988) de Bachar Chbib. 556 Bellemare, Denis. Les negativites. Revue beige du cinema no 27 (automne 1989) 54-58. 3 ill, bibl, fr. Le cinema quebecois de la fin des annees 1980 s'eloigne du quotidien, du vecu banal pour se rapprocher d'un imaginaire plus ouvert. Les films Trois pommes a cote du sommeil (1989) de Jacques Leduc, Jesus de Montreal (1989) de Denys Arcand ainsi que Kalamazoo (1988) d'Andre Forcier semblent particulierement representatifs de cette nouvelle tendance. 557 Daudelin, Robert. Dire non... Revue beige du cinema no 27 (automne 1989) 59. fr. Selon Robert Daudelin, Denys Arcand, Jacques Leduc et Andre Forcier possedent chacun un monde ou le lien entre le reel et son evocation differe grandement. 558 Lefebvre, Jean Pierre. La logique implacable des imaginaires dominants. Revue beige du cinema no 27 (automne 1989) 7-8.1 ill, fr. En placant La Petite Aurore I'enfant martyre (Jean-Yves Bigras, 1952) et Un zoo la nuit (Jean-Claude Lauzon, 1988) aux deux extremes d'un pole imaginaire, 1'auteur essaye de constater si les Quebecois vont opter pour 1'ideologie europeenne comme le film de Bigras, ou americaine comme le film de Lauzon, dans le developement de leur cinema. 559 Warren, Paul. Le trait d'union et la barre. Revue beige du cinema no 27 (automne 1989) 9-13. 4 ill, fr. Le cinema quebecois n'est ni le « mieux dire » du cinema fran^ais, ni le « mieux faire » du cinema americain. II est plutot influence par le documentaire et les comediens tentent d'etre aussi vrais que possible. On remarque ainsi que le cinema de Pierre Perrault est un refus total de la fiction alors que Jean-Luc Godard refuse le modele hollywoodien ou les personnages n'existent que pour le denouement.

British Columbia / Colombie-Britannique 560 Lofaro, Tony. Vancouver independent filmmakers. Cinema Canada no 17 (December 1974-January 1975) 12-13. 1 ill, En. Discusses the independent Vancouver, British Columbia, filmmakers program which was held at the National Film Theatre in Ottawa, Ontario, in September 1974 and featured over 30 short films by West Coast filmmakers. Refers specifically to Kirk Tougas's The Politics of Perception (1973), Bill Boxborough's Imaged Dream (1973), and Tom Braidwood's Backbone (1972), Wind from the West (1973), and Willow (1973). 561 Reif, Tony; Tougas, Kirk. Le cinema de la Cote Quest. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 47-60. Montreal, Quebec : Cinematheque

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quebecoise; Paris, France : Pierre Lherminier, 1978. 5 ill, fr. Version anglaise : West coast filmmaking. Un tour d'horizon sur la situation cinematographique a Vancouver (Colombie-Britannique), debutant avec une discussion sur le premier long metrage Policing the Plains (Arthur David Kean, 1927), sur Skidrow (1956) et Pemberton Valley (1957) d'Allan King, deux documentaires de la Canadian Broadcasting Corporation (CBC), et sur les paraboles animees et fantaisistes d'Al Sens. Une revue des films de Sam Perry, Stan Fox, Gary Lee-Nova, Tom Shandel, David Rimmer, Al Razutis, Byron Black, Richard Patton, Jack Darcus, Kirk Tougas, Tom Braidwood, Chris Gallagher, Bill Roxborough, Keith Rodan, Gordon Payne, Pete Lipskis, Ken Wallace, Howard Pedlar et Jim Bescott, demontre 1'augmentation dans la production des films experimentaux, documentaires et long metrages entre la fin des annees 1960 jusqu'aux annees 1970. Dans la deuxieme partie, Tougas fournit une perspective de 1'industrie cinematographique a Vancouver. Suit une revue des premiers efforts des documentaristes de la CBC a Vancouver dans le milieu des annees 1950 et une discussion de 1'emergence, parmi les cineastes independants, d'une identite individuelle et collective, caracteristique de la cote Ouest. On nomme les producteurs suivants : Dennis Wheeler, Gene Youngblood, Tom Braidwood, Jan-Marie Martell et Fred Cawsey. 562 Browne, Colin. Motion Picture Production in British Columbia : 1898-1940 : A Brief Historical Background and Catalogue. (British Columbia Provincial Museum Heritage Record, no 6). Victoria, BC : British Columbia Provincial Museum, 1979. 381 p, 24 ill, index, En. The introduction to this catalogue of films made in or about British Columbia from 1898 to 1940, establishes the historical context. Traces the development of film production in the province from 1898 when the first movie-house was installed in Victoria, British Columbia, the funding provided by the Canadian Pacific Railway in the early 1900s, British Columbia government funding from 1908 onwards, and the promotion of travelogue, educational, and dramatic films. Discusses the American influence of producer Kenneth J. Bishop, who initiated feature film production in the province, and the American monopoly in distribution which caused the provincial government to establish content quotas with the British Columbia Motion Picture Act (1928). Also discusses John Grierson's influence with his documentary genre during the thirties and his efforts to secure Canadian government support for film production. The historical survey ends in 1939 when newscast filming of King George and the future Queen Elizabeth's monthlong visit to Canada signified the end of an era in British Columbia's film production. Catalogue entries list more than 1,000 films alphabetically with a description including year of production, cast, director, producer, photographer, distributor, and plot synopsis. 563 Reif, Tony; Tougas, Kirk. West coast filmmaking. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 122-145. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 5 ill, En. French edition : Le cinema de la Cote Ouest. This survey of filmmaking in Vancouver, British Columbia, begins with a discussion of the first feature film, Policing the Plains (Arthur David Kean, 1927), the Canadian

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General Studies / Etudes generates Broadcasting Corporation (CBC) documentaries Skidrow (1956) and Pemberton Valley (1957) by Allan King, and the idiosyncratic whimsical cartoon parables by Al Sens in 1958. Increased film production of experimental, documentary, and feature films from the late 1960s to the 1970s is reviewed in the films of Sam Perry, Stan Fox, Gary LeeNova, Tom Shandel, David Rimmer, Al Razutis, Byron Black, Richard Patton, Jack Darcus, Kirk Tougas, Tom Braidwood, Chris Gallagher, Bill Roxborough, Keith Rodan, Gordon Payne, Pete Lipskis, Ken Wallace, Howard Pedlar, and Jim Bescott. In part two, Tougas provides a perspective on the Vancouver film industry, noting how its development was hindered by focussing the head offices and major production facilities of the National Film Board (NFB) of Canada and the CBC in Eastern Canada. Covers the pioneering efforts of CBC documentaries in Vancouver in the mid-fifties and discusses the development among independent filmmakers of an individual and collective identity particular to the West Coast, concentrating mainly on films of West Coast Indian filmmakers Dennis Wheeler, Gene Youngblood, Tom Braidwood, Jan-Marie Martell, and Fred Cawsey.

564 Fox, Stanley. We are where we come from: The founding of a film community in British Columbia, 19451970. Journal of Canadian Studies / Revue deludes canadiennes 16 no 1 (Spring 1981) 23-35.11 ill, bibl, En. Chronicles the rise and development of a regional film movement in British Columbia from 1945 to about 1970. Claims that federal institutions such as the National Film Board (NFB) of Canada, the Canadian Broadcasting Corporation (CBC), and the Canada Council emphasize a national focus which allows little federal funding at the provincial level. Discusses attempts made in British Columbia to develop a local film community through production agencies such as Vancouver Motion Pictures and the CBUT film unit. Vancouver Motion Pictures, the first productions of which were a result of the NFB's regional tokenism, had a profound influence on the local film scene throughout the 1950s and launched the careers of producers Lew M. Parry and Oscar Burritt, editor Homer Powell, and director Shelah Reljic, all of whom became well-known talents in West Coast cinema. CBUT, the CBC's Vancouver outlet, developed a comprehensive film production unit complete with equipment, creative talent, and production opportunities. Discusses the work of such CBUT personnel as producer Daryl Duke, producer and director Gene Lawrence, film editors Aria Saare and John Fuller, and cinematographer Jack Long, and refers to their production of Allan King's Skidrow (1956), The Yukoners (1957), and Pemberton Valley (1957), Kelly Duncan's Totems (1959), Ron Kelly's Spanish Village (1957) and Dark Gods (1958), Bill Brayne's Rodeo (1960), Ain Soodor's Japanese Gymnasts (1962), George Robertson's Track Meet (1963), Gene Lawrence's Michel (1959), and Phillip Keatley's Cariboo Country drama series (1964). States that despite CBC cutbacks in the 1960s, CBUT was able to showcase the work of a new generation of young filmmakers such as David Rimmer, Sylvia Spring, and Al Sens. An appendix listing a selection of films by CBC Vancouver from 1956 to 1969 follows. 565 Vancouver Art Gallery. Vancouver: Art and Artists, 1931-1983.15 October-31 December 1983. An inaugural exhibition in celebration of the opening of the new Vancouver Art Gallery at Robson Square. Foreword by Luke Rombout.

Curated by Jo-Anne Birnie Danzker, Lorna Farrell-Ward, and Scott Watson. Vancouver, BC : Vancouver Art Gallery, 1983. 439 p, 784 ill, bibl, En. This exhibition on filmmaking, video art, painting, graphic arts, sculpture, photography, and performance arts, traces the history of art in Vancouver, British Columbia, since the founding of the Vancouver Art Gallery in 1931, to 1983. Dividing the span of time into four eras, "Tradition / Transition 1931-1945; The Age of Anxiety 1946-1959; Alternating Currents 1960-1969," and "Landand Culture-Scape 1970-1983," the catalogue presents essays in each section. Al Razutis's text, "Recovering Lost History: Vancouver Avant-garde Cinema 1960-69," outlines the role he and other filmmakers, Gary Lee-Nova, David Rimmer, and Keith Rodan played in Vancouver's early experimental cinema. Razutis and Tony Reif's essay "Critical Perspectives on Vancouver : Avant-garde Cinema 1970-83" examines the period of questioning which eventually led to an increased intellectualization of productions in the post-1970 work of Rimmer, Byron Black, Kirk Tougas, Tom Braidwood, Gordon Kidd, Pete Lipskis, Chris Gallagher, and co-author Razutis. Paul Wong's "Void Space-New Media (Out of Context)" discusses the nontraditional use of electronic media by Vancouver artists during the 1970s. A list of the works presented at the exhibition and biographies of the artists conclude the catalogue. 566 Duffy, Dennis J. Camera West: British Columbia on Film 1941-1965. Victoria, BC : Provincial Archives of British Columbia. Sound and Moving Image Division, 1986. ix, 318 p, 35 ill, bibl, index, En. This survey of film production in British Columbia from 1941 to 1965 precedes a detailed, indexed filmography. Recounts the filmmaking activities of the British Columbia Patriotic and Educational Picture Service, the British Columbia government's footage of wildlife and native people during World War II, the expanded work on a tourist film series during the 1950s, documentation by the British Columbia forest service, and the accomplishments of other provincial government agencies. Notes that films made in British Columbia by the National Film Board (NFB) of Canada have a characteristic remoteness of viewpoint possibly due to their being conceived and scripted by people located in central Canada. Mentions industrial and sponsored films by Motion Skreenadz, Lew Parry, and other local and non-British Columbia companies, and provides details of television production by the Canadian Broadcasting Corporation (CBC), and CBUT Vancouver (British Columbia). Describes the theatrical feature films, mainly in the 1940s and later in the 1960s, by North American Productions, Panorama Productions, Commonwealth Productions, and Hollyburn Film Productions, and explains that as a result of 16 mm and 8mm film, a generation of independent filmmakers evolved. Documents films set in British Columbia, usually for tourism or industry, noting that the images often stereotyped the province as an English colony, until, in the late 1950s, the CBC Vancouver, film unit started to focus on British Columbia's people. The epilogue surveys the resurgence of feature film production, the growth of an avant-garde cinema, and the teaching of technical skills at universities from the late 1960s to 1985. The filmography documents 1,082 films or collections of films shot in British Columbia between 1941 and 1965. An update to Colin Browne's Motion Picture Produc-

British Columbia / Colombie-Britannique tion in British Columbia, 1898-1940 (Victoria, BC : British Columbia Provincial Museum, 1979) follows, including titles not listed in Browne's catalogue, and additional dates and information. 567 B.C. celebrates Motion Picture Day. Cinema Canada no 135 (November 1986) 57. En. 568 B.C/s own: Indigenous feature production since 1960. Cinema Canada no 151 (April 1988) 16.17 ill, En. Lists the indigenous feature films with their producers and directors, produced in British Columbia from 1963 to 1986.

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569 Browne, Colin. The phantom ride. Vanguard 18 no 2 (April-May 1989) 26-31. 7 ill, bibl, En. A brief examination of the social, political and economic uses of films produced in British Columbia in the early twentieth century. Describes the early Mutoscope, Edison, and phantom ride reels, produced for the Canadian Pacific Railway and the provincial government.

Genres

Documentary Films / Cinema documentaire 570 Buchanan, Donald W. Propaganda in your eye. Canadian Forum 16 (October 1936) 18. En. Argues that Canadians need to be exposed to more documentary films, to understand their power and meaning. Contends that the refusal of Hollywood distributors, who control most film exchanges in Canada and the United States, to distribute documentary films forces the development of a nontheatrical market for them. Explores the uneasy relationship between censorship boards, documentary films, and Hollywood distributors. 571 Buchanan, Donald W. The projection of Canada. University of Toronto Quarterly 13 no 3 (April 1944) 298-305. En. Examines the role of documentary film in educating and raising topics of debate among Canadians in urban and rural areas. Given the limited role Canada has in commercial filmmaking and distribution, argues that documentary film should be provided with more support from government and private business in order to build a national film consciousness. Believes the National Film Society of Canada (founded in 1935) fostered an enthusiasm in cinematic art which was the catalyst for the National Film Board (NFB) of Canada's educational role. Looks at several Canadian productions by filmmakers from outside of Canada that were essential to the formation of a documentary style that could express a Canadian psychology. Shows how the influence of government and of business investors often overshadows the concepts of a director. Praises the use of stock footage, as the NFB series The World in Action (1941-1945) and Canada Carries On (1940-1959). Continuing public exhibition of these films, with subsequent discussion by audience members, is encouraged, as is the formation of public film libraries that can serve educational intitutions. 572 Parker, Morten. Films for trade unions. Canadian Forum 24 (February 1945) 258-259. En. Looks at the National Film Board (NFB) of Canada's Trade Union Circuit and its emphasis on using film to engender discussion forums. The discussion forums are central to the circuit organized by the NFB, the Workers' Educational Association, the Canadian Congress of

Labour, and the Canadian Trades and Labour Congress, since the working audience debates issues brought forward in the films and offers grassroots responses and action. The growing audience for these screenings is mentioned, along with some of the films shown, including Our Northern Neighbour (Tom Daly, 1944) and UNRRA : In the Wake of the Armies (Guy Glover, 1944). Themes arising from the discussion forums are raised, including postwar reconstruction, employment, union activities, and socialism. 573 Mclnnes, Graham; Gauthier, K. R. Canada : Film producer. Canadian Forum 25 (May-June 1945) 39, 42. En. Asserts that documentary film in Canada has emerged as a significant medium of cultural exchange, education, and international political diplomacy. Illustrates how the National Film Board (NFB) of Canada collaborates with community groups to broaden the distribution of films, and promote their educational impact and popular appeal. 574 Mclnnes, Graham. Canada : Producer of films. Queen's Quarterly 52 no 2 (Summer 1945) 185-194. En. Analyses the purpose of documentary film, which is to represent actual events, people, and objects without imposing a fictional story, and to synthesize moments of reality. Traces the history of documentary in Canada back to Robert Flaherty's Nanook of the North (1921), shot among the Eskimos in the Hudson Bay region and sponsored by the furriers, Revillon Freres. Also cites the forming of the Canadian Government Motion Picture Bureau in 1917 to film tourism movies, as another early influence in documentaries. Formed in May 1939, the National Film Board (NFB) of Canada assumed many mandates during World War II, becoming an important instrument of visual information. Three film series gained the NFB the most publicity: Canada Carries On (1940-1959), distributed throughout Canada ; The World in Action (1941-1945), distributed internationally to place Canada in global perspective; and Les Reportages (1941-1946), distributed in Quebec and dealing with French Canadian issues. Notes that the potential audience for nontheatrical films such as information and training films, which can be shown anywhere that a portable projector can go, does not conflict with the audience for theatrical entertainment film. Describes the formation of NFB rural circuits in 1942 in which travelling projectionists showed a program of non-

Documentary Films / Cinema documentaire theatrical informational films, followed by question and answer discussion periods in which the projectionist was involved, sometimes in conjunction with the Canadian Broadcasting Corporation (CBC), the Canadian Association for Adult Education, or the Canadian Council for Education and Citizenship. Also describes the NFB Industrial Service, which projected information and training films in factories, ending with a discussion trailer that encouraged audience members to speak. Notes the establishment of regional film libraries to aid nontheatrical distribution. Indicates how specialized films for particular audiences are the most successful product of the NFB, and describes the contribution of animators to the field of specialized films. 575 Seton, Marie. British and Canadian films in America's middle west. Sight and Sound 14 no 55 (October 1945) 94-95. En. Explains that British and Canadian documentaries are well-received in the American Midwest due to their truthful exploration of global issues and their ability to transcend unpopular pro-British sentiment. Praises the Western Electric Company for providing regular screenings of these films for their employees. Notes that audiences comprised of government administrators were offended by screen actors' English accents, while high school children and trade union members were not. Notes the general increase in use of informational films, especially within the trade union organizations and universities. 576 Greenwood, Kathleen M. The role of documentary films in Canada. Public Affairs 10 no 1 (1946) 50-53. En. Examines how the documentary films produced by the National Film Board (NFB) of Canada function to unify the nation, offer a great variety of opportunities for music composers, provide a medium for artistic expression and creative production, and serve as an important educational tool. Outlines the strategies used by the NFB to bring educational films to a larger sector of the population, and states that the main objective of the NFB is to place a new medium into the hands of the Canadian people and thereby provide them with new dimensions to view world events, cultural trends, and local problems. 577 Ralph, Jack. Film trends of 1946. Ontario Library Review 31 no 1 (February 1947) 90-91. En. Jack Ralph, on behalf of the National Film Board (NFB) of Canada, describes the increase in the use of films in community activities. Discusses the trend toward the production of films on public affairs, international planning, the work of organizations such as UNESCO, technological and industrial processes, scientific and medical techniques, and the tendency to produce documentaries describing health, welfare, and housing as well as social, cultural, and educational services. Examines the increase in the control of filmmaking by the individual provinces, which are producing not only tourist films but motion pictures dealing with issues that are of direct concern to residents. Mentions a joint project between the NFB and the Canadian Educational Association that involves the making of educational films for primary school students. Provides a list of outstanding films released in Canada during 1946.

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578 Canadian Film News. 1 no 1 -5 no 2 (January 1949May 1954). Ten times per year. Ottawa, Ont: National Film Society, January 1949-1950; Canadian Film Institute, 1950May 1954. ill, En. Edited by Gordon Adamson, Canadian Film News supported the development of the 16 mm documentary film movement in Canada. In defining the goal of the publication, Adamson stated it would "report the activities of those using the films, offer intelligent and sympathetic criticism of new productions as they are released, and establish that contact between those who make films and the users, which will mean a new stimulus for both" (January 1949). National in scope, the publication was targeted principally at documentary film users including educational institutions, industry, libraries, as well as religious, cultural and community groups (particularly film councils and societies). Canadian Film News was published on a volunteer and part-time basis under the auspices of the National Film Society (NFS) of Canada until September 1950, when the NFS changed its name to the Canadian Film Institute. The editorial board was comprised of members with subject expertise in a number of fields. Editorial staff included Graham Mclnnes, Rev. F.W. Mitchison, Dr. Carter Storr, Dr. Roby Kidd, Roger Ross, Dorothy Chatwin, Jane Beveridge, William McDonald, Rowland Hill, A.N. McLennan, Gerald Pratley, H. Conquorgood, H.P. Brown, N. Barton, B. Chandler, and F. Holliday. Topics are of general interest and emphasize the role and use of documentary in Canada and occasionally abroad. Most issues include reports prepared by the editorial contributors on the activities of the community film council movement, film libraries and educational institutions using audiovisual materials. Regular columns include "Film Reviews, New 16 mm Films," and "Projectionist's Primer," a guide for the amateur projectionist. The publication supported the creation of a national film archives and reported annually in May on the Canadian Film Awards, featuring illustrated reviews of the winning entries in each class. Other topics included international and regional festivals, the role of government in the film industry, the Massey Report (Royal Commission on Arts, Letters and Sciences), and the creation of the Film Act in 1950. 579 Chatwin, Len. Film festivals in Canada. Canadian Library Association Bulletin 5 no 5 (March 1949) 166-167. En. Indicates the increasing interest of local Canadian film groups in documentary film, and notes the desire of the general population to view such films. The demand for documentaries is demonstrated by the Greater Victoria Film Festival in Victoria, British Columbia and the Hamilton Film Festival in Hamilton, Ontario, the first such events to take place in Canada's history. An article follows titled "Audio-visual news" reporting on the distribution of films to the public by libraries across Canada. 580 These documentary films. Saturday Night 65 (17 January 1950) 6. En. Argues that documentary films are lacking the critical social commentary that distinguishes them from expository accounts. Contends that documentary filmmakers have had their interpretive freedom fettered because of their criticisms of the free enterprise system. Suggests that the National Film Board (NFB) of Canada should confine

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Genres itself to producing instructional films, since public funding facilitates censorship of documentaries.

581 Robert Flaherty. Sequences no 14 (septembre 1958) 2629.1 ill, fr. Portrait du realisateur Robert Flaherty ou Ton raconte comment ce dernier s'est servi de ses voyages d'exploration a travers le monde pour inventer un nouveau genre au cinema : le documentaire. On analyse aussi la poesie de Flaherty au cinema qui reussit a depasser le pittoresque des objets, des lieux et des hommes pour transposer a 1'ecran les rapports profonds entre les choses et les personnes. Pour illustrer ces aspects du cinema de Flaherty, on mentionne quelques-uns de ses films: Nanook of the North (1921), The Land (La Terre) (1942), Louisiana Story (1948) etMoana (1926). 582 Documentaries and sponsors add fillip to film output. Canadian Cinematography 1 no 2 (January-February 1962) 7-8,12-13.2 ill, En. Outlines the history of documentary and sponsored films in Canada beginning with a film produced in 1898 for the company Massey-Harris. Briefly outlines the Canadian government's early film production units, supervised by Bernard Norrish, and the establishment in 1921 of the Canadian Government Motion Picture Bureau under the supervision of Bill Singleton. Also notes the creation of Associated Screen News and the use of motion pictures by the Canadian Pacific Railway. Notes the contributions of John Grierson and the National Film Board (NFB) of Canada series The World in Action (1941-1945) as well as the work of the film units attached to the Canadian Armed Forces during World War II. Describes some of the sponsored films made by various film companies and individuals including Crawley Films, Chetwynd Films, Meridian Films, Jerry Kedey's Motion Picture Centre, Fletcher Films, Sydney (Syd) Banks of S.W. Caldwell, Jack Chisholm, and Donald (Don) and Lee Haldane of Westminster Films. 583 Aubry, Jean-Marie. Films canadiens sur le travail. Sequences no 29 (avril 1962) 24-25.1 ill, fr. Description des differents aspects du monde du travail qui sont illustres par des films canadiens. La plupart de ces films sont des documentaires produits soit par 1'Office national du film (ONF) du Canada, soit par divers ministeres des deux paliers de gouvernement. Ainsi, on aborde les films relies au secteur primaire (agriculture, peche, exploitation forestiere), au secteur secondaire (mines et industries de transformation), et au secteur tertiaire (transport, commerce, services publics). L'auteur termine en mentionnant certains films illustrant le passage de la main-d'oeuvre canadienne du secteur primaire aux secteurs secondaires et tertiaires. II complete ce dossier par une filmographie des films cites. 584 Comeau, Guy. Naissance du documentaire. Sequences no 30 (octobre 1962) 38-41.1 ill, fr. Dans cet article sur 1'histoire du documentaire, 1'auteur nous raconte comment Robert Flaherty s'est merite le titre de « Pere du documentaire » grace a son oeuvre Nanook of the North (1921), et de quelle fac,on John Grierson a fonde 1'Office national du film (ONF) du Canada en 1939 a la demande du gouvernement canadien.

585 Canada on the film screens of the world. External Affairs 14 no 12 (December 1962) 379-381. En. Outlines aspects of the National Film Board (NFB) of Canada's 25-year old mandate to project the Canadian image abroad with documentary films. Mentions the subject areas in which the NFB produces documentaries, shorts, or newsreels, and describes the various purposes and functions of the productions in both foreign and domestic markets. 586 Minton, Eric. Le Film... et la SCHL. Habitat 6 no 1 (janvier-fevrier 1963) 11-15. 3 ill, fr. Apres avoir decrit 1'histoire du film comme element de communication dans le monde, et plus particulierement au Canada, 1'auteur s'interesse d'abord a la Societe centrale d'hypotheques et de logement qui realisa a partir 1945, grace a 1'Office national du film (ONF) du Canada et d'autres societes privees, des films dedies aux problemes de logement et aux solutions proposees en vertu de la Loi nationale sur 1'habitation (LNH). Les grands themes de ces documentaires realises de part et d'autre du pays sont, outre les problemes generaux, la renovation urbaine, les projets de reamenagement, les cooperatives de logement et les explications d'articles particuliers de la LNH. Cette derniere categoric etait destinee a des groupes restreints. On projette ces films a travers le pays devant des groupes interesses a la question, ainsi qu'a la television. 587 Senecal, Henri-Paul. Qu'est-ce que le cinema-verite? Sequences no 34 (octobre 1963) 4-9. 3 ill, fr. Etude sur le cinema verite ou 1'auteur explique en quoi consiste cette saisie sur le vif de la realite et pourquoi le choix du sujet est primordial. II s'attarde egalement sur les elements-techniques. II se refere particulierement aux films Pour la suite du monde (1964) de Pierre Perrault (avec Michel Brault et Marcel Carriere), Lonely Boy (1961) de Wolf Koenig et Roman Kroitor, Seul ou avec d'autres (1962) de Denis Heroux (avec Denys Arcand et Stephane Venne) et Bucherons de la Manouane (1962) d'Arthur Lamothe. Enfin, il conclut en disant pourquoi le cinema verite ne remplacera jamais le cinema conventionnel. 588 Cinematheque canadienne. La Cinematheque canadienne avec la collaboration de la Societe Radio-Canada presente « This Hour Has Seven Days ». Un hommage aux producteurs et aux cineastes de remission la plus passionnante de la television canadienne, decembre 1965. Montreal, Quebec : Cinematheque canadienne, 1965. 23 p, 5 ill, fr, En. Sous forme de retrospective des meilleurs films documentaires produits par 1'equipe de cineastes de 1'emission hebdomadaire This Hour Has Seven Days, realisee a Toronto (Ontario), cet hommage presente 19 courts metrages realises entre 1964 et 1965, et ce en quatre seances, soit le 29 novembre et les ler, 7 et 9 decembre 1965. Dans ce document, on trouve un texte de presentation en francais signe par Andre Martin, la liste et les generiques des oeuvres choisies, une biographie et une filmographie detaillee de tous les collaborateurs de cette emission (les trois derniers textes sont rediges en anglais seulement). Parmi les realisateurs, on retrouve Don Arioli, Milo Chvostek, Brian Nolan, Peter Pearson, Warner Troyer, Vincent Vaitiekunas et Larry Zolf. A retrospective of the major documentary films produced by the filmmaking team of the weekly Canadian Broad-

Documentary Films / Cinema documentaire casting Corporation (CBC) television program This Hour Has Seven Days. This four-day tribute, held on 29 November and 1,7, 9 December 1965 featured Toronto, Ontario based documentary filmmakers. Focuses on 19 documentaries of varying length, produced between 1964 and 1965, particularly Patrick Watson and Roy Faibish's The Seven Hundred Million (1965), Beryl Fox and Douglas Leiterman's The Chief (1963), and Beryl Fox's Summer in Mississippi (1965). Andre Martin analyses the achievements of the weekly CBC program in an essay entitled "En attendant la fondation dune teletheque." A list of the documentaries chosen, bio-filmographies and filmographies of the program's filmmakers, including also Don Arioli, Milo Chvostek, Brian Nolan, Peter Pearson, Warner Troyer, Vincent Vaitiekunas, and Larry Zolf, are appended. 589 Pratley, Gerald. Seminar spotlights TV documentary films. Canadian Cinematography no 23 (July-August 1965) 8.1 ill, En. Discusses the Seminar on Television Documentary Films organized by Canadian Cinematography for a group of students from Syracuse University in Syracuse, New York held 8-9 July 1965 at the Film House Theatre in Toronto, Ontario. Lists the films screened including National Film Board (NFB) of Canada and Canadian Broadcasting Corporation (CBC) productions. Mentions the hope that the seminar will become an annual event held over two or three days. 590 Pratley, Gerald. Power of the film feared by the government: The cinema is more influential than the press. Canadian Cinematography no 26 (January-February 1966) 4. 24 En. Discusses the power of film as a tool of propaganda resulting in the censorship of films. Examines the role of documentary film particularly in reporting inhumane action towards animals and questions the effectiveness of government sponsored documentaries. Cites as examples Newfoundland Scene (Crawley Films, 1966), The Moment of Truth (Francesco Rosi, 1966), and The Roots of Heaven (Trevor Howard and John Huston, 1966). 591 Zwimmerly, David W. Museocinematography: Ethnographic Film Programs of the National Museum of Man, 1913-1973. (National Museum of Man. Mercury Series. Ethnology Division. Paper no 11). Ottawa, Ont: National Museums of Canada, 1974. vii, 103 p, 22 ill, bibl, En. This introduction to the ethnographic films and film footage at the Ethnology Division of the National Museum of Man traces the history of documenting Canadian native cultures, beginning with George H. Wilkins's filming of Eskimos on the Canadian Arctic expedition from 1913 to 1916. More footage by archaeologist Harlan I. Smith was taken from 1923 to 1935 in the Plains, Plateau, and Northwest Coast regions of Canada, and in 1935, material shot in Southern Ontario was compiled for the feature film Cheenama the Trailmaker: An Indian Idyll of Old Ontario (1935). From 1930 to 1944 Richard S. Finnie filmed the activities of whites and Eskimos in the Canadian Arctic and Northwest Territories to make the ten-minute feature film Ipuck the Igloo Dweller (1934), excerpted from the onehour film Among the Igloo Dwellers (1931). Numerous films were made about Canadian native cultures by the Ethnology Division from 1966 to 1972 including the West Coast

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Indians and Caribou Eskimos by Eugene Y. Arima, Indian daily activities in the Blackfoot Reserve near Cluny and the Sioux Valley Reserve near Griswold, Manitoba by Denis Alsford and Ted J. Brasser, and the aboriginals from the Maritimes to British Columbia and from Southern Ontario to the Mackenzie Delta. Discusses how future productions will be financially limited to filming on Double Super-8, and concludes by defining how the film medium supports the documentary aspects of museum practise. Provides biographies and filmographies of the filmmakers preceding the list of ethnographic films and includes a detailed description of 14 films. 592 Lamonde, Yvan. Indirectement le cinema direct: reflexions autour d'un cinema. Cinema Quebec 4 no 1 (decembre 1974) 22-24. fr. Etude sur le cinema direct ou 1'on discute du cinema de Michel Brault, de 1'abbe Albert Tessier, de 1'abbe Maurice Proulx et de Pierre Perrault. On tente de degager les principales caracteristiques des oeuvres de chaque realisateur et on explique leurs contributions au cinema direct. 593 Rouveroy, Robert. Rough Cut. Cinema Canada no 24 (December 1975-January 1976) 18-19. En. A guide for amateur and small budget documentary filmmakers on how to budget economically when travelling and filming outside Canada. Areas discussed include arranging inexpensive airline transportation, monetary arrangements that should and can be made when travelling abroad, and tips on dealing with custom officials. 594 Marsolais, Gilles. Evolution du documentaire quebecois de 1969 a 1976. Forces no 41-42 (1977-1978) 30-43. 12 ill, fr. Gilles Marsolais dresse un bilan des documentaires, moyens et longs metrages d'origine quebecoise, entre 1969 et 1976. II s'attarde particulierement aux productions de 1'Office national du film (ONF) du Canada. 595 Borneman, Ernst. Documentary films: World War II. Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 48-58. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. En. Edited and shortened from a manuscript dated 20 October 1945. Describes the establishment of the National Film Board (NFB) of Canada. Divides early documentaries into the studies of communities with emphasis on an individual's relationship to the landscape and the studies of artists in relation to their regional background. Discusses Stuart Legg's first Canadian films including The Case of Charlie Gordon (1939). Provides background on the NFB series Canada Carries On (1940-1959) and The World in Action (1941-1945). Looks at the aesthetic techniques found in both series providing examples from films such as Now: The Peace (Stuart Legg, 1945), John Bull's Own Island (Stuart Legg, 1945), and The Mask of Nippon (Margaret Palmer, 1942). 596 Elder, Bruce. On the candid-eye movement. Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 86-94. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. En. Elucidates the formal structures of American type cinema

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Genres verite films. Compares these with characteristics of the Canadian candid eye movement in terms of being influenced by the photographic work of Henri Carrier-Bresson. Discusses the ideological implications of the structures developed by the group of filmmakers using the candid eye style such as Wolf Koenig and Roman Kroitor. Analyses The Back-breaking Leaf (Terence Macartney-Filgate, 1959) and Lonely Boy (Wolf Koenig and Roman Kroitor, 1961).

597 Rolfe, Lee. Docu seminar in Gimli. Cinema Canada no 34-35 (February 1977) 12.1 ill, En. Reports from Gimli, Manitoba, the location of a seminar on documentary film and filmmaking held 12-14 November 1976. Topics covered during the seminar, which was organized by the Winnipeg Film Group from Winnipeg, Manitoba, included the ethics of documentary filmmaking and film classification systems. 598 Renaissance du documentaire quebecois. Cinema Quebec no 47 (hiver 1977) 5. fr. Editorial d'un numero de Cinema Quebec consacre au documentaire quebecois. On y propose de rehabiliter ce genre cinematographique et de reaffirmer sa necessite. 599 Lamoureux, Jean-Luc. Le cinema direct: Cinema subjectif ou objectif. Maitrise. Montreal, Quebec : Universite de Montreal, 1978.149 p, bibl, fr. En se servant de grilles linguistiques, 1'auteur essaie de comprendre la relation entre le monde exterieur et le cineaste. II illustre sa demarche par 1'analyse du film L'Acadie, I'Acadie?!? (1972) de Pierre Perrault et Michel Brault. Trois angles determinent son approche : art et realite, narration et description, connotation et denotation. Pour lui, les premiers termes de chaque alternative ont preeminence sur les seconds et cela 1'amene a critiquer severement le direct qu'il qualifie de cinema hybride, fruit d'une ideologic irrealiste et ambitieuse. 600 Emond, Bernard-Richard. Vues et bevues du cinema ethnographique. (Collection Documents, travaux, rapports de recherche, no 2). Quebec, Quebec: Departement d'anthropologie, Universite Laval, 1978. v, 101 p, bibl, fr. Dans ce livre base sur sa these de maitrise, 1'auteur explique le lien entre les techniques et les limites du cinema et son application en anthropologie. Apres avoir decrit 1'apport de Dziga Vertov et Robert Flaherty, 1'auteur se concentre sur le film de recherche et 1'arrivee du cinema verite dont il evalue les qualites ethnographiques et la capacite de decrire les faits sociaux. Dans 1'annexe 1, 1'auteur avance que le cinema direct n'explique pas la realite. En analysant Saint-Pascal (1972) de R. Pollard et G. Gold, Pour la suite du monde (avec Michel Brault et Marcel Carriere, 1964) et Le Regne du jour (1968) de Pierre Perrault, 1'auteur cherche a prouver que le but de ces films «n'est pas de decrire la realite et encore moins de 1'expliquer ». II arrive a une conclusion semblable dans 1'annexe 2 avec une analyse du film Le Gout de la farine (1977) de Perrault sur les Montagnais. 601 Euvrard, Michel; Veronneau, Pierre. Le Direct. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 87-106. Montreal, Quebec: Cinematheque quebecoise; Paris, France : Pierre Lherminier, 1978. 8 ill, fr. Version anglaise: Direct cinema.

Analyse des implications et des repercussions culturelles et artistiques du cinema a travers un suivi de la croissance de 1'Office national du film (ONF) du Canada, entre 1958 et 1962. On parle aussi du controle exerce par les producteurs quebecois dans le but d'exploiter leur propre identite culturelle et leurs ideologies politiques. Le document presente une chronologie de ce developpement, commente brievement des films de Gilles Groulx, Michel Brault, Marcel Carriere, Claude Jutra et Arthur Lamothe, puis analyse ceux de Pierre Perrault produits entre 1963 et 1977. Un retour vers les annees 1967 avec Warrendale (1967) d'Allan King permet de constater un changement, intervenu tout au long de la decennie suivante, vers une forme cinematographique plus sensible aux problemes sociaux et aux drames psychologiques dans les oeuvres des cineastes quebecois tels que Fernand Dansereau, Georges Dufaux, Yves Dion, Jean-Claude Labrecque, Arthur Lamothe, Maurice Bulbulian, Denys Arcand, Richard Desjardins et Robert Monderie. 602 Clandfield, David. From the picturesque to the familiar: Films of the French Unit at the NFB (1958-1964). Cine-Tracts 1 no 4 (Spring-Summer 1978) 50-62. En. Reprinted in Take Two, edited by Seth Feldman, 112-124. Toronto, Ont: Irwin Publishing, 1984. Discusses the documentary film production of the French unit of the National Film Board (NFB) of Canada in the late 1950s and early 1960s focussing on the cinema direct movement. States that the personal approach of cinema direct filmmakers has its roots in the indigenous Quebecois tradition of the ethnographic film. Provides the historical context for the cinema direct movement, and examines in detail the following documentaries produced by the French unit of the NFB as illustrative of this mode of filmmaking: Michel Brault and Gilles Groulx's Les Raquetteurs (1958), Groulx's Voir Miami (1963), Golden Gloves (1961), and Un jeu si simple (1965), Brault and Claude Jutra's Quebec-U.S.A. ou I'Invasion pacifique (1962), Clement Perron's Jour apres jour (1962) and Perron and Francois Seguillon's Les Bacheliers de la cinquieme (1962), Arthur Lamothe's Bucherons de la Manouane (1962), Claude Fournier's Telesphore Legare, garde-peche (1959), Jutra's Rouli-roulant (1966) and La Lutte (with Brault, Marcel Carriere and Claude Fournier, 1961), Hubert Aquin's A SaintHenri le cinq septembre (1962), and Gilles Carle's Solange dans nos campagnes (1964). Seth Feldman, in his introductory comments to the reprint, notes that the films David Clandfield discusses created a distinctive voice for Quebec. 603 Euvrard, Michel; Veronneau, Pierre. Direct cinema. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 77-93. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 5 ill, En. French edition: Le Direct. Analyses the cultural and artistic implications and repercussions of cinema direct by tracing its growth at the National Film Board (NFB) of Canada between 1958 and 1962, and its appropriation by Quebec filmmakers to explore their own cultural images and political ideologies. Explores the chronology of this development with brief comments on films by Gilles Groulx, Michel Brault, Marcel Carriere, Arthur Lamothe, and Claude Jutra, and concentrates on Pierre Perrault's films from 1963 to 1977. Examines Allan King's Warrendale (1967), tracing the

Documentary Films / Cinema documentaire change over the next decade towards a more socially conscious and psycho-dramatic film form in the works of Quebec filmmakers Fernand Dansereau, Georges Dufaux, Yves Dion, Jean-Claude Labrecque, Arthur Lamothe, Maurice Bulbulian, Denys Arcand, Richard Desjardins, and Robert Monderie. 604 Emond, Bernard-Richard. Des images justes ou justes des images? Recherches amerindiennes au Quebec 10 no 4 (1981) 220-226.11 ill, fr. Bernard-Richard Emond prend position dans le dilemme du documentaire ethnogaphique. II estime qu'il faut separer le vrai du vraisemblable, car le role du cinema consiste a donner une image «juste » au grand public et a en faire comprendre la nature. De plus, le cinema doit intervenir afin d'eclairer la realite et chasser 1'imaginaire. 605 Arcand, Bernard ; Balicki, Asen. Commentaires : de la justesse du debat. Recherches amerindiennes an Quebec 10 no 4 (1981) 226-228. 2 ill, fr. Commentaires critiques sur la prise de position de Bernard-Richard Emond soutenant un cinema ethnographique d'intervention. 606 Copans, Jean; Giroux, Claude; Gendron, Gaetan; Lamothe, Arthur. Juste un mot!: le cinema d'intervention. Recherches amerindiennes au Quebec 10 no 4 (1981) 228-229. fr. Reactions a un texte en faveur du cinema ethnographique d'intervention, ecrit par Bernard-Richard Emond (10 no 4 (1981) 220-226). 607 Emond, Bernard-Richard. Reponse de 1'auteur. Recherches amerindiennes au Quebec 10 no 4 (1981) 236-238. fr. Des critiques ont ete adressees a Bernard-Richard Emond pour « Vues et bevues du cinema ethnographique » ((Collection Documents, travaux, rapports de recherche, no 2) Quebec, Quebec : Departement d'anthropologie, Universite Laval, 1978). L'auteur approuve le sens des critiques. 608 Grierson conference. Cinema Canada no 79 (November 1981) 8. En. Notes the announcement made by the Grierson Project at McGill University that a conference on Canadian documentary films and the work of John Grierson will at be held at the university in Montreal, Quebec, 29-31 October 1981. 609 Tierney, Kevin. The new China documentaries. Cinema Canada no 82 (March 1982) 26-28. 7 ill, En. Analyses the relationship between the People's Republic of China and the Canadian filmmaking community, which has existed since National Film Board (NFB) of Canada filmmaker Norman McLaren visited China in 1946. Explains the contribution of the NFB towards implementing a film exchange program between Canada and China, and outlines progress made towards this end through the work of such NFB commissioners as Sydney Newman, Andre Lamy, and James de B. Domville. Refers to several Canadian documentaries made about China, including Marcel Carriere's Glimpses of China (1974), Tony lanzelo and Boyce Richardson's China : A Land Transformed (1980), Georges Dufaux's trilogy Guy Dao : On The Way (1980), and Tom Radford's China Mission : The Chester Ronning Story (1980).

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610 Russel, Robert. "Quest for Fire": A superdoc par excellence. Executive 24 no 3 (March 1982) 9. En. Reports on the developments and anticipated future success of superdocumentaries, a category of films that gives spectacular non-fictional treatment to monumental themes. Cites Quest for Fire (Jean-Jacques Annaud, 1982) as a film from this genre. Suggests that Quest for Fire, like Meatballs (Ivan Reitman, 1979), Heavy Metal (Gerald Potterton, Jimmy T. Murikami, Harold Whitaker, Pino van Lamsweerde, Jack Stokes, Paul Sabella, Julian Szuchopa, Barrie Nelson, Lee Mishkin, Brian Larkin, and John Bruno, 1981), Atlantic City, U.S.A. (Louis Malle, 1980), Rabid (David Cronenberg, 1977), and Scanners (David Cronenberg, 1981) reveal how Canadians, taking the global language developed by Hollywood, are enlarging it to arrive at a distinctive Canadian cinema. 611 Baril, Gerard. Les Amerindiens du Quebec dans le cinema documentaire (1960-1980). Maitrise. Quebec, Quebec : Universite Laval, 1984. v, 150 p, 8 ill, bibl, fr. Analyse du contenu de 49 films documentaires produits de 1960 a 1980 sur les Amerindiens du Quebec. Pour chacun des themes retenus au cours de 1'analyse, 1'auteur a utilise une homologation du sens (selon la methode de A.J. Greimas). On classe ces films en trois categories : ethnographique, socio-economique et politique. Par ailleurs, on decrit la demarche de trois cineastes particulierement interesses a la cause amerindienne : Pierre Perrault, Boyce Richardson et Arthur Lamothe. 612 Martineau, Barbara Halpern. Talking about our lives and experiences: Some thoughts about feminism, documentary and "talking heads." "Show Us Life": Toward a History and Aesthetics of the Committed Documentary, edited by Thomas Waugh, 252-273. Metuchen, New Jersey : Scarecrow Press, 1984. 3 ill, bibl, En. Filmmaker Barbara Halpern Martineau explores the use of the synchronized close-up or "talking heads" technique in the documentary form. Feminist documentary filmmakers are concerned that neither the audience, nor the protagonists being filmed, become objects manipulated to illustrate attitudes and ideas alienated from their own consciousness. Martineau emphasizes that the documentary process, particularly the device of "talking heads," reconciles the artificial two-dimensional construct of a film with the realities of the filmmaker and those being filmed. "A Subjective Sketch of the Development of Talking Heads" traces the technique from the earliest cinematic uses of the close-up, to Ruby Grierson's sequence in Housing Problems (1935), to cinema verite, to the questioning of cinema verite by women avant-garde filmmakers, and finally to liberation in the 1970s with the cinema of self-expression and anti-exploitation pioneered by feminists and Third World activists. Several films employing the "talking heads" technique are presented, including Diane Letourneau's Les Servantes du bon Dieu (1978), Martineau and Lorna Rasmussen's Good Day Care: One out of Ten (1978), and Martineau's Tales of Tomorrow: Our Elders (1982) and Heroes: A Transformation Film (1983). Concludes by reiterating that the "talking heads" technique can challenge stereotypes, establish degrees of commitment, and set up the preconditions of dialogue and action for social change.

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613 La Rochelle, Real. Committed documentary in Quebec : A still-birth? "Show Us Life" : Toward a History and Aesthetics of the Committed Documentary, edited by Thomas Waugh, 280-301. Metuchen, New Jersey: Scarecrow Press, 1984. 6 ill, bibl, En. Real La Rochelle precedes this three-stage analysis of the committed documentary in Quebec with an explanation of how all Quebecois cinema is, in a sense, documentary in its use of film as a tool of analysis and social intervention. Describes the first period of committed documentary, from the end of the fifties until about 1968, the birth of Quebecois national cinema at the National Film Board (NFB) of Canada and the volatile relationship that developed between the NFB and Quebec filmmakers. Documentary filmmaking of this era, coinciding with the Quiet Revolution, was either concerned with Quebec's past and heritage, as typified by Pierre Perrault's lle-aux-Coudres trilogy (1963-1968), or with social analysis, as in Gilles Groulx's Le Chat dans le sac (1964) and Arthur Lamothe's Bucherons de la Manouane (1962). During the second stage, from 1968 to 1975, the apogee and radicalization of the social documentary was typified by films banned by the NFB, such as Denys Arcand's On est au colon (1976), Groulx's 24 heures ou plus... (1977), Michel Brault's Les Ordres (1974), and Perrault's L'Acadie, I'Acadie?!? (with Michel Brault, 1972). La Rochelle considers Lamothe's series of films Chronique des Indiens du Nord-Est du Quebec (1973-1983), the greatest achievement of committed Quebecois documentary. After a period of decline, the renewal of social documentary arises in the form of a feminist vision, particularly with Joyce Rock, Sophie Bissonnette, and Martin Duckworth's line histoire de femmes (1981), Jean Chabot's La Fiction nucleaire (1979), and Jean and Serge Gagne's A vos risques et perils (1980). Conclusion considers conditions for the survival of committed documentary in Quebec, citing Jacques Leduc's Albedo (with Renee Roy, 1982) and Yolaine Rouleau and Chabot's Le Futur interieur (1983) as reasons for optimism. 614 Malloch, Bruce. Film Caucus deplores lack of air time, support for documentaries. Cinema Canada no 112 (November 1984) 39. En. The members of the Canadian Independent Film Caucus met with members of the media on 16 September 1984 to express their concerns about the documentary film in Canada as a result of government policies, and the funding policies of Telefilm Canada and the Canadian Broadcasting Corporation (CBC). 615 NFB host docufest. Cinema Canada no 115 (February 1985) 33. En. Announces plans for The Documentary Eye, a five-day exhibition of documentaries by the National Film Board (NFB) of Canada to be held at Harbourfront in Toronto, Ontario. 616 Waugh, Tom. The vital hybrid: On Quebec's documentary renaissance. Cinema Canada no 117 (April 1985) 22-23. 3 ill, En. Examines how two recent Quebec films, Jacques Leduc and Roger Frappier's Le Dernier glacier (1984) and Jacqueline Levitin's Pas fou comme on le pense (1983), reflect a renaissance in Quebec documentary production, and how they incorporate both documentary and fictional film

forms. Also discusses both films in terms of narrative and plot, didacticism, and production details, and states that both films were ignored by the mainstream English Canadian filmmaking community. 617 Evans, Gary. The future of the documentary in the TV age. Cinema Canada no 119 (June 1985) 11-13.4 ill, En. An overview and analysis of the development of the documentary film genre in Canada. Contrasts and compares Tanya Ballantyne-Tree's film My Children Are Going to Be Something (released under the title Courage to Change, 1986) with her 1966 The Things I Cannot Change (1966), both of which feature the Bailey family's struggle to overcome poverty. Also examines, in the context of an interview with National Film Board (NFB) of Canada producer and director Peter Katadotis, the role of the NFB in promoting the documentary in Canada. Concludes with a discussion of Peter Pearson's role a director of Telefilm Canada, and his attempts to make Canadian documentary production commercially viable. 618 Isacsson, Magnus. The fate of documentary in a TV age: A response to Gary Evans. Cinema Canada no 123 (October 1985) 21-24. 4 ill, En. Criticizes Gary Evans survey of the documentary film in his article "The future of the documentary in the TV age," (Cinema Canada no 119 (June 1985) 11-13), for its failure to distinguish between documentary filmmaking and television journalism. Examines the large-scale boycott of socially and politically concerned documentaries by the English and French networks of the Canadian Broadcasting Corporation (CBC) and outlines distinct categories of film and video production that draw on the documentary tradition. States that any serious discussion of the documentary film in the age of television must focus on those films with a definable point of view, which, by accepting TV journalism as pure documentary, Evans fails to do. Examines the inherent bias in TV network programming, despite claims of fairness and balance, and argues that such bias is maintained through selective hiring and promotion, editorial control and guidelines, and self-censorship. 619 Feldman, Seth. Footnote to fact: The docudrama. Film Genre Reader, edited by Barry Keith Grant, 344-369. Austin, Texas : University of Texas Press, 1986.1 ill, bibl, En. The docudrama, according to Seth Feldman, responds to public interest in non-fiction and is an attempt by filmmakers to present an objectively recognizable world. Arising from the documentary, which mediates between observation and narration, the docudrama recognizes that scripts, actors, and sets are conventions and that national and cultural biases can undermine the docudrama's interpretation of reality. In Canada, the documentary tradition of the National Film Board (NFB) of Canada, combined with the budgetary restrictions of the Canadian Broadcasting Corporation (CBC), have influenced the evolution of the docudrama. The Canadian docudrama presents national issues through historical moments, reassesses the conventions of fact and fiction, and reinterprets history for a greater awareness of identity. 620 Lever, Yves. Les « Fondateurs ». Aujourd'hui le cinema quebecois: dossier, 35-49. Paris, France : Cerf et Office francoquebecois pour la jeunesse, 1986. 7 ill, fr.

Documentary Films / Cinema documentaire Notes sur 22 cineastes formes par le documentaire consideres comme les fondateurs du cinema quebecois, leurs oeuvres demontrant une etonnante continuite, cimentees dans une optique nationale. L'auteur conclut que ces films sont plus souvent des outils d'information que des moyens d'expression artistique. 621 Houle, Michel. Le Documentaire : entre le passe et un nouveau langage. Aujourd'hui le cinema quebecois: dossier, 76-77. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 4 ill, fr. Regard sur la television et le cinema. L'influence de la television sur le cinema est indeniable. II est cependant surprenant de constater que la periode de 1975 a 1985 affiche une activite creatrice remarquable quant au documentaire : une tendance generalised a la dramatisation se revele, ainsi que d'imposants debats sociaux. On note aussi que beaucoup d'auteurs ne privilegient en aucune fagon le format televisuel. 622 Leduc, Jacques. La dictature de la fiction. Aujourd'hui le cinema quebecois: dossier, 78-79. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. fr. Motivee par un esprit d'independance, la tradition documentariste du cinema quebecois s'est developpee avec force, et elle influence encore le cinema contemporain. La television a repris le documentaire, en a attenue la capacite d'influence pour des raisons de neutralite et d'objectivite. II semble que les 10 dernieres annees aient permis a certains auteurs de prouver qu'il etait encore possible de faire un bon documentaire. 623 Moreau, Michel. La menace de la television. Aujourd'hui le cinema quebecois : dossier, 79-81. Paris, France : Cerf et Office franco-quebecois pour la jeunesse, 1986. 1 ill, fr. Le cinema documentaire quebecois a ete bouleverse par deux principaux facteurs : 1'arrivee du cablo-selecteur qui offre une grande variete de stations de television, et 1'engouement de plus en plus important du public et des responsables des medias pour le cinema de fiction. 624 Waugh, Thomas. Thunder over the docudrama : Symposium highlights NFB's world-class role. Cinema Canada no 128 (March 1986) 26.1 ill, En. An overview of the 1986 symposium entitled "Docudrama, Fact and Fiction", held in February at McGill University in Montreal, Quebec, which focussed on the contribution of the National Film Board (NFB) of Canada to the docudrama genre. The symposium addressed political, ethical, and aesthetic issues related to the docudrama, such as the problem of deception, and the balance between the artist's right to interpret reality and their responsibility to foreground the different gradations of imaginative reconstruction. Mentions the accusations of inaccuracy directed at Paul Cowan's The Kid Who Couldn't Miss (1983) by the Royal Canadian Air Force veterans, and notes that the symposium also featured excerpts from Anne Claire Poirier's Mourir a tue-tete (1979), Cowan's Democracy on Trial: The Morgentaler Affair (1984), Dagmar Gueissaz-Teufel and Fernand Belanger's Passiflora (1986), and Donald Brittain's Canada's Sweetheart: The Saga of Hal C. Banks (1985).

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625 Girard, Martin. Le « dramentaire ». Sequences no 124 (avril 1986) 12-13.1 ill, fr, Pour faire suite a un forum organise par 1'universite McGill en collaboration avec 1'Office national du film (ONF) du Canada, 1'auteur enonce les principaux facteurs qui font du docu-drame une forme cinematographique unique qui allie documentaire et fiction afin de rehausser 1'attrait d'un film. II utilise done, en guise d'explications, les films suivants : Mourir a tue-tete (1979) d'Anne Claire Poirier, Le Dernier Glacier (1984) de Jacques Leduc et Roger Frappier, Canada's Sweetheart (1985) de Donald Brittain, La Justice en proces : Vaffaire Morgentaler (1984) et The Kid Who Couldn't Miss (1983) de Paul Cowan. 626 Euvrard, Michel. A la recherche de la legitimite perdue. Cine-Bulles 5 no 4 (mai-juillet 1986) 14. fr. On presente un survol de 1'evolution du documentaire quebecois ainsi que les diverses perpectives qui semblent former le courant actuel dans ce genre cinematographique. 627 Isacsson, Magnus. L'offensive, la meilleure defense. Cine-Bulles 5 no 4 (mai-juillet 1986) 15. fr. Magnus Isacsson discute de la survie du documentaire d'auteur. Selon lui, la solution a ce probleme, pour les cineastes, se trouve dans deux actions : lutter centre le controle de I'information et proposer des films sur les grands debats sociaux. 628 Langlois, Yves. Le documentaire video ou la nostalgic de la claquette. Cine-Bulles 5 no 4 (mai-juillet 1986) 18-19. 1 ill, fr. Yves Langlois expose les avantages de la video et deplore les prejuges relies a ce medium qui permet une plus grande experimentation a des couts moindres pour la production de documentaires. 629 Warren, Paul. Le refus du jeu. Revue d'histoire litteraire du Quebec et du Canada franqais no 11 (hiver-printemps 1986) 123-128. fr. A partir d'une analyse des films La Quarantaine (1982) d'Anne Claire Poirier et Rencontre avec une femme remarquable: Laure Gaudreault (1983) de lolande CadrinRossignol, 1'auteur parvient a demontrer 1'approche documentaire qui influence le cinema quebecois. 630 Larouche, Michel. Les freres Gagne: 1'autopsie du documentaire? Copie Zero no 30 (decembre 1986) 15-16. 1 ill, fr. L'auteur considere les films La Couleur encerclee (Jean Gagne, 1986) et A vos risques et perils (Jean Gagne et Serge Gagne, 1980) comme des oeuvres engagees centre la manipulation et le controle de I'information, car les realisateurs font un collage de differents aspects de la politique et de la culture quebecoise. Larouche commente leur utilisation des codes du documentaire dans un but d'impression du reel, ce qui donne a leur oeuvre une qualite experimentale. II souligne egalement le retour au reel prone par les cineastes, tel que demontre par 1'eclatement des frontieres entre documentaire et fiction. 631 Caccia, Fulvio. Identites en mouvement: une analyse de la contribution des documentaristes neo-quebecois a la

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cinematographic d'ici. Copie Zero no 30 (decembre 1986) 2224. 4 ill, fr. Fulvio Caccia dresse un tableau des cineastes neo-quebecois dans le cinema documentaire au Quebec, dont 1'approche differe en fonction de deux principales generations. II situe la premiere selon les Europeens ayant immigre au Quebec dans les annees 1950, au moment ou les francophones se taillaient une place a 1'Office national du film (ONF) du Canada grace au cinema direct. II mentionne principalement a cet effet le film Bucherons de la Manouane (1962) d'Arthur Lamothe et 1'oeuvre generate de Michel Moreau. D'autre part, la seconde generation se distingue par ses provenances multiples et sa volonte d'illustrer les differences ethniques, comme le demontrent les films Journal inacheve (1982) de MarilE Mallet, qui raconte les modifications du style de vie des immigrants, et Caffe Italia Montreal (1985) de Paul Tana, qui raconte 1'histoire d'une communaute d'immigrants. 632 Dugal, Andre. Emotion et maitrise. Copie Zero no 30 (decembre 1986) 25-26. 2 ill, fr. Andre Dugal explique comment les documentaires Le Film d'Ariane (1985) de Josee Beaudet, Retour a Dresden (1986) de Martin Duckworth et La Familia Latina (1986) de German Gutierrez font tous des lois du genre au profit de la creation, et comment chaque realisateur exprime, dans son oeuvre, une fac.on bien personnelle d'apprehender et d'interpreter la realite. 633 Jutras, Pierre. En guise de presentation. Copie Zero no 30 (decembre 1986) 3-4. 4 ill, fr. Pierre Jutras commente 1'evolution du documentaire quebecois, soulignant que sa forme s'affermit de plus en plus. II expose les risques que comportent des approches pre-etablies et decrit le travail de ceux qui optent pour un cinema plus spontanne. 634 Euvrard, Michel; Veronneau, Pierre. Du documentaire au film-essai. Copie Zero no 30 (decembre 1986) 5-7. 3 ill, fr. Discussion a propos de quatre films relevant d'un genre plus pres de 1'essai litteraire que de la definition habituelle du documentaire. II est question de Beyrouth! « A defaut d'etre mort » (1983) de Tahani Rached, qui s'emploie a faire ressentir au spectateur la situation psychique et psychologique des evenements; de Memoire battante (1983) d'Arthur Lamothe, qui a ouvertement recours a la fiction afin de supporter ses propos; de « Quel numero what number? » (sorti sous le titre « Quel numero what number? » ou le Travail automatise, 1985) de Sophie Bissonnette, ou les differentes techniques utilisees au tournage fournissent aux sujets un instrument de desalienation, ainsi que Journal inacheve (1982) de MarilE Mallet, ou la realisatrice a incorpore un sujet documentaire a la trame autobiographique. Ce sont done, selon 1'auteur, des oeuvres tres subjectives n'appartenant pas plus au documentaire traditionnel qu'a la fiction en raison des grandes manipulations qu'elles ont subies, notamment au niveau du son et du montage. 635 Normandeau, Andre; Vauclair, Martin. Film library on prisons in Canada / Filmographie canadienne sur la prison. Canadian Journal of Criminology / Revue canadienne de criminologie 29 no 1 Qanuary 1987) 84-120. En, fr.

An annotated list of 50 films about Canadian prisons, with abstracts in French or English, according to the original language of the film. Une liste commentee de 50 films sur les prisons canadiennes, avec des resumes en franc.ais ou en anglais, selon la langue originale du film. 636 Canadian Army Film and Photo Unit reunited after fourty [sic] years. Reel West 2 no 4 (February-March 1987) 15, 18.1 ill, En. Discusses the recent reunion of the Canadian Army Film and Photo Unit. 637 Girard, Martin. L'ethique du documentaire (dialogue fictif). Sequences no 129 (avril 1987) 53. fr. Dans ce dialogue fictif, 1'auteur resume certaines reflexions sur 1'ethique du documentaire qui ont etc debattues au cours des Rendez-vous du cinema quebecois, tenus a Montreal (Quebec). On traite des responsabilites du documentariste, du producteur, de 1'auteur, des risques de manipulation et de la question d'ethique. 638 Bissonnette, Sophie; Moreau, Michel; Groulx, Sylvie. Enquete documentaire. Lumieres 2 no 7 (mai-juin 1987) 6. fr. On donne les resultats d'une mini-enquete menee aupres d'une vingtaine de documentaristes faisant partie de 1'Association des realisateurs et realisatrices de films du Quebec. Cette enquete porte sur les attraits du documentaire et sur les obstacles que les cineastes doivent surmonter pour en faire. 639 Feldman, Seth. CBC docudrama since "The Tar Sands" : What's new? Cinema Canada no 142 Qune 1987) 16-17. 3 ill, En. Discusses how the former premier of Alberta Peter Lougheed's 1982 libel suit against the Canadian Broadcasting Corporation (CBC) for Peter Pearson's The Tar Sands (1977), a film depicting Lougheed's involvement in the 1974 Syncrude agreement, has affected the production of the docudrama at the CBC. Outlines the history of the docudrama in Canada, and states that in the five years since the CBC settled the Lougheed suit out of court, there have been no programs produced at the network that feature actors depicting living public figures. Examines similar libel accusations recently directed towards the CBC. 640 Kibbins, Gary. Doing the documentary. Fuse 11 no 1-2 (Summer 1987) 50-55. 6 ill, En. The exhibition "Art, Politics, and the New Documentary," held at A Space in Toronto, Ontario on 31 May 1987, explored the state of the documentary film genre. The renewed interest in the documentary as an art form ostensibly dealing with reality is traced to the inability of postmodern criticism to distinguish between reality and representation, thereby constructing a hyperreality consisting of representations that displace reality. Discussions following screenings developed a consensus that the documentary form changes historically and requires constant reassessment by filmmakers and audiences. The discussions also revealed a pluralistic world view in which suggestive filmmaking, including Jorge Lozano's Part I : Untitled; Part I I : Does the Knife Cry When It Enters the Skin?

Documentary Films / Cinema documentaire (1984), was more readily praised than didactic filmmaking, including Lisa Steele and Kim Tomczak's Working the Double Shift (1986). The concepts and representations of pleasure and denial were seen as crucial themes for documentary, particularly since the documentary is founded on the affirmation that there is a reality behind representation. This responsibility to reality is evident in Brenda Longfellow's Our Marilyn (1987), which exposes the political oppression behind Hollywood's portrayal of pleasure, through a combination of denial (which is the pleasure of denying fixed meanings and forms) and pleasure (embodied in film by suggestive, textually open-ended works). The debate on the validity of the critical categories "traditional" and "innovative" moved towards a concentration on a work's "effectiveness," this being seen as a more valid term of reference, and applied to Judith Doyle's Eye of the Mask (1985). 641 Ethier, Chantal. Le documentaire malade de la cote d'ecoute. Quifait quoi? no 38 (15 juin 1987) 9-11. fr. Reflexion sur 1'avenir du documentaire quebecois qui devra compter sur les possibilites de la telediffusion. 642 Le documentaire existe toujours... Lumieres 2 no 9 (septembre-octobre 1987) 8-10. 4 ill, fr. Temoignages de cinq cineastes sur le documentaire. En premier lieu, trois realisateurs ayant participe a la serie I'Americanite (1987-1988), de 1'Office national du film (ONF) du Canada, parlent de leur projet: Jean Chabot commente son film Voyage en Amerique avec un cheval emprunte (1987), Hermenegilde Chiasson discute de son documentaire sur Jack Kerouac, Le Grand Jack (1987) et Sophie Bissonnette parle de son projet L'Amour... a quel prix? (1988). Puis, Gilles Blais et Gilles Carle livrent leurs impressions sur la situation actuelle du documentaire au Quebec. 643 Houle, Michel. Etude sur la production documentaire independante de langue frangaise au Quebec 1978-1987. Montreal, Quebec : Association des producteurs de films et de video du Quebec ; Association des realisateurs et realisatrices de film du Quebec; Institut quebecois du cinema, 1988.104 p, ill, fr. Dans cette etude, on decrit les principales difficultes touchant la production documentaire independante au Quebec et on enonce quelques solutions pour y remedier. Trois categories de productions figurent dans cette etude : les series televisees, les longs metrages et les moyens metrages. En premier lieu, on etudie, pour la periode 1978-1987, 1'evolution du volume annuel de production, 1'augmentation des couts de production, de distribution, et de telediffusion ainsi que 1'exportation des documentaires quebecois. On donne 1'historique des programmes d'aide gouvernementaux a la production documentaire pendant cette periode. On presente des entrevues avec divers professionnels des medias qui font le point sur la production documentaire en abordant les causes de la baisse de la production et les problemes de distribution et d'exploitation. Puis, on dresse une liste de recommandations concretes pour ameliorer cette situation. Enfin, on trouve une liste de series documentaires, des longs metrages et des moyens metrages independants de langue franchise produits au Quebec entre 1978 et 1987.

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644 Veronneau, Pierre. Quebec documentary in perspective. Image and Identity: Theatre and Cinema in Scotland and Quebec, edited by Ian Lockerbie, 109-119. (Occasional Papers, John Grierson Archive, no 2). Stirling, Scotland : John Grierson Archive; Dept. of French, University of Stirling, 1988. bibl, En. Surveys the socio-historical development of Quebec documentary film, including the formation of the provincial division at the National Film Board (NFB) of Canada in late 1941, the oppressive conservative rule of Maurice Duplessis the premier of Quebec, the demands of Quebecois filmmakers for a French unit at the NFB in 1957, and the separatist movement in the 1960s. Describes how the cinema direct form, which dealt with political issues such as the oppression of French Canadian culture, was modified in the early seventies by the use of fictionalized narrative. Concentrates on the work of filmmaker Denys Arcand as representative of the form of Quebec documentary that deals with socio-political issues while retaining an ostensibly unbiased stance. 645 Paquet, Andre. Cinema documentaire : la perspective d'un debat. Lumieres 2 no 11 (janvier-fevrier 1988) 10-11. 2 ill, fr. Description de la situation problematique du cinema documentaire au Quebec. L'auteur decrit deux tendances du debat sur 1'avenir de ce genre cinematographique. 646 Dubuc, Yvan. Cinq essais sur le documentaire. Lumieres 2 no 11 (janvier-fevrier 1988) 5-7. 2 ill, fr. Presentation d'une serie de cinq essais portant sur le documentaire. Dans ce premier article, Yvan Dubuc se penche sur le probleme de la definition de ce genre cinematographique. 647 Dubuc, Yvan. Cinq essais sur le documentaire. Lumieres 2 no 13 (mai-juin 1988) 18-19.1 ill, fr. A la suite d'une reflexion sur le documentaire, 1'auteur se penche sur la problematique du metissage de genres entre le film de fiction et le documentaire qui se rencontre frequemment dans le cinema canadien. 648 Dubuc, Yvan. Theorie et fondements du rapport au realisateur: 5 essais sur le documentaire. Lumieres 2 no 15 (octobre-novembre 1988) 16-17.1 ill, fr. En utilisant 1'exemple du documentaire de Pierre Perrault, La Bete lumineuse (1982), 1'auteur constate que la relation qui existe entre le realisateur et ses personnages est complexe et se rapproche beaucoup de 1'histoire d'amour. 649 Dubuc, Yvan. Theorie et fondements du rapport au realisateur: 5 essais sur le documentaire. Lumieres no 16 (novembre-decembre 1988) 16-17.1 ill, bibl, fr. L'auteur s'interesse a la relation entre le personnage et le realisateur d'un film, qui est basee sur le transfert tel que defini par Sigmund Freud. Cette etude est vue sous trois angles, soit: le processus d'identification, 1'intensite du rapport affectif entre le realisateur et le sujet, et la nature des manifestations qui apparaissent lors de la realisation du film. Yvan Dubuc utilise le film de Pierre Perrault La Bete lumineuse (1982) pour illustrer son propos.

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650 Coulombe, Michel. Le declin de 1'empire documentaire. Cine-Bulks 8 no 2 (novembre 1988-janvier 1989) 2-3. fr. Editorial qui decrit les difficultes de la production de documentaire dans le secteur prive quebecois. 651 Isacsson, Magnus. Documentary: Out in the cold. Cinema Canada no 158 (December 1988) 13-16.1 ill, En. Argues that documentary filmmaking is not obsolete, yet recognizes the dominance of entertainment programs. Claims that the alleged unpopularity of documentaries is a myth propagated by self-serving network executives who shy away from political films that are difficult to fund. Identifies distribution as a problem for documentary filmakers since access to audiences is difficult for films that offer social criticism, strong political opinions, or critical debates. Proposes ways to halt the decline of the documentary tradition in Canada, such as defending the National Film Board (NFB) of Canada from further cut-backs. 652 Recommendations of the Quebec working group on independent documentary film. Cinema Canada no 158 (December 1988) 17. En. Describes the Quebec working group on independent documentary film which was established in 1987 to study the situation of French language documentary film in Quebec. Notes that the group includes Nathalie Burton, Francois Dupuis, Sophie Bissonnette, Sylvie Groulx, Bernard Boucher, and Michel Houle. States that the group offers recommendations to the Canadian Radio-Television and Telecommunications Commission, French language broadcasters, and funding agencies regarding the treatment of documentary films. 653 Wild, Nettie. Getting aired : The "right" spin. Cinema Canada no 158 (December 1988) 17-18.1 ill, En. Filmmaker Nettie Wild discusses the importance of independent filmmaking in Canada specifically documentary filmmaking. Provides suggestions on how television networks might program documentary films. Proposes that the National Film Board (NFB) of Canada redirects funds for more lab equipment, and that they hire freelance filmmakers to direct in-house co-productions. 654 Office national du film du Canada / National Film Board of Canada. Le documentaire se fete / A Salute to the Documentary. Montreal, Quebec : Office national du film du Canada / National Film Board of Canada, 1989. 347 p, fr, En. Programme du colloque tenu a Montreal (Quebec) du 16 au 25 juin 1989 dans le cadre du 50e anniversaire de 1'Office national du film (ONF) du Canada. On y trouve le calendrier et les horaires des differentes activites. Program of the symposium held in Montreal, Quebec 1625 June 1989 as part of the 50th anniversary of the National Film Board (NFB) of Canada Includes a calendar and schedule for the different activities. 655 Paquet, Andre. Documentary Today: Exploring or Attenuating Reality? Montreal, Quebec: Le documentaire se fete, 1989.16 p, En. Introducing the general theme of the 16-25 June 1989 international symposium held in Montreal, Quebec, A Salute to the Documentary, Andre Paquet links the decline

of documentary filmmaking to the packaging of information as entertainment by television. Exploring the effect of television on documentary filmmaking, he suggests that a new filmic language to counter television's propagation of images without content or autonomy is needed, and that this may be possible only by ignoring mass appeal approaches and catering to audiences interested in documentary films. The importance of the documentary form to the women's movement, and for developing countries, is emphasized, and the international market for the documentary is also considered. 656 Dubuc, Yvan. Techniques de tournage et mise en scene dans le cinema direct: 5 essais sur le documentaire. Lumieres no 17 (janvier-fevrier 1989) 23-24. fr. Notes sur la relation du cineaste du direct avec ses «personnages » qui se differencie de celle qu'aura un realisateur de fiction avec les siens. Trois composantes regissent cette relation : la mise en scene visuelle et auditive, 1'eclairage et les effets psychologiques, et la structure d'ecoute de 1'equipe entiere. 657 Groulx, Sylvie; Bissonnette, Sophie. Etude sur la production documentaire independante de langue franchise au Quebec 1978-1987. Lumieres no 17 (janvier-fevrier 1989) 26-28. fr. Compte rendu de 1'etude sur la production documentaire demandee a Michel Houle par 1'Association des realisateurs et realisatrices de films du Quebec, 1'Association des producteurs de films et de video du Quebec, ITnstitut quebecois du cinema et financee par Telefilm Canada et la Societe generale des industries culturelles du Quebec. Cette recherche est divisee en trois sections : une portant sur les statistiques, une autre sur les politiques gouvernementales touchant 1'industrie cinematographique et, enfin, une derniere section ou 1'on trouve les temoignages des personnes du milieu. Une liste des 13 recommandations de Michel Houle relatives a 1'avenir du cinema documentaire au Quebec complete cet article. 658 Bonneville, Leo. Le documentaire de demain. Sequences no 139 (mars 1989) 3. fr. Leo Bonneville analyse le document Etude sur la production documentaire independante de langue frangaise au Quebec 1978-1987. II distingue d'abord le documentaire du reportage, puis emet des doutes quant a la rigueur du sondage effectue aupres des spectateurs. II questionne la volonte des telediffuseurs a participer a la diffusion et au renouvellement du documentaire et, enfin, il termine sur la nouvelle tendance que prend ce genre. 659 Marsolais, Gilles. Le documentaire: une chatte n'y retrouverait pas ses petits. 24 Images no 42 (printemps 1989) 66-67.1 ill, fr. A la suite d'une enquete sur le cinema documentaire de la langue franchise au Quebec que Michel Houle a realisee en collaboration avec 1'Association des producteurs de films et de video du Quebec, 1'Association des realisateurs et realisatrices de films du Quebec et ITnstitut quebecois du cinema, on remarque une diminution du volume de production de 1978 a 1987 et des budgets alloues par les societes d'aide.

Documentary Films / Cinema documentaire 660 "A Salute to the Documentary." Cinema Canada no 163 (May-June 1989) 30-31. En. Announces that as part of its 50th anniversary celebrations the National Film Board (NFB) of Canada will host "A Salute to the Documentary", an international symposium on documentary filmmaking, 16-25 June 1989 in Montreal, Quebec. Lists the panel discussions and workshop topics. Names many filmmakers who will attend and show their work. 661 Paquet, Andre. Pourquoi continuez-vous a faire du documentaire?: une question aux documentaristes du monde entier. Lumieres no 19 (ete 1989) 19-36. 28 ill, fr. Dans le cadre du 50e anniversaire de 1'Office national du film (ONF) du Canada, des documentaristes du monde entier, dont 23 Canadiens, sont invites a discuter de leur metier et des raisons qui les incitent a realiser des documentaires. 662 Chartrand, Alain; Wera, Franchise. Action du comite documentaire. Lumieres no 19 (ete 1989) 60. fr. Dans une lettre adressee au directeur de I'lnstitut quebecois du cinema, Andre Link, le comite documentaire rejette le plan d'aide et les programmes de la Societe generale des industries culturelles pour 1'annee 1989-1990, ceux-ci affectant directement les documentaristes. 663 Statement of the filmmakers participating in "A Salute to the Documentary." Cinema Canada no 165 QulyAugust 1989) 25. En. A transcript of an address made by Mexican State Film School director Eduardo Maldonado to the plenary session of the 1989 international symposium on the documentary, "A Salute to the Documentary", hosted by the National Film Board (NFB) of Canada. Maldonado's statement, which voices concern regarding the decline of documentary filmmaking in Canada due to governmental neglect and lack of leadership, was sent to federal minister of Communications Marcel Masse on behalf of the symposium delegates. 664 Colin Low sees future for the NFB and the documentary. Cinema Canada no 165 (July-August 1989) 34. En. Outlines the optimistic views of National Film Board (NFB) of Canada filmmaker Colin Low regarding the present state of the NFB and documentary filmmaking in Canada, articulated in the context of the "A Salute to the Documentary" symposium, sponsored by the NFB and held 16-25 June 1989 in Montreal, Quebec. 665 An idea for celebrating NFB 50th. Cinema Canada no 165 (July-August 1989) 4.1 ill, En. The symposium and screening of over 200 documentary films, "A Salute to the Documentary", was held in Montreal, Quebec, 16-25 June 1989 to help celebrate the 50th anniversary of the National Film Board (NFB) of Canada. The idea for the event was that of Jean-Marc Garand, head of the French language documentary film program at the NFB. 666 Demers, Pierre. Le documentaire en salle de reanimation. La Depeche 8 no 4 (septembre 1989) 37. fr.

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Qu'est-ce qu'un bon film documentaire? Selon 1'auteur, c'est celui qui, a travers une certaine vision, saura bousculer les conceptions deja faites et questionner les acquis de la societe actuelle. 667 Bilodeau, Frangois. A la recherche des heros obscurs. Revue beige du cinema no 27 (automne 1989) 37-40. 3 ill, bibl, fr. L'auteur parle de cinq documentaires quebecois, soit Chronique d'un temps flou (Sylvie Groulx, 1988), Le Voyage au bout de la route ou La ballade du pays qui attend (JeanDaniel Lafond, 1988), Le Grand Jack (Hermenegilde Chiasson, 1987), Alias Will James Qacques Godbout, 1989) et Oscar Thiffault (Serge Giguere, 1987), et il souligne que tout oeuvre documentaire devrait etre signee par 1'artiste. II releve aussi les approches stylistiques et techniques propres a chaque cineaste. 668 Rousseau, Yves. L'Office national du film, le documentaire et les lendemains de la fete. Cine-Bulles 9 no 1 (septembre-novembre 1989) 4-5.1 ill, fr. Rousseau explique le declin de 1'Office national du film (ONF) du Canada par le vieillissement des cineastes permanents, la lourdeur bureaucratique et les coupures dans les budgets de production. Cette situation provoque un ralentissement dans la production de documentaires de qualite au Quebec. 669 Larue, Johanne ; Delisle, Martin. « Le documentaire se fete ». Sequences no 141-142 (septembre 1989) 46-49. 4 ill, fr. Resume des differents themes abordes a chacune des six journees du colloque intitule Le documentaire se fete, tenu lors des festivites entourant le 50e anniversaire de 1'Office national du film (ONF) du Canada. Johanne Larue donne le compte rendu des trois premieres journees. En etudiant les deux premiers themes, soit « Le public : un concept en mutation » et « Medias et cinema documentaire », il ressort que la television soit devenue le nouveau diffuseur du documentaire. Lors de la troisieme journee, dont le theme etait « Le cinema au feminin pluriel », on rappelle que le documentaire feminin et le Studio D de 1'ONF ont remis en question le documentaire « male » et son voyeurisme. Les participants soulignent aussi le manque de fonds general auquel ces documentaristes font face. La seconde partie du colloque a ete couverte par Martin Delisle. Lors de la conference « A qui appartient les images des pays en developpement», on denonce I'imperialisme des pays colonisateurs, et on reconnait qu'il est inutile d'essayer de vivre du documentaire. Lors de la table ronde intitulee « Le marche : survoler les turbulences actuelles », on s'attaque aux telediffuseurs qui n'ont pas le courage d'investir dans le documentaire, meme s'il existe un public assidu pour ce type de cinema. Enfin, lors des « plenieres » du dernier jour, on lance un vibrant appel a la survie de 1'ONF et on etablit le bilan des cinq jours precedents. Delisle conclut en disant que la defense du documentaire prend un nouvel essor par ce colloque. 670 Marsolais, Gilles. «Le documentaire se fete». 24 Images no 44-45 (automne 1989) 84-85. 2 ill, fr. Bilan des festivites qui ont marque le 50e anniversaire de 1'Office national du film (ONF) du Canada. L'auteur souligne, entre autres, I'evenement intitule « Le documentaire

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Genres se fete » tenu du 16 au 25 juin 1989 a Montreal (Quebec). On y presentait des films regroupes en trois volets : « Les Annees 80 », avec un prix du public, « Canada-Quebec » et « Une histoire du cinema ». L'evenement comprenait egalement un colloque ou 1'on discutait de la situation du documentaire a la fin des annees 1980.

671 Wintonick, Peter. Saluting the "Salute." Cinema Canada no 167 (October 1989) 22-24. 2 ill, En. An overview of A Salute to the Documentary / Le documentaire se fete held in Montreal, Quebec, 16-25 June 1989, in honour of the 50th anniversary of the National Film Board (NFB) of Canada. The event hosted 1,200 delegates from 46 countries, screened 300 non-fiction films and videotapes, and featured a variety of meetings, symposia, and parties. Discusses possible reasons for the Canadian media's neglect of the event and examines the state of international documentary filmmaking. Concludes that one of the most important results of the event was the idea for a new global documentary association, for which a planning meeting is scheduled in December 1989. 672 Garand, Jean-Marc ; Paquet, Andre. Open letter to all interested organizations and individuals. Cinema Canada no 167 (October 1989) 23. En. Discusses the proposed strategy and goals of the global documentary organization, an idea put forth by delegates attending A Salute to the Documentary held in Montreal, Quebec 16-25 June 1989, and states that a meeting of the organization's international planning group is scheduled for December 1989. 673 Lypchuk, Donna. Ou sont les documentaires d'antan? Cinema Canada no 167 (October 1989) 26-27. En. Questions the fate of four documentary films, Morley Markson's Growing Up in America (1988), Peter Raymont's The World Is Watching (1988), director Martyn Burke and producer David Ostriker's Witnesses (1988), and Ron Mann's Comic Book Confidential (1988) after they were featured at the 1988 Festival of Festivals in Toronto, Ontario, and discusses the current and future projects of the directors and producers of the films. States that the filmmakers are optimistic about the future of documentary filmmaking in Canada though all four films have failed to recoup their initial investment. . 674 Marsolais, Gilles. Dossier: cinema documentaire. 24 Images no 46 (novembre-decembre 1989) 14-15. 6 ill, fr. Presentation d'un dossier sur le cinema documentaire. On fait 1'historique de ce genre cinematographique au Canada et au Quebec, en mentionnant 1'apport de quelques cineastes comme Robert Flaherty et des organismes comme 1'Office national du film (ONF) du Canada. 675 Marsolais, Gilles. Pour en finir avec le mythe de 1'objectivite: ou le droit a la subjectivite assumee. 24 Images no 46 (novembre-decembre 1989) 16-17. 2 ill, fr. Dans ce dossier sur le cinema documentaire, 1'auteur demontre que 1'objectivite n'a plus sa place dans ce genre cinematographique. Ainsi, il reclame le droit a une subjectivite assumee. II fait reference a John Grierson qui utilisa le mot documentaire pour le film Moana (1926) de Robert Flaherty.

676 Ouellet, Normand. Cotes d'ecoute et politiques de programmation. 24 Images no 46 (novembre-decembre 1989) 22.1 ill, fr. A quel point peut-on se fier aux enquetes sur les habitudes d'ecoute? L'auteur denonce ainsi ces sondages qui servent avant tout les interets des societes de la publicite et des telediffuseurs, plutot que ceux des cineastes. II s'oppose a une telle evaluation marchande du temps d'antenne qui nuit aux cineastes et qui fait du telespectateur un etre irresponsable et sans jugement. 677 Jean, Marcel. La situation au Quebec. 24 Images no 46 (novembre-decembre 1989) 28-29. 1 ill, fr. Etude sur la situation du documentaire quebecois qui fait etat de la quasi disparition du documentaire en salle commerciale. Ainsi, les documentairistes devront se tourner vers la television. De plus, une enquete de 1'Association des producteurs de films et de videos du Quebec et de 1'Institut quebecois du cinema revele une diminution de pres de 50% dans la production documentaire entre 1977 et 1988. On analyse les facteurs qui ont contribue a cette situation comme la reticence des institutions publiques a subventionner des documentaires, et la necessite pour un cineaste de trouver un telediffuseur qui investissera au moins 10% du budget de son film. On annonce, cependant, la creation prochaine d'un fonds special consacre au documentaire.

Industrial Films / Cinema industriel 678 Knott, Leonard L. Business movies make money. Canadian Business 14 no 5 (May 1941) 28-33, 35, 37. 16 ill, En. Focuses on the increasing demand for industrial films, which comprise a large part of the Canadian film industry. Describes different ways of producing an industrial film, either through a professional production house or within the company sponsoring the film. Films can be used for both advertising and public relations purposes, and are meant to supplement other advertising media. Though films are more expensive to produce they usually are a more effective communications medium than other advertising methods. States that independent producers have hurt the industry by producing unsuccessful films that scare away potential investors, and that established production houses have proven the most reliable investment for companies wishing to promote their businesses. Outlines the main questions an investor should consider when making a movie, including the size of the budget, choice of production company, and the potential audience. The budget will determine the length of the film, the gauge (35mm, 16 mm or 8mm), and whether it is colour or black and white. The decision to use a professional production company should depend on the number and frequency of productions required and whether the general public is the desired audience. Lists Associated Screen News and Cinecraft of Montreal, Quebec, Audio Pictures of Toronto, Ontario, and Motion Skreenadz of Vancouver, British Columbia, as established companies. The target audience is considered the most important decision since it will usually determine all other variables, such as how the film will be distributed. Associated Screen News is

Industrial Films / Cinema industriel recommended for distribution because they provide reports on the film's success. Mentions companies that have produced their own films, and lists the uses and benefits that industrial films can afford a company. 679 Knott, Leonard L. Here are some of Canada's business movies...with comments. Canadian Business 14 no 5 (May 1941) 34. En. Lists several industrial films made in Canada, with information about the sponsors, producers, colour, sound, gauge, length, and type of distribution. 680 Knott, Leonard L. A typical business film. Canadian Business 14 no 5 (May 1941) 36. En. Outlines the procedure of producing and distributing a typical industrial film using Canadian Firsts (1941) as an example, a ten-minute film made by Associated Screen News for the Lake of the Woods Milling Company. Quotes attendance figures of 583,621 in 753 theatres for the French and English versions of a recently released film This Changing World (1940) made for the International Nickel Company of Canada to show their success. 681 "Victory in the Machine Shop" : How motion pictures speed-up the training of war workers. Canadian Business 16 no 1 (January 1943) 44-47. 23 ill, En. Reports the use of the war time training film series Victory in the Machine Shop (1943) by Canadian businesses such as Defence Industries, Bata Shoe Company, the Wartime Machine Shop Board, and the Emergency Training Program. The films, produced by the United States Office of Education and available in Canada through Associated Screen News, are used in combination with a regular instructor and act as visual aids. 682 10,000 workers each month see special union movies. Canadian Congress Journal 22 no 4 (April 1943) 13.1 ill, En. Outlines the latest development in the nationwide distribution of documentary and instructional films by the National Film Board (NFB) of Canada. The venture is a cooperative project between the Workers' Educational Association, the Trades and Labour Congress, the Canadian Congress of Labour, and the NFB. Notes the enthusiastic response of the film circuits with an estimate of more than 10,000 trade unionists per month viewing films related to war workers and their contributions to victory. 683 War workers watch products in action. Canadian Congress Journal 22 no 5 (May 1943) 15.1 ill, En. Notes that an estimated 600,000 workers will be given the opportunity to view a visual accounting of the influence their efforts are having in the fight for victory. The program of 50 film circuits, organized by the National Film Board (NFB) of Canada on behalf of several government departments, will exhibit films describing the extensive and diverse war effort with an emphasis on the role of labour and industry. Films will be shown in French as well as English and will include selections from the NFB series Canada Carries On (1940-1959) and The World in Action (1941-1945). 684 Trade union film circuit. Canadian Congress Journal 22 no 9 (September 1943) 51.2 ill, En.

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An extract from a report of the Executive Council of the Trades and Labour Congress of Canada, presented to its 59th convention held in Quebec, Quebec, in 1943. Outlines an agreement reached in May 1942 between the National Film Board (NFB) of Canada, the Workers' Educational Association, the Trades and Labour Congress, and one other group, to show war films at trade union meetings. All equipment is to be supplied by the NFB with initial showings in Montreal, Quebec, and six Ontario cities for an estimated coverage of 1,000 persons per month. A January 1943 revision to the agreement establishes a national basis to the program. Films for the monthly 40-minute program are to be selected on the basis of their educational value by an advisory committee made up of the four organizations involved in the project. 685 Meek, Reginald H. Movies train our men for war. Canadian Business 17 no 2 (February 1944) 22-25,132, 134. 14 ill, En. An account of the use of film as an educational tool by the Royal Canadian Air Force (RCAF) citing a film which informs airmen about the necessity of eating a proper diet. Remarks on the success of these films based on both improved test scores and reactions of RCAF members. Also describes the prescribed film viewing environment and notes the wide subject range of films used by the RCAF. Points out that businessmen, due to the invention of the portable movie projector, can benefit by using film as a means of promoting their products and services. 686 Showing employees the part they play. Canadian Business 17 no 12 (December 1944) 31-33.13 ill, En. Illustrates how the personnel department of Northern Electric increased morale among the company's employees by commissioning Associated Screen News to make a movie about the value of the war contributions made by the staff. The Part They Play (1944) dramatizes how "the home front," composed of office and factory employees, supports Canadian soldiers at battle. Twelve stills from the film are captioned. 687 Plummer, Harry Chapin. The industrial film. Canadian Business 20 no 2 (February 1947) 23-25, 68-70, 72. 6 ill, En. An examination of the motion picture industry in Canada in 1947, noting that the industrial film is one of its most successful products, along with the documentary, the educational, and the travelogue. Associated Screen News of Montreal, Quebec, and Toronto, Ontario, specializes in industrial films, also lending its facilities to American and British producers for feature films, travelogues, and shorts. Dominion Productions of Toronto used Associated Screen News' facilities for the feature Bush Pilot (Sterling Campbell and Jack W. Ogilvie, 1947). Associated Screen News produces regular news films for theatrical release and industrial films such as The Kinsmen (1947) for the Canadian Wheat Board, or Romance of a River (1947) for the Ontario Hydro-Electric Power Commission. President of North American Productions in Vancouver, British Columbia, Jack Bowdery, believing that commercial films should entertain as well as promote, cites their film depicting the extracting of gold from a glacier in Alaska. The success of the company he reports is allowing them to build a complete sound stage, a studio, and offices. Shelly

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Genres Films of Toronto specializes almost exclusively in industrial films. Its president, Leon Shelly, attributes the acceleration of nontheatrical productions to the National Film Board (NFB) of Canada's opening of distribution outlets. Cinema (Canada) in Toronto, whose production supervisor is Bryant Fryer, was created to make feature films, but plans to produce nontheatrical business films using fictional and entertainment approaches to the documentary form. The J. Arthur Rank organization opened Queensway Studios in Toronto to produce film strips, short theatrical films, educational films, institutional and sales training films, and advertising films. Its modern facilities may also be used for commercial films from other Rank studios. Crawley Films in Ottawa, Ontario, produces colour industrial films for various organizations. Some organizations have produced their own films, such as the Canadian Industries Limited (CIL) production, A Letter from Rosemere (1947), which promotes CIL products by recounting a town's use of the chemical DDT to solve their mosquito problem. Describes the financial expenditure that companies can expect for the production and distribution of such films. The technique of industrial films has changed since World War II and has become more entertaining, allowing the film to attain its didactic objectives more successfully.

688 National Film Board of Canada. The motion picture in overalls. Industrial Canada 49 (August 1948) 60-61. 3 ill, En. Argues that due to the increasing number of industries making use of training films, there is a need for an exchange of methods regarding the exhibition of such films. Notes the role of industrial film councils in systemizing industrial film showings, and outlines several other methods for effectively screening training and other industry related films. 689 Industrial health film service available to unions for educational programmes. Canadian Unionist 24 (January 1950) 16. En. States that the National Health Film Library of the National Film Board (NFB) of Canada has over 200 films dealing with a wide range of general and industrial health issues. Briefly reviews the NFB's When Do We Eat? (1944) and recommends the film for general or industrial audiences. 690 Mackay, Betsey Mosbaugh. Industrial film making in Canada. Industrial Canada 50 (March 1950) 48-50. 3 ill, En. Discusses the recent upswing in the use of films by industry in Canada, noting that presently there are some 20 commercial motion picture firms producing over 150 films yearly for Canadian industries. Examines specifically the contribution of Crawley Films of Ottawa, Ontario, to the production of training and sales promotion films, and notes the rise in popularity of the semi-institutional film, in which the sponsor is mentioned only in the context of another, non-commercial subject. 691 Stevens, G. R. The use of the motion picture in industrial publicity. Industrial Canada 50 (April 1950) 43-45.4 ill, En. Outlines the advantages of using film as an instrument for industrial publicity, stating that film is capable of commanding a larger audience for a longer time and at a higher ratio of concentration than any other advertising

device. Suggests filmmaking strategies that the industrial filmmaker may use to attract and hold an audience, stating that the filmmaker must focus on pertinent amd decisive aspects of the subject, make the issue of profits central to the film, adhere to a running time of one-half hour or less, and make sure that there are adequate opportunites for distributing and exhibiting the film. 692 Hill, O. Mary. Business goes to the movies. Canadian Business 24 no 10 (October 1951) 27-30,86,88. 7 ill, En. Outlines the historical evolution of Canadian industrial films, noting how up to World War II use of films by Canadian business and industry was chiefly confined to the larger companies and how the war encouraged developments in training and recruiting films. Examines the use of film by companies as a means of training employees, encouraging safety in the workplace, promotion of goods or services, and improving public and employee relations. » 693 Hill, O. Mary. Putting films to work for you. Canadian Business 24 no 10 (October 1951) 31-32, 90. En. Describes film as an excellent means of communication for companies. Examines the advantages and disadvantages of buying or making industrial films, the cost involved in producing a film, the importance of the relationship between sponsor and producer, the financial benefit of collaborating with other related companies on the making of the film, and the methods by which to encourage the people to view the films. Also notes the coming of television to Canada, which will greatly increase the means by which companies can promote their product and display sponsored films. 694 P-R agents for industry. Monetary Times 120 (June 1952) 78-80, 82, 84,86,87. 7 ill, En. Argues that industrial films, produced to illustrate and solve specific business problems, are valuable educational devices, public relations vehicles, and staff motivation tools. Explains that industry either produces a film on its product and infrastructure, or it sponsors a general audience film to build good will, with the advertising confined to a statement at the beginning and end of the film. Notes that Crawley Films has experienced a surge of demands for industrial films. Outlines the stages of making an industrial film. 695 The celluloid story, or Canadian industry on film, a quick survey of the sponsored moving picture in Canada. Industrial Canada 55 (October 1954) 51-53.1 ill, En. A brief survey of the history of the sponsored film in Canada. Notes the international recognition of the artistic quality of Canadian sponsored films, and attributes the appeal of sponsored films to businesses as their huge potential audience and effectiveness. Discusses means of distributing sponsored films, such as through provincial government libraries, community libraries, university extension departments, film councils, and the National Film Board (NFB) of Canada, and the variety of subject matter addressed by the sponsored film. 696 McGuire, B. J. Sherbrooke families go to a picture party. Canadian Business 28 no 2 (February 1955) 28-29,116. 2 ill, En.

Industrial Films / Cinema Industrie! Suggests that motion pictures be utilized by industrial companies as a means of telling the story of their products, services, or objectives. Cites Breakthrough (Lew M. Parry, 1955) as an example, a film produced by the Canadian Ingersoll-Rand plant in Sherbrooke, Quebec, which manufactures mining, industrial, and construction equipment. Notes the importance of showing such films, which emphasize the importance of the worker in the overall success of the company, in order to maintain the loyalty and dedication of the employees. 697 Hepworth, A. L. Camera on a convention. Canadian Labour 4 no 1 Qanuary 1959) 26-27. En. Reports the use of film cameras at the 24th Canadian Brotherhood of Railway, Transport and General Workers "jubilee" Convention of 1958, marking the 50th anniversary of the brotherhood. Each delegate to the convention was supplied with a camera with which 6,000 feet of film was shot. This was edited down to a 30-minute film which members used in conjunction with convention reports and notes when reporting to their locals. The English premiere of the film, called A New Beginning (1959), was held 7 January 1959 in Moncton, New Brunswick and the French version, called Un nouveau depart premiered in Quebec, Quebec, a few days later. The locals are provided with promotional posters, a screening guide, a film information bulletin, and a sample press release. It is hoped that Canadians outside the labour movement will see the film and learn about the democratic operation of unions. A second film about the brotherhood, produced in cooperation with Crawley Films is in production and expected to be finished by fall 1959. 698 Topshee, Charles. The Canadian Trade Union Film Committee. Canadian Labour 4 no 1 (January 1959) 28, 38. En. An account of the formation of the Canadian Trade Union Film Committee, organized in 1950 as the National Trade Union Film Committee which changed its name in January 1955 to identify its international relations with organizations like the International Confederation of Free Trade Unions. The recommendation for its creation was made by the National Labour Education Institute, sponsored by the Canadian Association for Adult Education, which felt there was an increasing demand by unions for labour films. The committee has representatives from the Trade and Labour Congress, the Canadian Congress of Labour, the Canadian and Catholic Confederation of Labour, the Canadian Film Institute, the Canadian Association for Adult Education, the National Film Board (NFB) of Canada, and the federal Department of Labour. The committee's mandate includes procuring labour films from inside or outside of Canada, evaluating the films, giving encouragement and advice in the production of labour films and filmstrips, promoting labour films, developing the effective use of labour films, and providing information regarding all of the above. In 1953 the federal Department of Labour undertook the sponsorship of these films, and in 1955-56, with the assistance of the NFB, 49 programs of labour films were being circulated among Canadian trade unions. The Canadian Trade Union Film Committee has also begun examining the possibilities of television for the distribution of films. 699 Fitness films are box office smash. Industrial Canada 64 (March 1964) 33-35. 3 ill, En.

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Discusses the commercial success of Hugh Moreland and Frank Latchford's series of ten ten-minute films demonstrating the Royal Canadian Air Force's (RCAF) famed 5BX and XBX physical fitness exercises. Describes the process of acquiring the rights from the RCAF to film the exercises, as well as the processes of scripting, financing, casting, filming, and distributing the series, all of which were carried out with the cooperation of the National Film Board (NFB) of Canada. Notes that a distribution deal for the the series has been negotiated with the American based company Sterling Education Films. 700 "On set" with the CBA. Canadian Banker 75 no 4 (November-December 1968) 34. 2 ill, En. Describes the filming of Banking and Your Future/La Banque et votre avenir (1969), a film produced by the Canadian Bankers' Association to aid high school counsellors with informing students about career opportunities in Canadian banking. Michael Jacot Productions was awarded the contract over nine other production houses, and two bank representatives (one French and one English) served as technical advisers to ensure that Canadian banking practises were accurately depicted. 701 Coaching association of Canada producing films for training. Cinema Canada no 5 (December 1972-January 1973) 14. En. Reports that 16 mm athletic training films are being produced by the Coaching Association of Canada. 702 Travel industry association of Canada honors the best travel films. Cinema Canada no 6 (February-March 1973) 13. En. A call for submissions for, and announcement of, the rules of the Travel Film Contest sponsored by the Travel Industry Association of Canada. 703 "Today's Director" : A film presentation. CA Magazine 102 no 5 (May 1973) 9-10. En. Announces the release of the documentary film Today's Director (1972), sponsored by the company Touche Ross. The film, and its accompanying booklet, describes what companies should expect from their corporate executive officers in light of the Ontario Business Corporations Act, effective as of 1971, which prescribes a statutory standard of care for directors. 704 "Faces Atlantic." Atlantic Advocate 67 no 6 (February 1977) 54. En. Reports the awarding of a travel series gold medal at the 19th annual New York International Film and TV Festival in New York City, New York to four Canadian National Railways' productions : Faces Quebec (1977), Faces Ontario (1977), Faces Atlantic (1977), and Faces West (1977). Also mentions that the film To the Top (Keith Harley, 1977), an account of the building of the CN tower in Toronto, Ontario, won an award for best public relations and editing at the 1976 Canadian Industrial Film Festival. 705 Island film wins. Atlantic Advocate 67 no 11 (July 1977) 55. En. Notes the awarding of the Canuk Award at the convention of the Travel Industry Association in Edmonton,

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Genres Alberta, for a film produced for the Prince Edward Island tourism department, which has won five film awards since June 1976.

706 West, Linda. The camera as capitalist tool. Canadian Business 51 no 10 (October 1978) 74-78. 5 ill, En. Discusses the increase in the production of films by corporations and industries. Describes the costs and procedures involved in producing a film, and the relationship between the filmmaker and the client. Film is a highly effective medium for business messages, whether used for internal corporate communication, directed externally to potential markets, or involving sponsorship of a cultural production as an advertising strategy. Cites Comae Communication and Imperial Oil as two companies that are involved in filmmaking. An insert entitled "How a little outfit delivered a big message" (p. 77) describes three eight-minute films which could also run together, produced by Insight Production for the John Howard Society. 707 Cain, Carol. TransCanada hopes film makes workers remember benefits. Business Insurance 17 no 45 (7 November 1983) 7,10. En. Looks at the film produced by TA Associates to outline TransCanada Pipeline's employee benefits. Mentions the film's humour and music, and compares it to TransCanada Pipeline's previous film. 708 Clarke, David. Corporate video. Cinema Canada no 109 Quly-August 1984) 9-10. 2 ill, En. Discusses the use of video as the medium of choice for the production of corporate sponsored or corporate produced projects. Focuses on the production strategies and projects of two video production companies, Ottawa, Ontario based Corvideocam and Montreal, Quebec based Stonehaven, which specialize in corporate video, lists suggestions for inexperienced corporate video makers, and cites the advice of experts in the field regarding the marketing of video in the corporate world. Includes a list of the top ten Canadian corporate videos, chosen by the author on the basis of aesthetics and effectiveness. 709 Kula, Sam. Western settlement and steam movies. Archivist 12 no 4 (1985) 6-8. En. Looks at the Canadian Pacific Railway's use of motion pictures in the period from 1897 to 1910. Focuses on the railway's attempt to identify itself with the West by emphasizing its vast, scenic beauty through the medium of film in order to sell the services of the company. 710 Davey, Tom. From draft to final frame: The making of a film. Canadian Consulting Engineer 29 no 2 (March-April 1987) 42-43.1 ill, En. Tom Davey describes his involvement in the production of The Invisible Profession (1987). The film premiered at the opening luncheon of the Toronto Engineering Centennial Week in Toronto, Ontario, and was applauded by the 750 engineers in attendance, though its target audience was the general public. The film is based on Davey's own article of the same name, dealing with the invisible nature of the work that engineers do and how their efforts benefit society. Davey was asked by Peter Hertzberg, chair of the Ontario Engineering Centennial Week Committee, to

expand his article into a television treatment. After presenting his draft to the committee, who added their own material to the treatment, Plum Studios was contracted to produce the film with Rick Bray as scriptwriter. The studio dramatized the invisible man concept using special effects to make the actors invisible. The film blends archival footage with film shot on location in newspaper newsrooms and consulting engineering offices. Its aim is to show the general public the progression of engineering technology in Canada over the years, the presence of engineering technology in our everyday environment, the changes engineering has undergone in relating to environmental protection, engineering applications in developing countries, and future employment possibilities in the field. The national premiere was at the Engineering Centennial Congress in Montreal, Quebec 18-22 May 1987.

Experimental Films / Cinema experimental 711 Cinematheque royale de Belgique. Troisieme competition Internationale du film experimental / Derde Internationale competitie van de experimented film / Third International Experimental Film Competition. Brussels, Belgium: Cinematheque royale de Belgique / Koninklijk Filmarchief van Belgie / Royal Film Archive of Belgium, 1963. Ill p, index, fr, En, Ge. Notes sur quatre films canadiens retenus pour la 3e edition du « International Experimental Film Competition », qui eut lieu du 25 decembre 1963 au 2 Janvier 1964 : 21-87 d'Arthur Lipsett (1964), Je de Louis Portugais et Leonard Forest (I960), Jour apres jour de Clement Perron (1962), et A tout prendre de Claude Jutra (1964). De plus, John Grierson et Norman McLaren (ce dernier faisant partie du jury de competition), repondent brievement aux questions suivantes : « Une definition plus precise du film experimental s'est-elle degagee de la competition? Le choix du terme « experimental » fut-il heureux? », et « Fallait-il montrer des experiences ratees ou fallait-il demander au jury de selection de les ecarter? ». Ce bilan se termine par le generique, le synopsis et une courte analyse des films participants. Four Canadian films chosen to participate in the third International Experimental Film Competition, held from 25 December 1963 to 2 January 1964, were Arthur Lipsett's 21-87 (1964), Louis Portugais and Leonard Forest's Je (1960), Clement Perron's Jour apres jour (1962), and Claude Jutra's A tout prendre (1964) John Grierson and Norman McLaren (who was a member of the jury for the competition) briefly respond to these questions : "Has the competition resulted in a more precise definition of the experimental film?"; "Was the term "experimental" a good choice?"; and "Was it right to show failures or should the selection jury have discarded them?" Concludes with credits and a brief analysis of each film. 712 Art Gallery of Ontario. Canadian Artists 68 / Artistes canadiens 68. 30 November-29 December 1968. Organized by the National Art Exhibition Committee. Foreword by E.G.

Experimental Films / Cinema experimental Bovey. Introduction by Dennis Young. Jurors: Richard Hamilton; William Turnbull; Jonas Mekas. Toronto, Ont: Art Gallery of Ontario, 1968. 79 p, 89 ill, bibl, En. Catalogue for Canadian Artists 68 /Artistes canadiens 68, a juried exhibition of Canadian films, paintings, and sculptures. In a foreword to the exhibition catalogue, National Art Exhibition committee chair E.C. Bovey states that the purpose of the exhibitions was to unite Canada's most prominent painters, sculptors, and filmmakers with the most promising new Canadian talent, and provide a means for the Canadian public to view their work. The following films were included as part of the exhibition: Jack Chambers's R34 (1967), Keewatin Dewdney's Maltese Cross Movement (1967), John Hofsess's The Palace of Pleasure (1967), Larry Kardish's Slow Run (1968), Gary Lee-Nova's Magic Circle (1967) and Steel Mushrooms (1967), Les Levine's White Noise (1968), Clarke Mackey's On Nothing Days (1967), N.E. Thing Co.'s 4 Mile Section (1968), Stillife the American Flag (1968), and Stillife the Canadian Flag (1968), Don (Donald) Shebib's San Francisco: Summer 1967 (1968), Michael Snow's Wavelength (1967), and Joyce Wieland's 2933 (1967), Cat Food (1968), and Rat Life and Diet in North America (1973). 713 Dean, William. Criticism and the underground film. Take One 1 no 9 (1968) 12-14. En. Argues that the experimental or underground film attempts to foreground the ontology of the filmic process by providing visual representations of spatio-temporal relationships in motion. States that many underground filmmakers fail to appreciate the principles of the genre, namely the metaphoric quality of the visual images and the irrelevance of a sequential narrative. Argues that although this genre is difficult to approach critically, it is nonetheless essential to subject the underground film to extensive criticism, and illustrates this point with a critical analysis of a recent film by Burton Rubenstein and Sara Bezaire entitled The Hyacinth Child's Bedtime Story (1967). 714 Farber, Manny. Film. Artforum 7 no 5 (January 1969) 70-73. 1 ill, En. Reprinted as Canadian Underground 1969 in Negative Space: Manny Farber on the Movies, 250-255. New York, NY: Praeger Publishers, 1971. Also reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 242248. Peterborough, Ont: Broadview Press, 1988. Reviews films featured as part of the exhibition entitled Canadian Artists 68 held at the Art Gallery of Ontario in Toronto, Ontario. Provides a structural analysis of Michael Snow's Wavelength (1967), and praises Snow's film for conveying the indestructible force of the physical world alongside fleeting human existence. Also analyses On Nothing Days (Clarke Mackey, 1967), Joyce Wieland's Cat Food (1968) and Rat Life and Diet in North America (1973), Jack Chambers's R34 (1967) a film about Canadian artist Greg Curnoe, and two films with pseudo-industrial works by Gary Lee-Nova. 715 Farber, Manny. Films at "Canadian Artists 68": Art Gallery of Ontario. Artscanada 26 no 1 (February 1969) 2829. 3 ill, En. Review of the Canadian Artists 68 film competition sponsored by the Art Gallery of Ontario in Toronto, Ontario. Observes that many of the films were private in nature, made for the artists rather than the audience. Discusses

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several entries of the 20 finalists, such as Clarke Mackey's On Nothing Days (1967), Joyce Wieland's Rat Life and Diet in North America (1973), 2933 (1967), and Cat Food (1968), Gary Lee-Nova's Magic Circle (1967) and Steel Mushrooms (1967), Jack Chambers's R34 (1967), Les Levine's White Noise (1968), Michael Snow's Wavelength (1967), Larry Kardish's Slow Run (1968), and Keewatin Dewdney's Maltese Cross Movement (1967). Snow's film is praised for breaking with cinematic tradition. Contends that there is no recognized school of Canadian filmmaking, yet claims that Canadian filmmakers share a flair for the deadpan, the nerveless, and the private. 716 Youngblood, Gene. The new Canadian cinema: Images from the age of paradox. Artscanada 27 no 2 (April 1970) 7-13. 11 ill, bibl, En. Reprinted in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 323-332. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. An analysis of the paradigm of synaesthetic cinema, defined as an ontological conception of cinema as a model of the patterns of nature, rejecting film as a means of explaining nature or a way of forcing it to conform to a particular cinematically stylized structure. Argues that though synaesthetic cinema has formal characteristics in common with fiction, documentary, and cinema verite filmmaking, it is fundamentally different. The basis of synaesthetic cinema in an unstylized reality, and its refusal to organize reality into an explanation of the real, mark its departure from the fiction film and the documentary film respectively. Yet unlike cinema verite, synaesthetic cinema manipulates unstylized reality in such a way that the result has a particular style. Hence synaesthetic cinema is inherently paradoxical. It is in this context that Jack Chambers's Mosaic (1966) and R34 (1967) are examined and in which Chambers's Circle (1969) is compared to Michael Snow's Wavelength (1967). Also examines the imagery in David Rimmer's Surfacing on the Thames (1970), Square Inch Field (1968), and Migration (1969), the use of motion graphics in Keith Rodan's Cinetude 2 (1969) and Cinetude 3 (1969), Keewatin Dewdney's experimentation with collage in Maltese Cross Movement (1967) and with pixillation in Scissors (1966), Greg Curnoe's recording of real-time unstylized pattern-events in Connexions (1970), and the use of hyper-collage in Gary Lee-Nova's Steel Mushrooms (1967). 717 Field, Simon. Film is...? Art and Artists 6 no 9 (December 1971) 24-29. 5 ill, En. Discusses the increasing importance of film to painters and sculptors as well as the growth of film, photography, and video as an artistic medium. Attempts to promote the recognition of film as an art form and names Canadian experimental filmmakers working in New York City, New York, including Michael Snow and Joyce Wieland. Briefly analyses Back and Forth (Michael Snow, 1969), and Wavelength (Michael Snow, 1967). 718 Vancouver Art Gallery. Form and Structure in Recent Film, at the Vancouver Art Gallery from October 29 to November 5,1972. Preface by Doris Shadbolt. Introduction by Annette Michelson. Afterword by Dennis Wheeler. Vancouver, BC : Vancouver Art Gallery; Talonbooks, 1972. 100 p, ill, bibl, En.

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Genres Canadian and American films at the "Form and Structure in Recent Film" exhibition held at the Vancouver Art Gallery in Vancouver, British Columbia, 29 October 5 November 1972 are documented in the accompanying catalogue with pieces by and about the featured filmmakers. Introduction by Annette Michelson traces the development of American experimental film in the 1940s with their epistemological concern for the non-narrative, deconstructive filmic process and emphasis on poetic experience, to the more recent redefinition of the temporal strategies of film. Includes a biography of David Rimmer, reactions to his films Square Inch Field (1968), Blue Movie (1970), and Intermedia Commercial (1970), and his automatic impressionistic reading of his works. Michael Snow discusses the characteristic of time and the camera's framing device in making films specifically Back and Forth (1969) and La Region centrale (1970), and describes the qualities of the film medium. Includes a biography of Joyce Wieland, an analysis of her exploration of Dadaist spirit and cinematic perceptions in La Raison avant la passion (1969), and her comments on the disparate Canadian film community and the American domination of Canadian culture. Afterword by Dennis Wheeler confronts the dialectic method and constantly shifting nature of experimental film.

719 Musee d'art moderne de la ville de Paris. Canada : Trajectoires 73.14 juin -15 aout 1973. Essai par Pierre Gaudibert et Suzanne Page. Paris, France : Musee d'art moderne de la ville de Paris, 1973. 95 p, ill, bibl, fr. L'exposition ne pretend etre ni un inventaire ni une somme. Elle servira a decrire une courbe dans 1'activite culturelle canadienne en indiquant des relais et des zones d'energie creatrice qui marquent la vie et 1'art du pays en 1973. Le catalogue comprend les sections en video et cineastes. 720 "Underground" film classics at the AGO. Cinema Canada no 7 (April-May 1973) 14.1 ill, En. Describes a program of experimental films currently being exhibited at the Art Gallery of Ontario in Toronto, Ontario. The program includes Michael Snow's Side Seat Paintings Slides Sound Film (1970). 721 Exhibition of contemporary Canadian art to be held in Paris. Cinema Canada no 8 Qune-July 1973) 9.1 ill, En. Discusses the extensive number of Canadian filmmakers whose work will be presented at the exhibition of Canadian art, "Canada : Trajectories 73," to be held in the summer of 1973 in Paris, France. 722 Paquet, Andre. Les espaces visuels ou les savants du 24 images seconde. Cinema Quebec 3 no 1 (septembre 1973) 33-35. fr. Dossier sur le cinema experimental au Canada, qui a ete extrait du catalogue de 1'exposition « Canada : Trajectoires 73 », qui s'est deroulee a Musee d'art moderne de la ville de Paris a Paris (France) du 14 juin au 15 aout 1973. 723 Lowndes, Joan. The Canadian presence in Paris. Artscanada 30 no 4 (October 1973) 73-80.14 ill, En. Evaluates the impact of two simultaneous Canadian exhibitions in Paris, France, in the summer of 1973. Canada: Trajectoires 73, held at the Musee d'art moderne de la Ville

de Paris, was divided into four categories : painting, sculpture, Regina ceramics, and video and film. Notes the popularity of this exhibition among young Parisians, emphasizing the success of the free video workshop, Le Mini-Videographe, modelled on Montreal's media access centre of the same name. Observed that French participants in the workshop created highly politicized tapes and that they preferred to view Canadian tapes that were more politically radical in nature. Provides quotations from French critics writing about the exhibition. The second exhibition, a selection of 72 paintings, prints, and drawings from Art Bank, was held at the Centre culturel canadien. Describes the opening ceremonies that included an explanation of the Canada Council and Art Bank operations. Concludes that the Centre culturel canadien was not as successful as the Musee d'art moderne de la Ville de Paris at attracting visitors to their exhibition. Suggests that similar cultural exchange programs should be initiated with Diisseldorf, Germany, Tokyo, Japan, and New York City, New York. 724 Edwards, Natalie. Moving art. Cinema Canada no 13 (April-May 1974) 54-55. En. An examination of one of the four packages of short Canadian films prepared for the National Gallery of Canada's Canadian Filmmakers Series. Such packaging was conceived as a new method for the distribution of short experimental works by Canadian filmmakers for viewing at cooperative galleries and institutions. The films distributed as part of Program Two include Michael Asti-Rose's Mirror, Mirror (1972), Rick Hancox's Next to Me (1971) and House Movie (1972), Lome Marin's Rhapsody on a Theme from a House Movie (1972), Veronika Soul's How the Hell Are You? (1972), Al Razutis's Software (1974), and Peter Bryant's Rocco Brothers (1973). 725 Hale, Barrie. The vanguard of vision : Notes on Snow and Wieland. Saturday Night 89 no 6 Qune 1974) 20-23. 1 ill, En. Reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 249-259. Peterborough, Ont: Broadview Press, 1988. Focussing on Michael Snow and Joyce Wieland as leaders of the Canadian avant-garde cinema, Barrie Hale relates their experiences with the underground film movement in New York City, New York, and their return to Canada to realize their Canadian heritage. Discusses Snow's Wavelength (1967), Back and Forth (1969), and La Region centrale (1970), and Wieland's La Raison avant la passion (1969), Rat Life and Diet in North America (1973), and Pierre Vallieres (1972). Douglas Fetherling notes in the introduction to the reprint that while they were married, Snow and Wieland generated extensive critical and popular literature. 726 Hancox, Rick. Short films. Cinema Canada no 14 (JuneJuly 1974) 58-60. 3 ill, En. A review of the National Gallery of Canada sponsored Canadian Filmmakers Series. The program features four 90-minute programs of short films selected by the gallery for exhibition in Canadian galleries and institutions under the auspices of the Gallery's National Program extension service. Refers specifically to Lome Marin's Rhapsody on a Theme from a House Movie (1972), Jean-Claude Labrecque's Essai a la mille (1970), Leon Marr's Fountain (1977),

Experimental Films / Cinema experimental Michael Snow's Standard Time (1967), Joyce Wieland's Solidarity (1973), David Rimmer's Real Italian Pizza (1971), Blue Movie (1970), and Migration (1969), Ken Wallace's Thanksgiving (1972), Jim Anderson's Yonge Street (1974), Veronika Soul's How the Hell Are You? (1972), and Michael Ondaatje's The Sons of Captain Poetry (1970). 727 Gale, Peggy. The National Gallery's Canadian Filmmakers Series. Art Magazine 6 no 19 (Fall 1974) 28.1 ill, En. An examination of the growth of independent cinema in Canada with reference to 30 films made available as part of the Canadian Filmmakers Series in circulating exhibitions organized by the National Gallery of Canada of Ottawa, Ontario. The films are distributed in four packages of 90-minutes duration each, and give a representative view of independent Canadian film since 1967. A number of the films are briefly described and analysed to show the wide range of techniques and ideas, from hand drawn cartoons to video and computer generated images. 728 Edwards, Natalie. Ondaatje and Snow: Two artist / filmmakers. Art Magazine 6 no 19 (Fall 1974) 29. 4 ill, En. Discusses film as art in relation to Kim Ondaatje's Factories (1973) and Michael Snow's Standard Time (1967), exhibited as part of the Canadian Filmmakers Series. Compares the positive reception of Ondaatje's film at the Art Gallery of Ontario in Toronto, Ontario, to the negative reaction it received at the 1973 Stratford International Film Festival, in Stratford, Ontario, concluding that a gallery audience is interested in how film is used as an artistic medium, whereas a movie audience tends to be interested in narrative. The series, organized by the National Gallery of Canada in Ottawa, Ontario, is meant to familiarize Canadians with Canada's experimental filmmakers. 729 Small, Edouard. Un enfant pas comme les autres: le cinema experimental. Cinema Quebec 4 no 6 (automne 1975) 35-37.1 ill, bibl, fr. Introduction au cinema experimental au Quebec. Edouard Small explique ce qu'est le cinema experimental et demande s'il s'agit d'un cinema pour cineastes ou d'un cinema d'auteur. 730 Edwards, Natalie. It's film all right, but is it art? Cinema Canada no 26 (March 1976) 18-20. 3 ill, En. Reviews the films available free to galleries and organizations across Canada from the National Gallery of Canada in Ottawa, Ontario, and the Canadian Filmmakers Distribution Centre in an effort to introduce Canadian audiences to some of the unusual and rarely seen works of experimental filmmakers. They include Boarding House (1973) by Neil Mclnnes and Ken Stamprick, Surreal (1975) by Kim Cross, Second Impressions (1975) by Lome Marin, Le Voyage (1973) and Visual Alchemy (1973) by Al Razutis, Fracture (1973), Watching for the Queen (1973), Canadian Pacific (1974), and Canadian Pacific II (1975) by David Rimmer, Tales from the Vienna Woods (1974) by Veronika Soul, Seeds (1975) by John Gaug, and Ice (with Robert Carney and Jana Veverka, 1973) and Surface (1975) by Nicholas Kendall. 731 Art Gallery of Ontario. Autobiography: Film / Video / Photography. 1 November-7 December 1978. Introduction

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by John Stuart Katz. Catalogue essays by Jay Ruby, John Stuart Katz, Peggy Gale, and Dennis Wheeler. Toronto, Ont: Art Gallery of Ontario, 1978. 96 p, 15 ill, bibl, En. The catalogue of the exhibition Autobiography provides an analysis of autobiographical works produced by filmmakers and video artists. Contains three critical essays on the subject, an interview with Robert Frank, and entries on Canadian and American video artists and filmmakers. Works by Canadian filmmakers include Clay Borris's Rose's House (1977), Jack Chambers's The Hart of London (1969), Bruce Elder's She Is Away (1975), Robert Frank's Conversation in Vermont (1969) and About Me: A Musical (1971), Rick Hancox's Home for Christmas (1978), Tony lanzelo's Antonio (1966), James B. Kelly's Dunmovin (1978), Gordon Kidd's Self Portrait (1977), Bill Reid's Coming Home (1973), David Rimmer's West Coast Portrait (1967), Richard Rowberry's The Three of Us (1976), Kathleen Shannon's Goldwood (1974), Michael Snow's Side Seat Paintings Slides Sound Film (1970), Mary Stephen's A Very Easy Death (1976), Joyce Wieland's Water Sark (1965), and Sandy Wilson's Growing Up at Paradise (1978). Videos by Canadian video artists are Susan Britton's Love Hurts (1977), Colin Campbell's Sackville I'm Yours : An Interview with Art Star (1972), Kate Craig's Still Life: A Moving Portrait (1976), Noel Harding's A Serene Composition Suggestive of Pastoral Repose (1977), Terry McGlade and Sally Dundas's Marriage Part 1 (1978), Lisa Steele's Birthday Suit: Scars and Defects (1974), and Rodney Werden's Typist (1976). Each entry includes biographical information, a selected filmography, and personal statements or critical commentaries. It is primarily intended to reveal the diversity of approaches to autobiographical film that arises out of experience gained in the documentary, experimental, and animated modes. 732 Koller, George Csaba. Le cinema experimental. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 61-70. Montreal, Quebec: Cinematheque quebecoise; Paris, France : Pierre Lherminier, 1978. 2 ill, fr. Survol du cinema experimental dans diverses regions du Canada. George Csaba Koller mentionne 1'influence exercee sur le cinema de Toronto (Ontario) par le cineaste Michael Snow, les cooperatives, les centres des distribution et la revue Cinema Canada. Au Quebec, le cinema experimental se fait en grande partie a 1'Office national du film (ONF) du Canada. La majorite des cineastes quebecois preferent cependant aborder des sujets sociaux plutot que de faire du cinema experimental. Par la suite, Koller decrit le cinema experimental tel que pratique dans les provinces maritimes et dans les Prairies. Koller termine en soulignant que certains cineastes experimentaux canadiens doivent s'expatrier a New York (New York) pour atteindre une renommee internationale. 733 Koller, George Csaba. Visionary experiments. Parachute no 10 (Spring 1978) 25-26.1 ill, En. An overview of experimental filmmaking in Canada, focussing on the contributions of Al Razutis, Michael Snow, Jim Anderson, Keith Lock, Joyce Wieland, Raphael Bendahan, Frieder Hochheim, Rick Hancox, Lome Marin, Richard Davis, Robert Frank, Walter Delorey, Ellis Delorey, Neal Livingston, Chuck Lapp, Ishu Patel, Jacques Drouin, Caroline Leaf, and Ryan Larkin. 734 Locke, John W. Experimental film 1978 : New York /

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Montreal / Le cinema experimental - 1978 : New York / Montreal. Parachute no 10 (Spring 1978) 29-32 ; 27-29. 2 ill; 1 ill, En, fr. A comparison between the situation facing young experimental filmmakers working in New York City, New York, to those working in Montreal, Quebec. John Locke cites the different elements that make up the milieu facing experimental filmmakers in Montreal including the lack of an experimental filmmaking community and the absence of an experimental filmmaking tradition. Locke notes that although no theatre for the exhibition of experimental films has existed in Montreal, he hopes the Cinema Parallele will stimulate experimental filmmaking in Montreal. Comparaison entre la situation du jeune cinema experimental new-yorkais et montrealais John Locke enumere les differents elements qui expliquent 1'absence d'un cinema experimental a Montreal (Quebec), comme la penurie de cineastes experimentaux, 1'absence d'une tradition historique et le manque d'une salle de visionnement pour ce genre de films. II espere que la venue du Cinema Parallele, qui comblera un des manques, stimulera la creation d'un jeune cinema experimental montrealais. 735 Locke, John W. Two films, two filmmakers: Vincent Grenier and JJ. Murphy. Parachute no 10 (Spring 1978) 33-34.1 ill, En. States that Vincent Grenier and JJ. Murphy are representative of the new generation of experimental filmmakers coming out of college and university film schools. Examines Grenier's World in Focus (1976), an adaptation of a Rand McNally World Atlas, in terms of structure, composition, and the interest in the out of focus image. Describes Murphy's Print Generation (1978) as a montage film composed of two segments, each consisting of 60 one-second shots. In the first segment, the images move gradually from obscurity to clarity, while in the second, the images move in reverse, from clarity to obscurity. 736 Livingstone, David. Home, home on the Grange. Maclean's 91 no 29 (27 November 1978) 50b-50d. En. Announces that the "Autobiography" exhibition is at the Art Gallery of Ontario in Toronto, Ontario, until December 1978. Mentions experimental films screened including Clay Borris's Rose's House (1977). 737 Noguez, Dominique. Eloge du cinema experimental: definitions, jalons, perspectives. Paris, France: Centre Georges Pompidou, 1979.189 p, 70 ill, index, fr. Tout en constituant un hommage au cinema experimental, ce livre dresse un bilan historique de ce genre. On y fait un survol d'oeuvres venant de pays tels que 1'Allemagne, 1'Angleterre, le Canada, la France, le Japon et les EtatsUnis. Dans un chapitre intitule «McLaren ou la schizophrenic creatrice », 1'auteur etudie en general 1'oeuvre de ce cineaste canadien et, en particulier, Pas de deux (1968). Dominique Noguez parle aussi du Canadien Michael Snow dans un essai intitule « Sur la longueur d'onde de Michael Snow » et, plus particulierement, du film Wavelength (1967). Enfin, 1'auteur traite du film Variations on a Cellophane Wrapper (1970) de David Rimmer dans « Canada : a propos d'un morceau de cellophane ».

738 MacKenzie, Landon. "Autobiography": Real by reel. Parachute no 14 (Spring 1979) 29-31. 4 ill, bibl, En. Examines the concept of autobiographical art, describing it as the use of stories, memories, or records of daily life comprising a visual biography in a conscious effort to reveal who one is to the viewer and to oneself. Argues that while video is an excellent format for autobiographical art, self-referential material may be used in a variety of ways. Discusses the Art Gallery of Ontario symposium and film series of self-referential films, "Autobiography," organized in collaboration with John Katz, and held over a five-week period in Toronto, Ontario, beginning in November 1978. Focuses on David Rimmer's West Coast Portrait (1967), Bruce Elder's She Is Away (1975), and Clay Borris's Rose's House (1977). Notes that a collection of autobiographical videotapes selected by Peggy Gale included works by Lisa Steele and Colin Campbell. 739 Dancyger, Kenneth. Autobiographical film: Relaxed, natural and personally transcendent. Cinema Canada no 53 (March 1979) 30-31.1 ill, En. Reports from Autobiography, the conference on autobiographical film, held 4-5 November 1978 at the Art Gallery of Ontario in Toronto, Ontario, a six-week series on autobiographical film, video, and photography. Denies that autobiographical film is an extension of the narcissism of the 1970s. Notes the variety of autobiographical films, such as Life and Other Anxieties (1978) by Ed Pincus, Joe and Maxi (1978) by Joe Gold and Maxi Cohen, and Sandy Wilson's Growing Up at Paradise (1978). 740 Couture, Denis ; Stanford, Richard. La recherche d'une identite. CinemAction no 10-11 (printemps-ete 1980) 83-85. fr. Un effort de synthese des principaux elements qui ont contribue a la naissance d'un cinema experimental au Canada et descourants qui s'y sont developpes par la suite. 741 Cornwell, Regina. Le cinema structural: dix ans plus tard. Parachute no 19 (ete 1980) 39-45.10 ill, fr. Analyse du mouvement structuraliste au cinema entre 1969 et 1979. Apres avoir defini le structuralisme et le cinema structuraliste, Regina Cornwell fait une breve chronologic de ce mouvement cinematographique qui a debute dans les annees 1960 a New York (New York). D'ailleurs, les Canadiens Michael Snow et Joyce Wieland s'y trouvaient. Puis, elle critique les differentes theses developpees au fil des ans, en citant comme exemple quelques films dont Wavelength (1967) de Michael Snow. Enfin, elle dresse les differentes etapes de ce mouvement jusqu'en 1979. 742 Webster, Scalpel. Pure punk! Cinema Canada no 70 (December 1980) 26-29.4 ill, En. Interviews Reg Hartt, owner of the Cineforum in Toronto, Ontario, regarding his decision to hold a month long "Punk" cinema festival during spring 1980. Outlines the plot of some of the films shown, including Colin Brunton's Last Pogo Film (with Patrick Lee, 1979), Suzanne Naughton's Mondo Punk (1978), and Ziggy (1980) by Bill Kucheran and Bruce Pirrie. Explores the psychology of frustration and cynicism behind the punk movement to explain why these films were made.

Experimental Films / Cinema experimental 743 Feldman, Seth. The path not taken. Canadian Forum 61 (November 1981) 39-40.1 ill, En. Discusses the notion of the experimental film and its place in film culture, providing a definition, a historical analysis, and remarks concerning its state in Canada. States that current commercial cinema owes much to the experimental film, and cites the influence of Bruce Elder's The Art of Worldly Wisdom (1979) on Steven Spielberg's Raiders of the Lost Ark (1981) as an example. 744 Fleming, Martha. Filming buildings, building films. Parachute no 25 (Winter 1981) 15-19. 6 ill, bibl, En. In an analysis of John Porter's Scanning 1 (1981) and Ross McLaren's 9 x 12 (1979), which feature as their subject the Funnel Experimental Film Theatre at 307 King Street East in Toronto, Ontario, Fleming determines the relationship between the artistic medium of film and architecture. Considers how the films describe movement between points which are fixed architectural components, and argues that the films reveal as much about camera placement and the construction of film as they do about the building itself. 745 Feldman, Seth. Business as [un]usual. Cinema Canada no 81 (February 1982) 22-23. 4 ill, En. Identifies two central movements in the history of experimental filmmaking in Canada as the influence of Norman McLaren's experiments in animation at the National Film Board (NFB) of Canada prior to 1967, and the subsequent emergence of new filmmaking talent during the centennial era. Notes that while the NFB made timid variations on its official style of public service experimentation after Expo 67 in Montreal, Quebec, a wave of new non-NFB activity necessitated the creation of other film organizations such as film cooperatives and the Canadian Film Distribution Centre. Credits Bruce Elder with advancing experimental film in Canada through his work in such films The Art of Worldly Wisdom (1979), Sweet Love Remembered (1980) and 1857 (Fool's Gold) (1981), and praises Elder for organizing and sustaining the institutional infrastructure for Canadian experimental film at the federal level. Also paraphrases Elder's thesis that experimental film in Canada is informed by a post-modern sensibility. 746 Snow, Michael; Elder, Bruce. Michael Snow and Bruce Elder in conversation. Cine-Tracts 5 no 1 (SummerFall 1982) 13-21. En. Reprinted in Afterimage 11 (Winter 19821983) 32-49. A conversation between Michael Snow and Bruce Elder in which the two avant-garde filmmakers discuss their aesthetic sensibilities and their philosophical ideas. Specific reference is made to Snow's Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen (1974), Presents (1981), and Wavelength (1967), and to Elder's The Art of Worldly Wisdom (1979) and 1857 (Fool's Gold) (1981). 747 Elder, R. Bruce. Introduction. Cine-Tracts 5 no 1 (Summer-Fall 1982) 1-7. En. Considers Michael Snow's La Region centrale (1970) and Martin Duckworth's The Wish (1970) from within the larger context of experimental filmmaking. Discusses the development of the theme of the nature of the self throughout the history of avant-garde cinema, and exam-

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ines how this theme is reflected in the work of Duckworth and Snow. 748 Elder, R. Bruce. "All things in their times." Cine-Tracts 5 no 1 (Summer-Fall 1982) 39-45. bibl, En. Argues that minimalism as an aesthetic strategy represents a turning point in art history in that it manifests the enduring effect of the modernist tradition, yet reveals the profound transformation from modernist to post-modernist aesthetics. Discusses the strategy of minimalism in the films of Michael Snow, as well as in David Rimmer's Surfacing on the Thames (1970), and in Joyce Wieland's Solidarity (1973), Reason over Passion (1969), and Handtinting (1967). 749 Elder, R. Bruce. Redefining experimental film: Postmodernist practice in Canada. Parachute no 27 (Summer 1982) 4-9. 5 ill, bibl, En. Explores how experimental film practises in Canada reflect post-modernist tendencies in their repudiation of the modernist ideals of purity and essentiality that were based on the principle of the absolute distinctness of every medium. Argues that Canadian avant-garde cinema is post-modernist cinema in that it affirms the value of stasis, implies an imaginary narrative movement, is committed to analysing the nature of the still photograph, and addresses the double-sided nature of the concept of representation. Analyses, in this context, Michael Snow's One Second in Montreal (1969), Side Seat Paintings Slides Sound Film (1970), Presents (1981), and La Region centrale (1970), Andrew Lugg's Plough, Skid, Drag (1973), Postcards (1974), and Black Forest Trading Post (1976), Chris Gallagher's Atmosphere (1975), Ellie Epp's Trapline (1976), David Rimmer's Seashore (1971), The Dance (1970), Surfacing on the Thames (1970), Watching for the Queen (1973), Canadian Pacific (1974), and Canadian Pacific II (1975), and Al Razutis's A Message from Our Sponsor (1980), 98.3KHz (Bridge at Electrical Storm) (1973), and Wild West Show (1980). 750 Larouche, Michel. « Films experimentaux ». Parachute no 28 (septembre-octobre-novembre 1982) 36-37. bibl, fr. Compte rendu de I'evenement « Films experimentaux » tenu a la galerie Vehicule Art de Montreal (Quebec), du 14 au 16 mai 1982. Michel Larouche discute des differentes tendances qu'on trouve dans les films experimentaux independants. Le mouvement structurel est illustre par des films tels que Migration (1969) et The Dance (1970) de David Rimmer, The Performance (1973) de Lois Siegel, les films de 1'Americain Robert Rayher qui travaille aussi au Canada, ainsi que Presents (1981) de Michael Snow. L'auteur mentionne le film d'Erosetta Stone, This Is Only a Test (1980), representant la tendance documentaire de cette ecole. 751 Elder, Bruce. The photographic image in Canadian experimental film. Cinema Canada no 97, supplement (June 1983) 58-64. bibl, En. Filmmaker Bruce Elder posits that Canadian avant-garde cinema from the late 1960s is anti-modernist because of its preoccupation with the analysis of photography and the post-modern concept of representation. Elder argues that the modernist movement in Canada produced no experimental cinema, with the exception of Vincent Grenier's

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Genres World in Focus (1976), and illustrates how Canadian avantgarde cinema repudiates modernist ideals of purity by examining Michael Snow's One Second in Montreal (1969), Wavelength (1967), Side Seat Painting Slides Sound Film (1970), and (Back and Forth), (1969), and Jack Chambers's Hart of London (1969) and Mosaic (1966).

752 Kitchener-Waterloo Art Gallery. Canadian Film Artists Personal Styles: Traditions and Influences. October 1983March 1984. Catalogue essay by Richard Kerr. Kitchener, Ont: Kitchener-Waterloo Art Gallery, 1984.14 p, 15 ill, En. Catalogue based on a ten-part series of 44 films by 15 independent filmmakers held at the Kitchener-Waterloo Art Gallery in Kitchener, Ontario, from October 1983 to March 1984. Films are listed by theme, and are accompanied by brief biographies and short statements by the film artists. "Collage Films : A Personal View" screens Veronika Soul's How the Hell Are You? (1972), Tales from the Vienna Woods (1974) and a variety of films made for the National Film Board (NFB) of Canada. "Optical Printing : Re Photography Workshop" shows Lorne Marin's Rhapsody on a Theme from a House Movie (1972), Second Impressions (1975), Trains of Thought (1983), and a selection of optically printed films. "Visual Essays : Origins of Film" includes Al Razutis's film of the same title from 1973, as well as five other films. Patrick Jenkins shows seven films including Wedding Before Me (1976) and Sign Language (1982). "Three Films about Fiction" includes Elaine Allan's Yukon Postcards (1983), Patricia Gruben's The Central Character (1977), and Sally Potter's Thriller (1983). Robert Frank's three films include Pull My Daisy (1983), Energy and How to Get It (1983), and Life Dances On (1983). "Two Fiction Films" is a presentation of Amnon Buchbinder and John A. Owen Ill's Criminal Language (1981) and Alan Zweig's Where's Howie (1983). "R. Bruce Elder" shows Elder's Illuminated Texts (1982) and a variety of his other works. The last of the series, "Films with Poetry and Text," screens Le Jardin (du paradis) (1982) by Raphael Bendahan, Waterworx (A Clear Day and No Memories) (1982), Landfall (1983), and Beach Events (1984) by Rick Hancox, and Somewhere between Jalostotitlan and Encarnacion (1984) by Philip Hoffman. 753 Kitchener-Waterloo Art Gallery. Contemporary Film Artists : Image Making; Messages and Meanings. October 1984-April 1985. Catalogue essay by Richard Kerr. Kitchener, Ont: Kitchener-Waterloo Art Gallery, 1984.14 p, 13 ill, En. Catalogue of a ten-part experimental film series, by Richard Kerr, curator, focussing on the redefinition of the language of image and sound, screened at the KitchenerWaterloo Art Gallery in Kitchener, Ontario, between October 1984 and April 1985. Provides quotes from filmmakers, critics, or artists for each of the films screened. Canadian films shown were Michael Snow's Wavelength (1967) and So Is This (1982), Philip Hoffman's The Road Ended at the Beach (1982), Keith Lock's The Highway (1983) and Everything, Everywhere Again Alive (1975), and Anna Gronau's Regards (1983). The last screening, a group of Canadian films, included Mike Hoolboom's Song for Mixed Choir (1980), Paul McGowan's Steve and Bob (1980), Keith Elliot's The Fear of Cancer (1983), Michaelle McLean's Untitled (1983), Janis Lundman's Las Aradas (1984), Gunvor Nelson's Take Off (1972), Richard Martin's Diminished (1979), and Al Razutis's Storming the Winter Palace (1984).

754 Elder, R. Bruce. Image: Representation and object; The photographic image in Canadian avant-garde film. Take Two, edited by Seth Feldman, 246-263. Toronto, Ont: Irwin Publishing, 1984. bibl, En. R. Bruce Elder contends that Canadian avant-grade films differ from the structuralist and modern avant-garde cinema of the 1940s to the mid-1970s in the United States and Europe, and are in fact post-modern in their concerns. Defines how the modern movement in art was motivated to purify the writing, painting, and sculpture of associations with other media to its essential qualities. Using as an example Michael Snow's One Second in Montreal (1969), Elder demonstrates how the film, informed by the Canadian artistic tradition of documentation, attempts to comprehend the inherent paradoxes of photograpy where representation is both presence and absence. Having established this theoretical framework, Elder appplies it to analyse Snow's films and how they differ in temporal structure from American experimental filmmaker Stan Brakhage's films. Discusses the question of time in Snow's Wavelength (1967) and Back and Forth (1969), and Chris Gallagher's Atmosphere (1975), the use of the frame and space in Snow's Presents (1981) and La Region centrale (1970), and Ellie Epp's Trapline (1976). Points out that the paradox of representing the past in the present evident in Jack Chambers's paintings is also evident in David Rimmer's Canadian Pacific (1974) and Canadian Pacific II (1975), and notes that filmmaker Al Razutis's films deal with cinematic concerns differently than Canadian avant-garde films. Seth Feldman, in his introductory comments, notes that Elder's analysis of Canadian experimental filmmakers presents Canadian avant-garde practise as Canada's foremost contribution to cinematic discourse. 755 Opsis (The Canadian Journal of Avant-garde and Political Cinema). 1 no 1 (Spring 1984-). Three times per year. Vancouver, BC : Canadian Society for the Advancement of Critical Cinema, Spring 1984-. ill, En. Published by the Canadian Society for the Advancement of Critical Cinema this publication attempts to expand the discourse on experimental films in Canada. Editors include Michael Eliot-Hurst, Al Razutis, and Tony Reif. Includes articles and reviews of films, film festivals, and current events effecting experimental filmmakers. 756 Porter, John. Artists discovering film. Vanguard 13 no 5-6 (Summer 1984) 24-26. ill, En. Traces the development of experimental film in Canada from the 1930s to the mid-1960s, beginning with the founding of the Vancouver Film Society in Vancouver, British Columbia and the Toronto Film Society in Toronto, Ontario, that sponsored a visit by American filmmaker Maya Deren to conduct a workshop and shoot a film. Examines George Dunning's Cadet Rousselle (1947) and relates influences by German filmmaker Lotte Reiniger on his work. Focuses on the films produced by Michael Snow, Joyce Wieland, Warren Collins, and Gordon Rayner, mentioning Paul Klee's influence on Snow, and relates Snow and Wieland's painting to their film work. 757 Sudre, Alain Alcide. Apercus sur le cinema experimental aujourd'hui: a propos des lieux de programmation aux Etats-Unis et au Canada. Cinema 84 no 309 (septembre 1984) 11-12.1 ill, fr.

Experimental Films / Cinema experimental Entrevue avec Yann Beauvais, un realisateur de films experimentaux, de passage aux Etats-Unis et au Canada pour presenter ses films. Selon lui, les Montrealais n'apprecient pas le cinema experimental, et a Toronto (Ontario), le public lui a semble plus important. II mentionne la Funnel Experimental Film Theatre, une maison de diffusion et production de films experimentaux a Toronto, comme etant la meilleure du genre au Canada. 758 Funnel Experimental Film Theatre. The Loved Ones : A Film Program. 11-19 October 1985. Catalogue essays by Michael Hoolboom, Janis Bowley, and Ian Cochrane. Toronto, Ont: Funnel Experimental Film Theatre, 1985. 20 p, 5 ill, En. Catalogue of experimental films by 12 international filmmakers screened at the Funnel Experimental Film Theatre in Toronto, Ontario, 11-19 October 1985. Documented by filmmaker and curator Michael Hoolboom, the series, concerned with sexual imaging and related theories and practises, is introduced in the form of a free flowing interpretative essay entitled, "The Importance of Being Penis." Lists films with brief comments by artists, critics, or Hoolboom. Includes one Canadian film, Baby Green (1974) by Ross McLaren. 759 Funnel Experimental Film Theatre. Cache du Cinema : Discovering Toronto Filmmakers. 11 January-19 April 1985. Catalogue essay by Dot Tuer. Postscripts by John Porter and Paul McGowan. Toronto, Ont: Funnel Experimental Film Theatre, 1985.13 p, 8 ill, En. The seven-night film series Cache du Cinema : Discovering Toronto Filmmakers, held at the Funnel Experimental Film Theatre in Toronto, Ontario, between 11 January and 19 April 1985, aimed to create an atmosphere conducive to the conception and reception of experimental film. Curator Dot Tuer describes how the series represents the production of experimental films in the Toronto community by students, unaffiliated artists, and Funnel supported filmmakers, and screens works not previously seen, or without the prospect of being exhibited in a public venue. Most of the student filmmakers, although exposed to experimental film, have not yet recognized the political and social uses of the form. The independent filmmakers, on the other hand, are more evocative and simpler in their approach and demonstrate an interest in representation, but lack concentrated artistic training in the medium. In comparison, the filmmakers operating within the Funnel network of production, distribution, and exhibition have dealt more powerfully with the potential of the cinematic medium and have subverted the dominant forms of narrative and social hegemony. The program lists the schedule of films and directors. A postcript by John Porter recommends that the Funnel devote a series to unaffiliated filmmakers because this series did not fully represent the range and scope existing in that community. A second postscript by Paul McGowan discusses how the interdependent structure of media, money, and politics may exclude artists but will not silence them. 760 Funnel Experimental Film Theatre; Art Gallery of Ontario. The Displaced Narrator. 22 February-22 March 1985. Catalogue essays by David Mclntosh, Marc Glassman and Carol McBride. Toronto, Ont: Funnel Experimental Film Theatre, 1985.12 p, ill, En.

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David Mclntosh introduces The Displaced Narrator, the series of films exhibited at the Funnel Experimental Film Theatre and the Art Gallery of Ontario in Toronto, Ontario, from 22 February to 22 March 1985, and defines the notion of narration in film. Co-curator Marc Glassman presents the narrative strategies that authors / filmmakers Alain Robbe-Grillet, Marguerite Duras, and Alain Resnais employ to express personal displacement and isolation, then contextualizes these preoccupations with language, text, authorship, representation, and dislocation in the films of Midi Onodera, Veronika Soul, Michaelle McLean, Betty Ferguson, Joyce Wieland, Ross McLaren, Patricia Gruben, Judith Doyle, and Peter Dudar. Program notes describe the deconstruction of existential weariness in Onodera's Ville? Quelle ville? (1985), the character fixations, visual repetitions, and narratives in Soul's New Jersey Nights (1979) and Michaelle McLean's Untitled (1983), the struggle for articulation and perceptions in Ferguson and Wieland's Barbara's Blindness (1965), Ross McLaren's Sex without Glasses (1983), and Gruben's Low Visibility (1984), the subversions of historical narrative in Doyle's Private Property, Public History (1982), and the use of autobiographical narrative in Dudar's Transylvania 1917 (1985). 761 Larouche, Michel. Des mots qui font (l')image: la preeminence de 1'expression verbale dans le jeune cinema experimental. Parachute no 38 (mars-avril-mai 1985) 10-19. 4 ill, bibl, fr. Dans cette communication presentee a 1'Association canadienne des etudes cinematographiques, a 1'Association quebecoise des etudes cinematographiques, ainsi qu'a la galerie Optica, Michel Larouche etudie I'importance de la bande-son dans le jeune cinema experimental. Selon 1'auteur, le cinema postmoderne remet en question la souverainete de 1'image en la deconstruisant tout autant que la bande sonore. II cite en exemple les films suivants : Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen (1974) de Michael Snow et D'apres Meg (1982) du Quebecois Vincent Grenier. Puis, il analyse le film de Michael Snow, So Is This (1982) ou, selon 1'auteur, le mot devient image et 1'expression verbale est utilisee comme moyen subversif pour remettre en question la predominance de 1'image photographique au cinema. 762 Sternberg, B. On (Experimental) Film. Cinema Canada no 124 (November 1985) 52. En. States that experimental film has an important role to play in advancing film as an autonomous artform in that it questions formal conventions in filmmaking, and discusses the problematic use of the label experimental. Briefly reviews the retrospective of the films of R. Bruce Elder held 1-11 October 1985 at the Art Gallery of Ontario in Toronto, Ontario. 763 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 125 (December 1985) 51. En. Discusses independent filmmaker Philip Hoffman's apprenticeship with British director Peter Greenaway on the set of Greenaway's latest project. During his apprenticeship, Hoffman made a short film entitled ?O, Zoo! (1986). Also discusses the current projects of experimental filmmakers Chris Gallagher and Joyce Wieland, and addresses the lack of public awareness about experimental film in Canada.

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Genres

764 Kitchener-Waterloo Art Gallery. Practices in Isolation: Canadian Avant-garde Cinema ; A Special Five-Part Series by Independent Film Makers on the Contemporary Arts. 527 April 1986. Introduction by Richard Kerr. Catalogue essays by A. Kass Banning, R. Bruce Elder, Eric Ferguson, Seth Feldman, Gary Popovich, and Stuart Liebman. Forword by Paul Blain. Kitchener, Ont: Kitchener-Waterloo Art Gallery, 1986.16 p, 7 ill, En. Catalogue for a five-part avant-garde film series screened at the Kitchener-Waterloo Art Gallery in Kitchener, Ontario between 5 and 27 April 1986 examines seven films by seven Canadian artists with excerpts from a variety of journals and commentaries. Kass A. Banning considers Joyce Wieland's ambivalent perspective on Canadian identity in Reason over Passion (1969); Bruce R. Elder looks at Jack Chambers's affirmation of visual representation in The Hart of London (1969); Eric Ferguson and Seth Feldman focus on Al Razutis's theme of destruction in Amerika (1983); Gary Popovich questions documentary truth in Philip Hoffman's ?O, Zoo! (1986); Popovich examines the relationship of filmmaker, son, and audience in Barbara Steinberg's A Trilogy (1985); Stuart Liebman investigates Michael Snow's use of camera movement in Presents (1981); and Loretta Czernis explores Elder's postmodern thought in Lamentations : A Monument for the Dead World (1985). 765 Larouche, Michel. La place singuliere du cinema experimental. Derives no 52 (1986) 51-66. 4 ill, fr. L'auteur note que 1'image du cinema quebecois est davantage liee a celle d'un cinema engage dans les causes sociales. Mais la place qu'y occupe le cinema experimental est importante au point d'en etre une specificite. 766 Larouche, Michel. Le cinema experimental: aujourd'hui le cinema quebecois. Aujourd'hui le cinema quebecois : dossier, 96-101. Paris, France : Cerf et Office francoquebecois pour la jeunesse, 1986. 3 ill, fr. Peu de films experimentaux quebecois ont vu le jour avant 1980, mais ce genre a toujours fait partie de 1'evolution de la cinematographie quebecoise. Aujourd'hui encore, 1'Office national du film (ONF) du Canada fait figure de proue dans ce domaine, du moins comme soutien de 1'industrie privee ou comme producteur. On presente quelques-unes des oeuvres les plus marquantes du cinema experimental quebecois. 767 Steinberg, B. On (Experimental) Film. Cinema Canada no 126 (January 1986) 59. En. Barbara Sternberg describes the task of her column as a way to further the distribution of experimental films. Examines what that task involves and the options available for the viewing as well as the exhibition of avantgarde cinema in Canada. Cites locations across Canada committed to the advancement of experimental films. 768 Sternberg, B. On (Experimental) Film. Cinema Canada no 128 (March 1986) 56. En. An update of recent events influencing experimental filmmaking. Includes a comment on the lack of support for avant-garde films from the Canadian Broadcasting Corporation (CBC).

769 MacDonald, Scott. Text as image in some recent North American avant-garde films. Afterimage 13 no 8 (March 1986) 9-20. 30 ill, bibl, En. Argues that North American experimental filmmakers have recently developed a unique juncture of literary and filmic arts in which the use of the printed text serves to engage the spectator's mind in a literary experience that is fundamental to the particular cinematic experience. Provides a brief history of filmic explorations of visual texts, citing Joyce Wieland's Sailboat (1967) and 2933 (1967) as examples of image text filmmaking. States that in the early 1970s, North American experimental filmmakers began to elaborate the interface between the printed text and the photographic image, and it is in this context that Michael Snow's So Is This (1982), Rick Hancox's Waterworx (A Clear Day and No Memories) (1982), Landfall (1983), and Beach Events (1984), and Bruce Elder's 1857 (Fool's Gold) (1981), Illuminated Texts (1982) and Lamentations: A Monument for the Dead World (1985) are analysed in detail. 770 TVO runs show on new film directors. Cinema Canada no 129 (April 1986) 57. En. Discusses TV Ontario's latest movie oriented program, New Directions : Film that uses an innovative style to feature independent filmmakers and experimental Canadian films. 771 Sternberg, B. On (Experimental) Film. Cinema Canada no 133 (September 1986) 71-72. En. Discussion of European interest in Canadian independent films, the financial difficulties Canadian filmmakers encounter while trying to attend festivals in which their films are being screened, and Dr. Brian Lewis's recent study on film distribution and exhibition called Canadian Independent Film Distribution and Exhibition: The State of Things (Ottawa : Department of Communications, 1986) which reiterates the magnitude of foreign control on these areas. 772 Steinberg, B. On (Experimental) Film. Cinema Canada no 136 (December 1986) 50-51. En. Lists magazines, monographs, and books published on experimental film. 773 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 137 (January 1987) 51. En. Relates American filmmaker Peter Rose's view on the invaluable experience for a filmmaker of presenting his or her film to a well-informed and appreciative audience. Barbara Sternberg expresses her distress at the refusal of many people within the artistic community to accept experimental film as an artistic medium. Cites new experimental films that have been released or are currently being produced. 774 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 138 (February 1987) 47. En. Describes films completed in early 1987, such as Kirk Tougas's Return to Departure: The Biography of a Painting or Watching Pigment Dry and Other Realisms (1986), Chris Gallagher's Undivided Attention (1987), and Gary McLaren's Just Talk (1986). Films in the works, including Philip Hoff-

Experimental Films / Cinema experimental man's Passing Through/Torn Formations (1987) and Midi Onodera's The Displaced View (1987), are also described. 775 Steinberg, B. On (Experimental) Film. Cinema Canada no 139 (March 1987) 49. En. Barbara Sternberg analyses the filmmaker as a critic through audience response to a viewing of Al Razutis's film analysing post-modern theory Kalling All Kanadian Kritics (1987). Discusses questions raised by Bruce Elder's lecture "The Death of a Canadian Art Movement" which deals with theory and institutional influence on aesthetics, followed by an analysis of Anna Gronau's Regards (1983). 776 Sternberg, B. On (Experimental) Film. Cinema Canada no 140 (April 1987) 70. En. Notes the abundance of experimental films screened at various venues in Toronto, Ontario. Notes that the first prize of the Chicago Experimental Film Coalition of Chicago, Illinois, was shared by Rick Hancox and Carolyn McLuskie. Questions the kind of support experimental film cooperatives are providing. 777 Sternberg, B. On (Experimental) Film. Cinema Canada no 142 Gune 1987) 48-49. En. Notes a disintegration of definitive barriers between film genres with festivals screening selections of documentary, narrative, and experimental films together, and discusses filmmaker Yvonne Rainer's use of different stylistic methods in her films. Offers a review of a retrospective of Joyce Wieland's films at the Art Gallery of Ontario in Toronto, Ontario, that included the premiere of Kay Armatage's documentary on Wieland, Artist on Fire (1987), and panel discussions. 778 Sternberg, B. On (Experimental) Film. Cinema Canada no 143 July-August 1987) 47. En. Barbara Sternberg asks what the relationship is between academia and film. By exploring the various programs offered at the Ontario College of Art, Ryerson Polytechnical Institute, York University, and the University of Toronto, all in Toronto, Ontario, as well as addressing such topics as subjectivity versus objectivity and the historical method versus theoretical paradigms, Sternberg concludes that the topic needs more of an in-depth treatment than her column will allow. 779 Sternberg, Barbara N. On (Experimental) Film. Cinema Canada no 146 (November 1987) 44. En. Reports on the 7th Wave Seminar in Wolfville, Nova Scotia and the Plains Canada Film and Video Conference in Winnipeg, Manitoba. Notes that both conferences produced a variety of films and videos in several genres and discusses the adverse audience reaction to James Benning's Landscape Suicide (1987) at the 1987 Festival of Festivals in Toronto, Ontario. 780 Sternberg, Barbara N. On (Experimental) Film. Cinema Canada no 147 (December 1987) 55. En. Richard Johnson's "Moving Images," a series that combined works in a variety of visual mediums produced by artists from across Canada, is discussed. Joyce Wieland and Peter Morris, both presenters at "Culture at the Cross-

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roads," the first Wendy Mitchener Symposium, held at York University in Toronto, Ontario, are mentioned. 781 Art Gallery of Ontario. Recent Work from the Canadian Avant-garde. 13 October-20 November 1988. Edited by Catherine Jonasson and Jim Shedden with assistance from Bart Testa. Catalogue to accompany the film series held at the Art Gallery of Ontario and the Innis Film Society. Toronto, Ont: Art Gallery of Ontario, 1988. 26 p, 27 ill, En. This catalogue, published in conjunction with a screening of Canadian experimental films, 13 October-20 November 1988, was conceived and organized by the Film and Video Department of the Education Division of the Art Gallery of Ontario in Toronto, Ontario, and the Innis Film Society. Films were selected by Catherine Jonasson of the Art Gallery of Ontario and Jim Shedden of the Innis Film Society, with additional editorial assistance from Bart Testa. Testa analyses Bruce Elder's latest films from The Book of All the Dead cycle, titled Illuminated Texts (1982), Lamentations : A Monument for the Dead World (1985), and Consolations (1988), noting their apocalyptic qualities, themes of division and disintegration, and traits of philosophical theology. Jonasson discusses Michael Snow's subtlety in exploring forms of communication in his films So 7s This (1982) and Seated Figures (1988), and explores how the viewer is absorbed in the spiritual, literal, and intellectual aspects of the film experience. Testa defines the patterns, compositional themes and musical structures of Ellie Epp's Trapline (1976), Current (1983), and Notes in Origin (1987), and concentrates on the political and personal limits of Richard Kerr's Hawkesville to Wallenstein (1977) and The Last Days of Contrition (1988). Mike Zyrd covers the manipulation of time and exploration of the body in Barbara Sternberg's Opus 40 (1979), Transitions (1982), and Tending Towards the Horizontal (1988), and suggests that Fumiko Kiyooka's A Place with Many Rooms (1987) provides for a release of the aesthetic and erotic qualities of the human form. Catherine Russell notes the dynamic quality of the abruptly edited sequences in Chris Gallagher's Undivided Attention (1987), and Zyrd reviews Michael (Mike) Hoolboom's performance in two films focussing on love and sex, Was (1989) and From Home (1988). 782 Sternberg, Barbara N. On (Experimental) Film. Cinema Canada no 148 (January 1988) 44. En. Criticizes the film production grants offered by the Ontario Arts Council and the Canada Council for not allowing for multiple release printing expenses. States that independent film distribution is inhibited by lack of funds for advertising, posters, and release prints. Explains how filmmaker Carl Brown avoids language and theory in his film Condensation of Sensation (1987) by combining an improvisational soundtrack with random and spontaneous images. 783 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 151 (April 1988) 49. En. Discusses the new programming direction taken by YYZ, a non-profit, artist-run centre in Toronto, Ontario, that is dedicated to the exhibition of contemporary artworks, and states that the first exhibition under its new mandate will be film work of Annette Mangaard. Also discusses filmmaker Michael Snow's recent tour of Japan where he screened a number of his films, and examines his latest

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Genres film Seated Figures (1988) in terms of pure formalism and viewer experience.

784 Steinberg, Barbara. On (Experimental) Film. Cinema Canada no 153 (June 1988) 46. En. Discusses Brenda Longfellow's latest film Our Marilyn (1987), which shared an international jury award at the 1988 International Short Film Festival of Oberhausen in Oberhausen, Germany, with Gary Popovich's Immoral Memories 1 (1988). States that the influence of teachers Rick Hancox, Richard Kerr, and Philip Hoffman on the Film Department at Sheridan College in Oakville, Ontario, has resulted in a recognizable school of experimental filmmaking known as the "escarpment group" and that Hoffman will be screening his film Passing Through / Torn Formations (1987) at the upcoming 1988 Film and Television Festival in Salso, Italy. Criticizes the National Gallery of Canada in Ottawa, Ontario, for favouring video over film in its acquisition policy, and mentions two upcoming experimental film exhibitions, the Northern Visions Festival at the Art Gallery of Ontario in Toronto, Ontario, and the Summer Screen Series at the Pitt International Galleries in Vancouver, British Columbia. 785 Hoolboom, Mike. On (Experimental) Film. Cinema Canada no 154 Quly-August 1988) 57. En. Reports that the National Gallery of Canada in Ottawa, Ontario, has gathered film and video under a newly appointed administrative office. Describes the gallery's video room, equiped with four continuously running monitors, breaking only to signal tapes by artists from different regions of the country. Argues that video is more accessible in the gallery than film, which is housed in the basement. Notes paradoxically that video makers coming from art schools produce works that resemble television, while filmmakers graduating from colleges or universities make films that resemble art. 786 Sternberg, Barbara. How we sit and just watch it all. Cinema Canada no 155 (September 1988) 66. En. Analyses the use of popular imagery in Richard Kerr's The Last Days of Contrition (1988). Filmmaker Annette Mangaard discusses her film Northbound Cairo (1987) as a parody of lifestyles in which she has constructed a series of layers or walls through which the audience sees the characters but are not able to relate to them. 787 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 157 (November 1988) 34. En. Examines the relationship between feminist and avantgarde films. Questions whether these categories are mutually exclusive. 788 Art Gallery of Ontario. Spirit in the Landscape. 28 March-24 April 1989. Catalogue essay by Bart Testa. Toronto, Ont: Art Gallery of Ontario, 1989. vii, 71 p, 41 ill, bibl, En. The catalogue introduction presents Northrop Frye's theory that the experience of the land in Canada determines the Canadian sensibility, and explores this preoccupation in art and literature using the landscape paintings of the Group of Seven as an example. The stated concern of the series is to screen film works of Canadian artists who not only take camera shots of landscape, but consciously use

the camera the same way a painter does a canvas. "A Presence in the Landscape" studies changes in the landscape motif in David Rimmer's Canadian Pacific (1974), Migration (1969), and Narrows Inlet (1980), Jim Anderson's Moving Bicycle Picture (1978), Rick Hancox's Waterworx (A Clear Day and No Memories) (1982), and Raphael Bendahan's Le Jardin du paradis (1982). "A Movement Through Landscape" looks at Joyce Wieland's Sailboat (1967), Jack Chambers's Circle (1969), and Michael Snow's Seated Figures (1988), tracing the influences on these painters turned filmmakers. "The Allegorical Landscape" analyses how Richard Kerr's On Land Over Water (1984) and Barbara Steinberg's A Trilogy (1985) use visual landscape to redefine the landscapes of gender and language. "The Philosophical Landscape" explores the ambivalent relationship of consciousness, physical nature, and technology in Bruce Elder's Illuminated Texts (1982). "The Machine in the Garden" describes Michael Snow's manipulation of time and space in La Region centrale (1970) to convey how the landscape triggers the emotive reactions of fear and wonder. 789 Sujir, Leila. On (Experimental) Film. Cinema Canada no 159 (January 1989) 43. En. Brief survey of American feminist film theorists, Teresa De Lauretis's Technologies of Gender (Bloomington : Indiana University Press, 1987), Kaja Silverman's The Acoustic Mirror (Bloomington: Indiana University Press, 1988), and Julia Kristeva's Desire in Language (New York: Columbia University Press, 1980) to contrast and give context to Kay Armatage's critical perspective expressed in "Fashions in feminist film theory" (Descant 19 no 2 (Summer 1988) 90-115). Briefly analyses experimental filmmaker Armatage's Artist on Fire (1987) about Joyce Wieland and suggests how feminist theory is directly engaged with Armatage's art form and content. 790 Russell, Catherine. On (Experimental) Film: Room for a view. Cinema Canada no 160 (February-March 1989) 20. En. Argues that feminist filmmaking no longer shares the same goals of counter-cinema. Concedes that films by women still dismantle the gender codes and convention of mainstream cinema from outside the narrative filmic structure, yet claims that feminist filmmakers have adopted new strategies in the recent past. Posits that feminist filmmakers are representing and reclaiming women on film, rather than exclusively critiquing the patriarchy. Analyses Patricia Gruben's Sifted Evidence (1981) and Jackie Burroughs's A Winter Tan (with Louise Clark, John Frizzell, John Walker, and Aerlyn Weissman, 1987) as examples of feminist film that successfully reclaim the narrative without guilt. Concludes that feminist filmmaking is a flourishing minor art in Canada, not a marginal art. 791 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 161 (March-April 1989) 28. En. Discusses the relationship between feminist film and avant-garde film. In earlier articles Leila Sujir (Cinema Canada no 159 (January 1989) 43) suggested that their commonality lies in their ability to question and oppose mainstream, patriarchial culture and Catherine Russell ("Room for a View," Cinema Canada no 160 (February-

Experimental Films / Cinema experimental March 1989) 20) suggested that too much attention is paid to defining and maintaining rigid film categories. Sternberg argues that neither Sujir nor Russell address the problem of situating feminist film in relation to the avant-garde, which has become regarded as male. Lists the films pre-selected by Doina Popescu of the Goethe Institute in Toronto, Ontario, for the 1989 International Short Film Festival of Oberhausen held in Oberhausen, Germany. Films pre-selected included Richard Kerr's The Last Days of Contrition (1988), Chuck Clarke's 8 Frames / Second (1988), Barbara Sternberg's Tending Towards the Horizontal (1988), Lisa Miles's Hiroti (1988), Stephen Butson's Isis (1988), Tim River's Frame of Mine (1988), Roy Cross's Thru the Looking (1988), and Andrea Sadler's The Red Shoes (1987). Announces upcoming experimental film activity for spring 1989, including the International Experimental Film Congress 28 May-4 June 1989 in Toronto, Ontario. 792 Bruce, Bryan. Underground. CineAction! no 16 (May 1989) 73-75. 3 ill, En. Interviews underground filmmakers G.B. Jones and Bruce LaBruce, based in Toronto, Ontario, who identify their favourite Canadian films and describe their video compilation of Super-8 movies about homosexual and punk culture. They dislike the notion of a national cinema, calling it corrupt, and prefer not to distinguish between films shot in Canada and Canadian films. Claims that the Canadian national film identity is not based on failure, but on success stories within the male dominated fields of sports and business. Names films on their video compilation, including LaBruce's I Know What It's Like to Be Dead (1989) and Boy /Girl (1988), Jones's The Troublemakers (1989), and Tab Twain's Sex Bomb (1989). Observes that it is easier to find a venue for their video in Montreal, Quebec, than in Toronto. 793 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 165 (July-August 1989) 26. En. News of recent events in the field of experimental film, including the planned construction of a 30 seat film and video screening room at the Art Gallery of Ontario in Toronto, Ontario, Stan Brakhage's recent move to Toronto, and his address at the gallery's 1989 exhibition of "Spirit in the Landscape," a travelling exhibition of experimental films. 794 Banning, Kass. It's my party: Twisting and shouting at the International Experimental Film Congress. Cinema Canada no 166 (September 1989) 26-27.1 ill, En. Reports that the International Experimental Film Congress, held in Toronto, Ontario, 28 May-4 June 1989, was characterized by controversy and contestation regarding the aesthetic, political, and historical context of experimental filmmaking. Claims that the congress did not live up to expectations because of its narrow, institutional focus, its stress on the official history of experimental film, and its refusal to address contemporary aesthetic issues such as canon formation, the constitution of value, authorship, the structuring absences of the other, and the relationship between culture and the dominant political economy. Also claims that the congress emphasized preservation over experimentation in its structure and programming, and that a division between curated and non-

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curated screenings established a hierarchy which contributed to the congress's generational conflicts. Refers specifically to two positive highlights of the festival, namely Michael Dorland's paper on the Canadian avant-garde film practice, and Janine Marchessault's introduction to Canada's "Emerging Generation" screening. Both Dorland and Marchessault touch on the issue of Canadian specificity and context in experimental film practice. 795 Hoolboom, Mike. On (Experimental) Film. Cinema Canada no 166 (September 1989) 27. En. Contends that the International Experimental Film Congress, held 28 May-4 June 1989 in Toronto, Ontario, was a celebration of film formalism that excluded anyone outside of the white middle-class hegemony of traditional art practice. Discusses the specific methods of exclusion of minorities in Canadian experimental film practice, and questions why the field of experimental film has not had a discernible impact on women and Asian, black, and Hispanic communities. 796 Macdonald, Ronald Foley. "The Act of Seeing with One's Own Eyes" : New films by independent filmmakers. ArtsAtlantic 9 no 3 (Fall 1989) 65. En. Describes an experimental film series called The Act of Seeing with One's Own Eyes held at the National Film Board (NFB) of Canada in Halifax, Nova Scotia, 30 March, 11,18 and 25 April 1989 and the Nova Scotia College of Art and Design 8 April 1989. The series was organized by David Miller with funding from the Centre for Art Tapes, the Canada Council, the government of Nova Scotia and the city of Halifax. Many of the films were new although there was also concentration on important older works including that of Stan Brakhage. Lists films shown at the series including works by Canadian and international artists, as well as recent films by Atlantic experimental filmmakers including The Act of Seeing with One's Own Eyes (Stan Brakhage, 1971), Thigh Line Lyre Triangular (Stan Brakhage, 1961), Seated Figures (Michael Snow, 1988), Condensation of Sensation (Carl Brown, 1978), The Last Days of Contrition (Richard Kerr, 1988), Tending Towards the Horizontal (Barbara Sternberg, 1988), Damned If You Don't (Su Friedrich, 1987), From Home (Mike Hoolboom, 1988), Eight and One Half Frames Per Second (Charles Clark, 1989), Jackass Johnny (Alex Busby and David Coole, 1988), Nightshade (Melissa Atkinson, 1989), and mentions Melinda Sato and David Lanier although does not give titles of their Super-8 and video works. 797 Sternberg, Barbara. On (Experimental) Film. Cinema Canada no 168 (November 1989) 32. En. Discusses filmmaker Philip Hoffman's plans to exhibit a selection of experimental films throughout Western Canada and the emergence of the Pleasure Dome group in Toronto, Ontario, which will be dedicated to the exhibition of experimental films. Also mentions some of the 73 films screened at the 1989 International Experimental Film Congress in Toronto. 798 Russell, Catherine. Whose party? Cinema Canada no 168 (November 1989) 4. En. A letter in response to Kass Banning's review of the International Experimental Film Congress held in Toronto, Ontario, 28 May-4 June 1989 (Cinema Canada no 166 (Sep-

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tember 1989) 26-27). Takes exception to Banning's designation of the graduate students in the Department of Cinema at New York University in New York City, New York, as a uniform American clique that like the congress is in favour of aesthetic rather than social or political concerns.

Animated Films / Cinema cTanimation 799 Mackay, James. Animation in the Canadian film. Studio 129 no 625 (April 1945) 115. 3 ill, En. Argues that the animated films produced by the National Film Board (NFB) of Canada adopt personal methods of creation. Explores the technique of moving cut-out figures in response to music, as employed by the NFB, and the painting and drawing on film stock as used by Norman McLaren in Mail Early (1941). 800 Parker, Morten. Animating cartoons involves precise technique. Saturday Night 60 (9 June 1945) 5, 23. 2 ill, En. Outlines the technical steps involved in creating animation on film. Describes advances made by the animation department at the National Film Board (NFB) of Canada, such as drawing directly onto the film. 801 Wattiez, Suzanne. Le temps du montage. Sequences no 38 (octobre 1964) 64-65. fr. Breves presentation et description des techniques du montage du cinema d'animation. 802 Wattiez, Suzanne. 1, 2, 3 dimensions. Sequences no 39 (decembre 1964) 66-67. fr. Suite d'un article sur le cinema d'animation et ses techniques Suzanne Wattiez discute de 1'animation tridimensionnelle. 803 Stephenson, Ralph. Animation in Canada and Britain. Animation in the Cinema, 71-96. London, England: A. Zwemmer; New York, New York : A.S. Barnes, 1967. 14 ill, En. Discusses the innovations of National Film Board (NFB) of Canada animator Norman McLaren with emphasis on his films Neighbours (1952), Canon (with Grant Munro, 1964), and Pas de deux (1968). Describes the different methods McLaren employs including drawing directly on celluloid, continuous tracking and dissolving, pixillation, cut-out shapes, and chronophotography. Introduces and lists films of other NFB animators, Grant Munro, Rene Jodoin, Evelyn Lambart, Wolf Koenig, Derek Lamb, Colin Low, Jim MacKay, and Gerald Potterton, and mentions the work of independent animators Cioni Carpi, Trevor Fletcher, and Al Sens. 804 NFB screens animation unit films/L'ONF presente les films du service d'animation. Canadian Composer/Le Compositeur canadien no 48 (March 1970) 46.1 ill, En, fr. Reports on a retrospective of the films produced by the National Film Board (NFB) of Canada's animation unit,

which opened on 17 January 1970 at the Montreal Museum of Fine Arts in Montreal, Quebec. Among the films featured were Norman McLaren's Dollar Dance (1943), Pas de deux (1968), and Neighbours (1952), and Evelyn Lambart's Fine Feathers (1968). Le 17 Janvier 1970 a eu lieu, au Musee des beaux-arts de Montreal a Montreal (Quebec), 1'ouverture d'une retrospective des films produits par le service d'animation de 1'Office national du film (ONF) du Canada Parmi les oeuvres presentees, on trouve Dollar Dance (1943), Pas de deux (1968) et Neighbours (1952) de Norman McLaren ainsi que Fine Feathers (1968) d'Evelyn Lambart. 805 Glover, Guy; Goldsmith, Sidney; May, Derek; McLaren, Norman ; Liang, Kar ; Longpre, Bernard ; Larkin, Ryan; Raxlen, Rick; Coderre, Laurent; Winkler, Donald. Nine film animators speak. Artscanada 27 no 2 (April 1970) 28-34. 24 ill, En. Nine film animators from the National Film Board (NFB) of Canada speak about their current projects. Sidney Goldsmith talks about Espolio (1970), in which he leaves the camera's shutter open to create a blurred effect. Derek May provides stills from his current film and Norman McLaren talks about animating both sound as well as film. Kar Liang discusses applying computer technology to animation, while Ryan Larkin states that he prefers a less technical process. Bernard Longpre claims that his brand of animation does not follow the linear form of story telling. Ritchard Raxlen, referring to his film Legend (1970), wants to encourage more audience involvement. Donald Winkler follows the demise of a pathological doodler in Doodle Film (1970), while Laurent Coderre muses on the process of creativity surrounding his film Les Fleurs de macadam (1969). 806 Animation. Pot Pourri (April 1972) 2-20. En. Discusses the animated films produced at the National Film Board (NFB) of Canada. Bob (Robert) Verrall, Rene Jodoin, and Wolf Koenig write on animation in general. Various filmmakers talk about their animated films including Michael Mills, Co Hoedeman, Don Arioli, Evelyn Lambart, and George Geertsen. 807 Matthews, William N. Reverb (letter). Cinema Canada no 6 (February-March 1973) 74. En. A letter to the editor of Cinema Canada from William N. Matthews, animation master at Sheridan College in Toronto, Ontario. Matthews outlines the problems faced by young animated filmmakers and suggests ways in which these problems may be rectified. 808 Stanley, Joanne. Reverb (letter). Cinema Canada no 8 (June-July 1973) 78. En. Joanne Stanley, public relations assistant of Crawley Films responds to a letter written by William N. Matthews, animation master at Sheridan College in Toronto, Ontario (Cinema Canada no 6 (February-March 1973) 74). Stanley objects to Matthew's disregard for the animation department at Crawley Films and points out that next to the National Film Board (NFB) of Canada, Crawley Films is the largest permanent animation shop in Canada, that it has been in existence for over 25 years, and that it has produced over 125 animated television films.

Animated Films / Cinema d'animation 809 ASIFA Canada. 1 no 1 - (April 1974 -). Three times per year. Title varies, appearing occasionally as ASIFA Canada News / Nouvelles and ASIFA. Montreal, Quebec : Association internationale du film d'animation, Canada, April 1974-. ill, En, fr. The newsletter is devoted to animated filmmaking, focussing in particular on the activities of the Canadian membership of the Association internationale du film d'animation (ASIFA Canada). It first appeared as ASIFA Canada News I Nouvelles and featured brief news updates on animated film productions and festivals, with entries and drawings produced by the filmmakers themselves. Early editions were published irregularly without the support of an editorial board under the direction of successive ASIFA presidents Graeme Ross, Co Hoedeman, and Louise Beaudet until 1980, after which time Christine Lemoine, Bernard Landry, Lina Gagnon, Joyce Borenstein, Francine Leger, and Helene Tanguay assumed responsibility for its publication. Louise Beaudet remained closely involved with the bulletin throughout the 1980s. From its beginning, contributors to ASIFA Canada included numerous animators and producers of international acclaim, many of whom are associated with the animation studios of the National Film Board (NFB) of Canada. Notable figures include Norman McLaren, Rene Jodoin, Gerald Potterton, Wolf Koenig, Jacques Giraldeau, Graeme Ross, Gaston Sarault, Clorinda Warny, Co Hoedeman, George Geertsen, Bill Maylone, David Fine, Louise Beaudet, Frederic Back, Bettina Matskuhn, Jacques Drouin, Kelly O'Brien, Robert Belisle, Joyce Borenstein, Richard Condie, Lynn Smith, Pierre Hebert, Janet Perlman, Heidi Blomkvist, John Halas, Michele Pauze, Marcy Page, Suzanne Gervais, Francine Desbiens, Cordell Barker, Ishu Patel, and Gordon Martin. Throughout its existence, the journal has published original and translated articles in both French and English. Subjects include films in production, festivals, new developments in techniques and technology, and interviews with animators. Bulletin d'informations consacre au cinema d'animation et plus particulierement aux activites des membres canadiens de 1'Association internationale du film d'animation (ASIFA Canada) Ce bulletin, connu d'abord comme ASIFA Canada News / Nouvelles, presentait de breves nouvelles mises a jour sur les productions et les festivals de films d'animation avec des articles et illustrations des cineastes memes. Les premieres editions, publiees de fac.on irreguliere, emanaient d'un conseil editorial dirige par les presidents successifs d'ASIFA, Graeme Ross, Co Hoedeman et Louise Beaudet jusqu'en 1980, apres quoi Christine Lemoine, Bernard Landry, Lina Gagnon, Joyce Borenstein, Francine Leger et Helene Tanguay ont assume la responsabilite des publications. Durant les annees 1980, Louise Beaudet est restee impliquee dans la publication du bulletin. Depuis le debut, plusieurs animateurs et producteurs de grand renom ont collabore a ASIFA Canada dont des collaborateurs des studios d'animation de 1'Office national du film (ONF) du Canada. Parmi ces personnes on retrouve Norman McLaren, Rene Jodoin, Gerald Potterton, Wolf Koenig, Jacques Giraldeau, Graeme Ross, Gaston Sarault, Clorinda Warny, Co Hoedeman, George Geertsen, Bill Maylone, David Fine, Louise Beaudet, Frederic Back, Bettina Matskuhn, Jacques Drouin, Kelly O'Brien, Robert Belisle, Joyce Borenstein, Richard Condie, Lynn Smith, Pierre Hebert, Janet Perlman, Heidi Blomkvist, John Halas, Michele Pauze, Marcy Page,

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Suzanne Gervais, Francine Desbiens, Cordell Barker, Ishu Patel et Gordon Martin. Le journal a public des articles en frangais et en anglais, dont des traductions. Les themes couverts incluaient les films en production, les festivals, les nouveaux developpements techniques et technologiques et les interviews avec des animateurs. 810 Frot-Coutaz, Gerard. « Tout ecartille » dans la ville. Cinema 74 no 187 (mai 1974) 98-100. fr. Programme d'un festival de courts metrages presentes dans un cinema de Paris (France), Le Seine, et organise par la societe de distribution Art et Essai, qui a comme theme « 1'homme dans la ville. » Quelques films presentes sont canadiens, soit Dans la vie ... (Pierre Veilleux, 1972), Le Bleu perdu (Paul Driessen, 1972) et Tout ecartille (Andre Leduc, 1972). 811 Kermoyan, Mireille. Image par image au Quebec. La Revue du cinema : Image et Son no 285 (juin-juillet 1974) 59-61. 1 ill, fr. Resume des activites des principaux centres de production quebecoise dans le domaine du cinema d'animation. On fait mention des organismes gouvernementaux dont 1'Office national du film (ONF) du Canada, la Societe Radio-Canada (SRC) et Societe Radio-Quebec. On souligne aussi, brievement, le travail fait dans le secteur prive. 812 Notes on animation overseas : Canada. Journal of the Society of Film and Television Arts I no 2-3 (Fall 1974-Winter 1975) 3-4.1 ill, En. Brief survey of animation in Canada citing the seminal role played by the National Film Board (NFB) of Canada with a primarily non-commercial orientation that allows filmmakers to reach their full potential. Notes the role played by John Grierson in the establishment of the NFB and the numerous filmmakers who have worked in the field of animation for the NFB including Norman McLaren, Grant Munro, George Dunning, Bob Verral, Wolf Koenig, Colin Low, Gerald Potterton, Bretislav Pojar, Rene Jodoin, Kay Pindal, and Ryan Larkin. Identifies Zlatko Grgic's Hot Stuff (1971) as one of the best works produced by the NFB in recent years and notes the contribution of Sidney Goldsmith to educational animated filmmaking. Also mentions the increase of animation by independent studios and the course being offered under the direction of Bill (William N.) Matthews and Tom Halley of the School of Visual Arts, Sheridan College, in Oakville, Ontario. 813 Arioli, Don. Writing images. Motion (NovemberDecember 1974) 37-39. 24 ill, En. Animator Don Arioli uses cartoon images and captions to explain the process of writing a storyboard for animated films. 814 Halas, John. Graphics in motion 1: Animated graphics. Novum Gebrauchsgraphik 46, pt. 2 (February 1975) 17-24. 38 ill, En, fr, Ge, Sp. Discusses the application of graphic design principles and artwork in animated films. Explores the possibilities of the medium, from cartoons to rich textures and designs. Looks at the work of graphic artists involved in animation, including Ryan Larkin.

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Article portant sur les applications de 1'art graphique dans le cinema d'animation Traite des possibilites qu'offre ce moyen d'expression tant pour le dessin que pour les dessins animes ou les textures riches qu'ils permettent d'obtenir. On y aborde le travail des graphistes, dont Ryan Larkin, en cinema d'animation. 815 Falardeau, Mira. L'humour visuel: histoire et technique: caricature, bande dessinee, dessin anime (Cahier de communication graphique, no 5). Quebec, Quebec : Ecole des arts visuels, Universite Laval, 1976. 76 p, 141 ill, bibl, fr. Document reconstituant 1'histoire et les techniques de 1'humour visuel. Une section porte sur le cinema et le film d'animation. On y analyse le travail du cineaste Norman McLaren et certains de ses films dont Hen Hop (1942), Blinkity Blank (1955) et // etait une chaise (avec Claude Jutra, 1957). L'auteur souligne aussi le film En marchant (1968) de Ryan Larkin. 816 Shale, Rick. Walt Disney's Canadian films. Motion 5 no 3 (1976) 30-32. 4 ill, En. Discussion of the use of Walt Disney cartoons in films produced for the National Film Board (NFB) of Canada during the 1940s. Focussing on John Grierson's April 1941 visit to the Walt Disney studios in California. Notes Grierson was interested in the possible application of animation to purposes other than entertainment. Describes Grierson's purchase, on behalf of the NFB, of the Canadian rights to Disney's Four Methods of Flush Riveting (1942). Also relates an agreement to produce at cost four short trailers, The Thrifty Pig (1941), The Seven Wise Dwarfs (1941), Donald's Decision (1942), and All Together (1942), advocating the purchase of Canadian War Savings Certificates. A fifth film, Boys Anti-Tank Rifle (Stop that Tank) (1942), was commissioned by Grierson and released to military audiences in 1942. 817 Pill, Jaan. Toronto: Becoming animated. Cinema Canada no 30 (August 1976) 26-29. 5 ill, En. Examines the precarious position of five commercial animation studios in Toronto, Ontario : M.S. Art Services, Cinera Productions, Videoart Productions, Certified Canadian Content Productions, and Film Design. Some have survived through diversification, taking on other types of activities such as floor shows, and slide presentations. Others are looking increasingly towards the American market, creating animation for clients such as the Children's Television Workshop. There are few opportunities to produce longer Canadian animated films because the National Film Board (NFB) of Canada dominates in the area of the more lucrative government sponsored projects. Television commercials form the backbone of the industry, but even that has been threatened since Quebec banned animated commercials directed at children under 13. 818 Pill, Jaan. Tidbits about animators. Cinema Canada no 30 (August 1976) 30.1 ill, En. Examines how animated filmmaker Willy Ashworth's recent difficulties with the Ontario Educational Communication Authority led to the formation of the Canadian Animation Producers Association. Animators, according to Al Guest, have generally felt overlooked in umbrella

organizations such as the Council of Canadian Filmmakers. Mentions the National Film Board (NFB) of Canada's projects in Vancouver, British Columbia, and Cape Dorset, Northwest Territories, involving children in the making of animated films. Also includes a short discussion with freelance filmmaker Dennis Pike on the luxury of time at the NFB as compared with working outside. 819 Lakin, N'eema. Animation in Vancouver. Cinema Canada no 30 (August 1976) 34-37. 4 ill, En. Overview of the small but vibrant animation scene that has developed in Vancouver, British Columbia. The National Film Board (NFB) of Canada's Vancouver animation studio, opened four years ago, has encouraged the emergence of a West Coast style, offering support for beginning and independent animators by providing both funding and production facilities. Don Worobey, who heads the studio, is a Vancouver School of Art graduate, as are many West Coast animators, and he considers himself a visual rather than a character animator. Al Sens, an independent animator since the 1950s, has influenced many aspiring filmmakers in his classes at the Vancouver School of Art and the University of British Columbia. Canawest Film Productions, using mainly local freelance animators, has produced serials for Hanna-Barbera, and commercials for the Alberta and Saskatchewan governments. Also mentions Synch-Pop Animation Studios, founded by filmmakers Mai Hoskin and Wayne Morris, accountant Paul Royce, and painter, sculptor, and animator Audrey Doray. 820 Warren, Neil. 3-D animation: Plasticine and puppet people. Cinema Canada no 30 (August 1976) 38-39.2 ill, En. Neil Warren, one of the few animators in Canada working in three-dimensional animation, examines the two major techniques, using plasticine and puppets, rather than the more common process of drawn and painted cells. Europe, with its strong puppet tradition, has been much more open to their use in animation, but North America is beginning to produce work of this kind. Cineplast, founded in 1969 by Marc Chinoy, specializes in plasticine, but has moved to Munich, Germany because of better opportunities there. Animette Canada, founded by Ali (Alice) and Miloslav Kubik who left Czechoslovakia in 1968, produces puppet films. 821 Tadros, Connie. Montreal: Animating upstairs. Cinema Canada no 30 (August 1976) 40-43. 6 ill, En. Discusses the animated film studios of Montreal, Quebec that tend to be small and lean operations which emerged after the much larger Potterton Productions went bankrupt in 1974 because of its high overhead costs. The new companies include Michael Mills Productions, Boxcar Films, Kohill Productions, Disada Productions, and Les Films Quebec Love. There is considerable ambivalence expressed regarding the National Film Board (NFB) of Canada. While many animators benefited from their experiences at the NFB, and the independents often hire NFB trained freelancers, there is also resentment that the NFB dominates the more creative and interesting areas of animation, leaving commercials for the independents, and complaints about the bureaucratic inertia at the NFB. 822 Halas, John. Film and TV graphics : Canada. Novum

Animated Films / Cinema d'animation Gebrauchsgraphik 47 no 9 (September 1976) 22-27,57-58.14 ill, En, fr, Ge, Sp. An account of the high quality of film and television graphics in Canada, largely due to the National Film Board (NFB) of Canada and the Canadian Broadcasting Corporation (CBC). Both agencies have enlightened policies and provided opportunities for many excellent designers and film animators. Compte rendu de la qualite elevee de 1'art graphique qu'on trouve au cinema et a la television au Canada Selon 1'auteur 1'Office national du film (ONF) du Canada et la Societe Radio-Canada en sont les principaux responsables. En effet, ces deux agences ont mis de 1'avant des politiques pour fournir du travail a un bon nombre d'excellents dessinateurs et artistes en animation. 823 Danylkiw, John. Animated thoughts. Motion 6 no 4-5 (1977) 19. En. Summary of news items relating to the state of the Canadian animated film industry. Discusses various technical aspects of editing and the status of the animated films A Cosmic Christmas (Patrick Loubert, 1977) and The Little Brown Burro (Vic Atkinson and Bill Stevens Jr., 1977). 824 Lakin, N'eema. An animators' union: Should we or shouldn't we? Motion 6 no 3 (1977) 24-25. 3 ill, En. Explores the possibility of unionization within the Canadian animation field. Includes reactions and comments by Tom Hally, Richard Williams, Vladimir Goetzelman, and Al Guest, and information about the union of the Motion Picture Screen Cartoonists in the United States. 825 Martin, Sandra. For a good new-fashioned Christmas. Maclean's 90 no 24 (28 November 1977) 72,74. 3 ill, En. Claims that the atmosphere is bleak for animators in Canada, considering the audience's low expectations, the low wages, and the four-year old government ban of animated commercials on children's television. Praises the bravery of Nelvana, an animation production company in Toronto, Ontario, that is determined to stay in Canada and make cartoon features for international release. Discusses Nelvana's film A Cosmic Christmas (1977) by Patrick Loubert. 826 Martin, Andre. Cinema d'animation et ordinateur: un nouveau chapitre. Cinema Quebec no 46 (hiver 1977) 3237. 9 ill, fr. Dossier sur le cinema d'animation qui analyse 1'apport de la technique, plus particulierement de 1'informatique dans ce domaine. L'auteur fait ainsi 1'historique des utilisations technologiques depuis les annees 1960, date a laquelle les ordinateurs ont fait leur entree dans le travail de 1'animateur. 827 Schenkel, Thelma. Notes on "Frame-by-Frame": FLIC-sponsored seminar on the art of animation held at the National Film Board of Canada headquarters, Montreal, Quebec, October 5-6,1978. Film Library Quarterly 11 no 4 (1978) 4-15,48. 5 ill, En. Describes a seminar sponsored by the Film Library Information Council and held at the National Film Board (NFB) of Canada in Montreal, Quebec, 5-6 October 1978 that included a history of animation, a look at contemporary

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work, and an exploration of theories and concepts employed in the art of animation. Louise Beaudet, head of animation at the Cinematheque quebecoise, outlined the beginnings of animation, and many filmmakers gave presentations, including Derek Lamb, head of English animation production at the NFB, who recounted the origins of Caroline Leaf's sand technique used in The Metamorphosis of Mr. Samsa (1977). A tour of Co Hoedeman's studio included a demonstration of his puppet technique which uses foam puppet figures with lead wire inside to maintain their shape. The ability of animation to express ideas while remaining abstract and symbolic is discussed in relation to Animated Motion (1976-1978), a series of films by Norman McLaren and Grant Munro and Janet Perlman's Lady Fishbourne's Complete Guide to Better Table Manners (1976). Other Canadian films shown during the seminar were Ishu Patel's Afterlife (1978), Derek Lamb and Janet Perlman's Why Me (1978), Robert Awad and Andre Leduc's The Bronswik Affair (1978), George Dunning's The Three Blind Mice (1945), and an incomplete Lynn Smith film Why a Museum? (released as This Is Your Museum Speaking, 1979). 828 Beaudet, Louise. L'animation. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 71-86. Montreal, Quebec: Cinematheque quebecoise; Paris, France: Pierre Lherminier, 1978. 5 ill, fr. Version anglaise: Animation. Bref historique des films d'animation au Canada a travers une description chronologic des artistes, des innovations technologiques et des exigences des marches. On y presente aussi une discussion sur la production de Bryant Fryer constitute par une serie de douze films intitulee Shadows Laughs (1927) realisee a Toronto (Ontario). On parle de sa courte carriere d'animateur et de sa compagnie de production de films animes. Louise Beaudet se refere aussi a Budge (Frank Radford) Crawley, a la creation de la Crawley Films, en 1939, et a la creation d'un studio d'animation. On mentionne la production de The Tales of the Wizard of Oz en 1962, une serie produite pour une television americaine par une quarantaine d'artistes canadiens. Beaudet parle de 1'arrivee de Norman McLaren a 1'Office national du film (ONF) du Canada en 1941, de la section d'animation qu'il a mise sur pied, du recrutement d'artistes canadiens qu'il a effectue, et de sa devotion a ses propres oeuvres. On parle aussi de la direction subsequente de la section d'animation par Jim Mackay comme d'un evenement qui a coincide avec une nouvelle generation d'animateurs, entre 1957 et 1966. Beaudet signale aussi le remplacement de MacKay et de George Dunning par Colin Low comme directeur de 1'animation dans les annees 1950, et le role primordial joue par Rene Jodoin au sein de la nouvelle section franchise. On aborde les autres innovations de 1'ONF dans le milieu des annees 1960 et des details sont apportes sur les long metrages et sur les films d'animation. Ensuite, on jette un regard sur des maisons de production de films d'animation du secteur prive, situees a Toronto, dont The Guest Group d'Al Guest, la Cinera Productions de Vladimir Goetzelman, la Potterton Productions de Gerald Potterton et d'autres studios de moindre importance a Montreal (Quebec). 829 Elia, Maurice. Realisateurs permanents et pigistes de 1'animation (sections franchise et anglaise) de 1'Office national du film. Sequences no 91 (Janvier 1978) 168-171. 3 ill, fr.

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Liste des realisateurs d'animation de 1'Office national du film (ONF) du Canada. Pour chacun, on donne le lieu et 1'annee de naissance ainsi que la filmographie. 830 Pill, Jaan. Credo wins favor. Cinema Canada no 47 (June 1978) 32-33. 2 ill, En. Provides an overview of the first symposium on Canadian animation held 31 March-2 April 1978 in Toronto, Ontario and sponsored by ASIFA Canada, the Cinematheque quebecoise, the Canadian Film Institute, and the Canadian Filmmakers Distribution Centre. States that the highlights of the symposium included the series of animated commercials produced by the Credo Group of Winnipeg, Manitoba, and the National Film Board (NFB) of Canada's The Hottest Show on Earth (Terence Macartney-Filgate, Derek Lamb, and Wolf Koenig, 1977), a documentary on the 1976 International Animated Film Festival (Ottawa 76) in Ottawa, Ontario. Describes the symposium's two panel discussions on the financing and distribution of animated films and on the future of Canadian animation, the latter of which addressed the merits and limitations of computer animation and the NFB mandate. 831 Pill, Jaan. Disney animation. Cinema Canada no 48 (August 1978) 25-27. En. Discusses a visit by retired Disney animators Frank Thomas and Ollie Johnston to Toronto, Ontario, animation studios sponsored by Nelvana and the Ontario Arts Council. Lectures by the two animators addressed such issues as the maintenance of the connection between personal artistic vision and the film's assumed audience, animation as acting symbols, the role of mental imagery in developing character, the need for animators to mentally rehearse a scene before committing it to paper, and the use of dialogue in the animated film. Thomas and Johnston also provided a list of 14 rules to remind animators how to maintain the connection between drawing and the audience. Cites the response of Nelvana's Clive A. Smith to the animators' visit. 832 Beaudet, Louise. L'animation a 1'ONF. Copie Zero no 2 (1979) 3-4.1 ill, fr. L'auteure retrace les grandes etapes de 1'histoire de 1'animation a 1'Office national du film (ONF) du Canada, en mentionnant 1'arrivee de Norman McLaren en 1941 et 1'apport du Britannique John Grierson, premier commissaire a la cinematographic. Elle raconte aussi la tradition des recherches chez les animateurs de 1'ONF, 1'installation de 1'institution a Montreal (Quebec) en 1956 et la creation de la section franchise en 1966-1967. A la fin de 1'article, suit une liste des equipes de production a 1'ONF en date du 21 septembre 1942. 833 Munro, Grant; Leaf, Caroline; Soul, Veronica. Sand, beads and plasticine: Interviews at the National Film Board of Canada. Wide Angle 3 no 2 (1979) 62-69.11 ill, En. Interviews with National Film Board (NFB) of Canada animators Caroline Leaf, Veronika Soul, Co Hoedeman, and Ishu Patel. Leaf and Soul discuss their recent project, a collaborative film about themselves as animators, part of a film series profiling NFB animators. Hoedeman provides a detailed account of the animation techniques used in his film The Sand Castle (1977), and discusses his next project, which will be set underwater. Patel explains the

techniques employed in his film Bead Game (1977) and describes his current project, a film about life after death (released as Afterlife, 1978) which utilizes light projected through thinly spread plasticine. 834 Beaudet, Louise. Post-scriptum: quel avenir pour le cinema d'animation quebecois independent? La Revue du cinema : Image et Son no 336 (fevrier 1979) 122. fr. On parle de la situation difficile des cineastes d'animation quebecois independants et des problemes de production, de diffusion, d'exploitation et de financement, des obstacles crees par 1'Office national du film du Canada (ONF) detenant le monopole de la production, et des problemes relies a la television. 835 Beaudet, Louise. Animation. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 107-121. Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 4 ill, En. French edition : L'animation. Provides a historical summary of the growth of animation in Canada through a chronology of artists, changes in technique and technology, and market demands. Begins with a discussion of artist Bryant Fryer's production of a series of 12 films entitled Shadow Laughs (1927) in Toronto, Ontario, and his short-lived activities as an animator six years later when he founded a company that produced animated films. Continues with Budge (Frank Radford) Craw ley's founding of Craw ley Films in 1939, his immediate establishment of an animation studio there and his production in 1962 of The Tales of the Wizard ofOz, a series produced for American television by approximately 40 Canadian artists. Norman McLaren's arrival at the National Film Board (NFB) of Canada in 1941, his setting up an animation section and recruiting of Canadian artists, his later devotion to making his own films, and Jim MacKay's subsequent direction of the animation section are presented as events that coincided with a new generation of animators between 1957 and 1966. Mentions Colin Low, who in the 1950s replaced MacKay and George Dunning as NFB director of animation and Rene Jodoin's key role in the new NFB French production section in the mid 1960s. Provides details of films, animators, and other innovations at the NFB and explores production houses of animation in the private sector such as Al Guest's The Guest Group, Vladimir Goetzelman's Cinera Productions, Gerald Potterton's Potterton Productions, all in Toronto, Ontario and some smaller studios in Montreal, Quebec. 836 Johnston, Ann. Will the next Mr. Disney please stand up... Maclean's 93 no 17 (28 April 1980) 52,54-55. 7 ill, En. Asserts that Canada is leading the world in animated films. Attributes this success to tax shelter legislation that attracts investors, and to the talent that emerged from the National Film Board (NFB) of Canada's animation department. Profiles the Nelvana animation studio located in Toronto, Ontario. Interviews Clive A. Smith, a partner in Nelvana, who describes how the company has expanded on animation concepts originated by Walt Disney. Outlines the financial history of Nelvana, including the success of projects such as Patrick Loubert's A Cosmic Christmas (1977). Notes that Nelvana is considering entering Pay-TV and videodisc sales, as well as merchandising promotional products based on their cartoon characters.

Animated Films / Cinema d'animation 837 Edera, Bruno. Zagreb-Ottawa-Annecy 1980 / 81: The state of the art of animation / Le tournant 80 de 1'art de 1'animation / Eine wende in der kunst des trickfilms. Graphis 37 no 215 (September-October 1981) 254-263. 68 ill, En, fr, Ge. Discusses three important animation festivals, in Zagreb, Yugoslavia (June 1980), Ottawa, Ontario (August 1980), and Annecy, France (June 1981), stating that such festivals provide a unique forum for reviewing the present situation of the perpetually changing art of animation. Argues that the festivals mark a profound change in animated film, due to the decrease in the use of animation in other forms of cinema, even as a subsidiary element. As a result, animation artists are compelled to develop original themes and methods of execution in animated film. States that the Zagreb festival provides access to work from countries not well-known for animation, the Ottawa festival emphasizes the attractions of computer generated animation, and the festival in Annecy proves the incontestable Canadian supremacy in animated filmmaking. Bilan de trois importants festivals de films d'animation, tenus respectivement a Zagreb (Yougoslavie) en juin 1980, a Ottawa (Ontario) en aout 1980 et a Annecy (France) en juin 1981 Ces evenements sont des occasions propices pour faire le point en matiere d'animation, un genre en perpetuelle transformation. De plus, 1'auteur estime que ces festivals marquent un grand tournant car 1'utilisation du film d'animation dans les autres genres cinematographiques, meme comme complement de programme, diminue sensiblement. Ainsi, les createurs se voient contraints de developper des themes originaux et de nouvelles techniques dans 1'art de 1'animation. Alors que le Festival de Zagreb ouvre ses portes aux pays jusqu'alors peu connus dans le domaine, le Festival d'Ottawa a mis 1'accent sur les attraits de 1'ordinateur comme outil d'animation, tandis qu'a Annecy, on constate la suprematie canadienne incontestable en ce qui a trait a la realisation des films d'animation. 838 Loiselle, Ginette. Enfin un peu d'animation au Musee des beaux-arts. 24 Images no 13-14 (juillet-aout 1982) 28-30. 3 ill, fr. Compte rendu de 1'exposition sur le cinema d'animation, L'Art du cinema d'animation, tenue au Musee des beaux-arts de Montreal a Montreal (Quebec) en 1982. 839 Makosinski, Arthur. Of bits and bytes. Cinema Canada no 88 (September 1982) 25-26. 6 ill, En. Explains the most recent technological advancements in the field of computer assisted animation, as revealed during the ninth annual conference on computer graphics and interactive techniques held in Boston, Massachusetts. Discusses developments, such as Ed Catmul's "Tween," a key-frame animation system program. Notes the early contribution of the National Film Board (NFB) of Canada to computer animation, through Metadata (1971) and Hunger (1973) by Peter Foldes. Announces the introduction of a one-year certificate program in computer graphics at Sheridan College in Oakville, Ontario. 840 Lessard, Denis. Animated films: Some splendors. Artscanada 39 no 3-4 (November 1982) 67-69. 5 ill, En. An overview of the exhibition of animated films The Art of Animated Films, held at the Montreal Museum of Fine Arts

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in Montreal, Quebec, during the summer of 1982. The exhibition, although international in character, featured a "Canadian Room" in which the influence of the Societe Radio-Canada and the National Film Board (NFB) of Canada on the development of animated filmmaking was documented. Refers specifically to Gerald Potterton's Tiki Tiki (1971) and Frederic Back's Crac (1981). 841 Viau, Rene. «L'Art du cinema d'animation» au Musee des beaux-arts de Montreal. Vie des arts 27 no 109 (decembre 1982-janvier-fevrier 1983) 67. 2 ill, fr. Compte rendu de 1'exposition L'Art du cinema d'animation au Musee des beaux-arts de Montreal a Montreal (Quebec), en 1982. Mention est faite des installations historiques, des exemples de mutoscope et de praxinoscope. Une salle etait consacree a 1'animation canadienne pour rendre hommage a Norman McLaren. Louise Beaudet et Pierre Theberge en ont ete les organisateurs. 842 Office national du film du Canada. Studio franc,ais d'animation. Portrait d'un studio d'animation: 1'art et le cinema image par image. Montreal, Quebec : Le Studio franc,ais d'animation de I'Office national du film du Canada, 1983. 95 p, 82 ill, index, fr. Ce document dresse le portrait du Studio franc.ais d'animation de I'Office national du film (ONF) du Canada. II a ete prepare pour une exposition tenue au Centre culturel canadien de Paris. Dans un historique de 1'ONF, Jean-Yves Begin decrit la philosophic particuliere qui anime ce noyau de 12 cineastes. Louise Carriere, presidente de 1'Association quebecoise des etudes cinematographiques, analyse ensuite la thematique et les caracteristiques des productions du studio. Puis, le critique d'art, Rene Rozon, discute de 1'esthetique particuliere de ce cinema d'animation. Enfin, France Tardif de 1'ONF decrit 93 films de ce groupe et presente les cineastes qui constituent cette enorme force innovatrice et creatrice qu'est le Studio francais d'animation de 1'ONF. Un index de 104 oeuvres produites et de nombreuses images tirees ce ces creations completent ce document. 843 Beaudet, Louise. La television, 1'animation et le mouvement suisse. Copie Zero no 17-18 (1983) 5-7.1 ill, fr. Dans la presentation de VAnnuaire courts et moyens metrages Quebec 1981-82, Louise Beaudet reflechit sur 1'industrie de 1'animation et reclame, entre autres choses, un cinema d'animation pour adultes. 844 Sevigny, Marc. Les bricoleurs de 1'image. Quebec science 21 no 7 (mars 1983) 24-28. 7 ill, fr. Description des diverses techniques du cinema d'animation telles que le decoupage et 1'animation par particules, utilisees dans Zikkaron (Laurent Coderre, 1971), les ecrans d'epingles dans Le Paysagiste (Jacques Drouin, 1976), les personnages en caoutchouc mousse et la pixillation dans Voisins (Norman McLaren, 1952) et dans Monsieur Pointu (Andre Leduc et Bernard Longpre, 1975), le grattage sur pellicule, 1'informatique et 1'holographie. 845 Haustrate, Gaston. Animation: post-scriptum a un tour de France pas comme les autres... Cinema 84 no 301 (Janvier 1984) 3.1 ill, fr. Yves Rivard repond aux questions posees sur le « Tour de

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France de 1'animation ». En parlant du cinema d'animation canadien et quebecois, il nomme Norman McLaren. Parmi les films les plus apprecies, on mentionne Crac (1981) de Frederic Back. 846 Pegbar. 1 no 1 - (Spring 1984 -). Irregular (two to four times per year). Vancouver, BC : Vancouver Society of Independent Animators, Spring 1984-. ill, En. Pegbar, published in Vancouver, British Columbia, irregularly since 1984, reports on national and international activities in the field of animated film. Subjects such as marketing animated film, animation societies and committees, conferences, festivals, screenings, and the activities of the Association internationale du film d'animation are addressed in Pegbar's shorter news items, as is information regarding the production and administrative activities of the Vancouver Society of Independent Animators. Pegbar also regularly includes regional reports, reviews of new animated films, announcements for upcoming animated film festivals, overviews of past festivals, and profiles of animators from countries such as the United States, Japan, and China, and features a regular column entitled "Mumbly-peg" which provides a general overview of the Vancouver animation scene. Contributors to Pegbar include Marv Newland, Ellen Besen, Ken O'Connell, Elaine Pain, Andreas Gervais, K. Thadius Zbnigny, Chris Hinton, and Linda Wilson. 847 Sons et narrations au cinema. Protee 13 no 2 (ete 1985) 3-92. bibl, fr. Analyses semiologiques des rapports entre le son et la narration dans le cinema quebecois. On y trouve des propos du realisateur Robert Flaherty, des propos sur le son et experimentation dans le cinema d'animation a 1'Office national du film (ONF) du Canada entre 1939 et 1984, et des notes du cineaste Pierre Hebert sur la realisation de la trame sonore de son film d'animation Chants et Danses du monde inanime-Le Metro (1985). 848 Carriere, Louise. Son et experimentation dans le cinema d'animation a 1'Office national du film du Canada : 1939-1984. Protee 13 no 2 (ete 1985) 55-56. bibl, fr. Ce texte, qui a ete presente lors du colloque annuel de 1'Association quebecoise des etudes cinematographiques (AQEC), tenu en novembre 1984 a Montreal (Quebec), est base sur un ensemble de 250 films et se presente sous la forme d'un historique de 1'utilisation de la bande son dans le cinema d'animation de 1'Office national du film (ONF) du Canada. 849 Vanstone, Gail. Excellence in jeopardy. Performing Arts in Canada 22 no 2 Quly 1985) 5-6. 3 ill, En. A discussion of the achievements of individual Canadian artists in the production of short films, focussing particularly on animated shorts. Notes that films produced by the National Film Board (NFB) of Canada have, since its establishment in 1939, been nominated for 50 Academy Awards and have won eight. Cites the winning of an Academy Award by Stuart Legg for his film Churchill's Island (1941) in 1941, Norman McLaren for his film Neighbours (1952) in 1953, Terri Nash's // You Love This Planet (1982) in 1983, Cynthia Scott's Flamenco at 5:15 (1983) in 1984, and also in 1984 independent filmmaker Jon Minnis for his film Charade (1984). Also mentions the Canadian

short films nominated for Academy Awards in 1984, including Ishu Patel's Paradise (1984) for best animated short, Bruce Pittman's The Painted Door (1984) for best live action short, and Gary Bush's The Children of Soong Ching Ling (1984). Explains how the suspension of the Canadian Independent Short Film Showcase is likely to affect independent short film artists and producers. 850 Walz, Gene. Animation central: The history of animation in Winnipeg. Arts Manitoba 4 no 4 (Fall 1985) 18-20.5 ill, En. Outlines the role that Winnipeg, Manitoba, has played in the history of animated filmmaking in Canada. Notes the production at the National Film Board (NFB) of Canada Prairie production office of four animated movies Get a Job (Brad Caslor, 1985), The Big Snit (Richard Condie, 1985), Carried Away (Vonnie von Helmolt and Alan Pakarnyk, 1985), and The Cat Came Back (Cordell Barker, 1988). Briefly mentions other factors contributing to the growth of animation in Winnipeg including the films The Man Who Woke Up (1919), written by William Ganson Rose and directed by J.A. Norling for the Federated Budget Board of Winnipeg and Romulus and Remus (Charles Lambly, 1926), commissioned by the Montreal, Quebec, Catholic Diocese. Also discusses Charles G. Thorson, a Winnipeg expatriate who worked for Walt Disney, and applauds Kenn Perkins and the Canadian Broadcasting Corporation's (CBC) Sesame Street for giving young animators in the city their start. 851 "Dry Noodles" new Newland ingredient. Cinema Canada no 123 (October 1985) 75. En. Animator Dan Collins has completed Dry Noodles (1985) for the Vancouver, British Columbia based animation company International Rocketship. The company is also sending animator Marv Newland and three of his films, including Sing Beast Sing (1980), Anajam (1984), and Hooray! For Sandbox Land (1985) to the Hiroshima International Animation Festival in Hiroshima, Japan. 852 Majka, Chris. Eastern Wave. Cinema Canada no 132 (July-August 1986) 50. En. A brief overview of animated film production in Atlantic Canada, noting work done by the Atlantic Filmmaker's Co-operative, Doomsday Studios, the Nova Scotia College of Art and Design, and various groups in Newfoundland and Prince Edward Island. Refers specifically to films by Elaine Pain, Lulu Keating, Jim (James) MacSwain, Floyd Gillis, Tom Lackey, Willa Egrmajer, Ramona MacDonald, Rand Gaynor, and Pat Colp. 853 Turner, George. Computer graphics : Electronic characterization. American Cinematographer 67 no 7 (July 1986) 79-80, 82. 3 ill, En. Examines in detail the pioneering technological and artistic process involved in animating by computer generated three-dimensional characters in Tony de Peltrie (1985), a 35mm short made by Quebec independent filmmakers Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux, and Daniel Langlois. 854 Recognition soon for animators. Cinema Canada News Update no 2 (9 December 1986) 3. En.

Animated Films / Cinema d'animation Notes plans to revise the "producers only" policy of the Academy Awards and the Genie Awards to include honouring the best director of short (animated) film. Award-winning animators David Fine and Richard Condie speak of the need for director recognition. 855 Duggan, Bruce. Manitoba animators successful in animated film production. Reel West 2 no 5 (May-June 1987) 24.1 ill, En. Discusses several films made by members of Manitoba's animated filmmaking community including work done by Richard Condie, Jack Clements, Brad Caslor, Neil Mclnnes, Patrick Love, Alan Pakarnyk, Malcolm Collett, Andrew Schultz, Barbara Hicks, and Cordell Barker. 856 Stinson, Craig. An insider's view of animation in Alberta. Reel West 2 no 5 (May-June 1987) 48, 50-51. En. Describes the history of animated film production within the province of Alberta. 857 Ducasse, Christiane. « Les concepteurs « nouveaux » : infographistes. Qui fait quoi? no 37 (15 mai 1987) 29-30. fr. Portrait de 1'evolution de 1'infographie et de 1'animation par ordinateur au Quebec. 858 Masse, Gilles. La condition humaine. Summum (fevrier-mars 1988) 72-78. fr. Tableau historique des recherches menees a Montreal (Quebec), portant sur 1'animation des personnages humains par ordinateur. 859 Therrien, Denyse. Le cinema d'animation: circuit montrealais. 24 Images no 37 (printemps 1988) 8-9. 2 ill, fr. Survol des activites du Ouimetoscope, de la Cinematheque quebecoise et de la salle de 1'Office national du film (ONF) du Canada dediees au cinema d'animation. 860 Teitelbaum, Sheldon. Who drew Roger Rabbit: An L.A. animation unit got swept under the publicity rug. Cinefantastique 19 no 1-2 (January 1989) 32-33, 35, 122. 5 ill, En. Considers why the publicity surrounding Who Framed Roger Rabbit (Robert Zemeckis, 1988) failed to recognize that the film's director of animation, Richard Williams, was assisted by a co-director, Dale Baer of the Baer Animation Company of Hollywood. Outlines the work done by Canadian animators Richard Williams, Don Paul, and Jane Baer. 861 Blois, Marco de. Le cinema d'animation prepare sa releve. 24 Images no 42 (printemps 1989) 24.1 ill, fr. L'Office national du film (ONF) du Canada ouvre la porte a la releve en cinema d'animation grace a son concours « Cineaste recherche(e) ». Mis en place en 1980, ce concours veut permettre a un jeune cineaste de realiser son premier film anime professionnel. 862 Vimenet, Pascal. Composition et ecoute cinetiques. CinemAction no 51 (avril 1989) 188-193. fr. Le concepteur de son, Normand Roger, nous parle de son metier en relation avec le cinema d'animation qui implique, selon lui, un travail plus grand qu'en fiction.

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863 Jean, Marcel. Dossier: cinema d'animation. 24 Images no 43 (ete 1989) 20-21. 9 ill, fr. Presentation d'un dossier sur le cinema d'animation au Quebec. A cette occasion, on rappelle les grands moments de I'animation au Quebec : 1'arrivee de Norman McLaren a 1'Office national du film (ONF) du Canada en 1941, 1'ouverture d'un studio d'animation a la production frangaise en 1966 et les deux Oscars remportes par Frederic Back pour les films Crac (1981) et L'Homme qui plantait des arbres (1987). 864 Hebert, Pierre. Les enjeux de 1'art a 1'ere des machines : effacement et resistance du corps. 24 Images no 43 (ete 1989) 22-27.14 ill, fr. Pierre Hebert, cineaste a 1'Office national du film (ONF) du Canada depuis 1965, livre ses reflexions sur 1'apport de la technologic au cinema d'animation. II etablit un rapport entre 1'histoire de 1'art et 1'histoire de la technique et explique la fragilite des arts technologiques. II precise aussi que le corps humain s'efface lorsqu'on emploie 1'informatique en animation. Cependant, il rappelle que I'animation est un art de simulation et qu'on devrait s'interroger sur 1'engouement de la representation robotisee de 1'etre humain par une machine. 865 Larouche, Michel. La surrealite des images de synthese. 24 Images no 43 (ete 1989) 28-29. 1 ill, fr. Dans cette etude sur les images de synthese, ce nouvel art cinematographique voue a I'imaginaire, on s'attarde sur le realisme de la representation et sur la simulation de 1'etre humain. 866 Painchaud, Jeanne. Portrait d'une Industrie : I'animation dans les compagnies privees au Quebec. 24 Images no 43 (ete 1989) 51-54. 7 ill, fr. Dans cette enquete sur 1'industrie privee de I'animation, on donne une liste de neuf compagnies privees qui oeuvrent ou ont oeuvre au Quebec : Potterton Productions, Disada Productions, Les Films Quebec Love, Michael Mills Productions, Animabec, Cinemanima, Cine-Groupe J.P., Les Productions Pascal Blais et Lamb Perlman Productions. Pour chacune d'entre elles, on donne un apergu de leurs creations, de leurs activites et des types d'oeuvres qu'elles financent. 867 Girard, Martin. L'animation a 1'O.N.E: 1989: la releve. Sequences no 141-142 (septembre 1989) 40-45.14 ill, fr. Entretien avec deux jeunes animateurs de 1'Office national du film (ONF) du Canada, Francois Aubry et Claude Cloutier, qui parlent de ce qui les attire dans leur metier. Frangois Aubry nous parle de son film Les Experiences sonores de Buster Keaton (1981) qui lui a ouvert les portes de 1'ONF, ainsi que de Concerto Grosso Modo (1985) et Nocturnes (1988) qui ont ete realises a 1'ONF. II explique, de plus, les sequences qu'il a realise pour le film de Denys Arcand Jesus de Montreal (1989). Pour sa part, Claude Cloutier fait un resume de son metier de bedeiste aux magazines Croc et Titanic. Puis, il discute de son travail a 1'ONF et de sa premiere realisation Le Colporteur / The Persistent Peddler (1988). 868 Jean, Marcel. La qualite n'est pas en cause. ASIFA: bulletin de I'Association internationale du film d'animation, Canada 17 no 1 (octobre 1989) 11. fr.

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Les cineastes d'animation Pierre Hebert et Suzanne Gervais sont souvent exclus des circuits des festivals. On reproche a Hebert la qualite de son animation, et a Gervais, sa rudesse excessive; aux deux, leur longueur. Mais il est evident que la raison principale de leur exclusion n'est pas la qualite de leurs oeuvres originales mais bien la peur de ne pas plaire a un public de masse en presentant des oeuvres peu accessibles.

Video / Video 869 Kurtz, Bruce. Video is being invented. Arts Magazine 47 no 3 (December 1972-January 1973) 37-44. ill, En. Bruce Kurtz explains that although video activity was considerably influenced by the films of Andy Warhol and Michael Snow, the earliest influences did not come from film but rather from happenings, performances, dance, theatre, music, and paintings. Describes Nam June Paik as one of the seminal forces behind the emergence of video and Marshall McLuhan as significant in presenting a new understanding of the reintegration of sensual perceptions. Examines the distinctive image making characteristics of videos created by artists Keith Sonnier, Lynda Benglis, Joan Jonas, Nancy Holt, William Wegman, George Boiling, Michael Snow, Bruce Nauman, Frank Gillette, and David Sasser. 870 Gilbert, Gerry; Singer, Taki Blues. VIDEOFREERAINFOREST - August 73 : A survey of video arts in Vancouver. Artscanada 30 no 4 (October 1973) 45-51. 37 ill, En. An overview of Vancouver, British Columbia's video art community that traces the evolution of Metro Media, a pioneering community media access group which telecasts on a local cable television channel. Metro Media member Bill Nemtin analyses the group's uneasy relationship with their financial sponsor, Premier Cablevision. Outlines the administrative structure of Video Inn, a video lending library, and the video house and workspace called Connexions. Describes the Matrix International Video Conference held in Vancouver, January 1973, and includes excerpts from a petition approved at the conference in which the decentralization of media processing and the creation of an alternative information flow through the use of global videotape exchange was proposed. Presents statements by Vancouver video artists Irish Hardman, Matthew Speier, Bill Day, Byron Black, and Gerry Gilbert. Provides an update of video related activities at the Vancouver Art Gallery and the National Film Board (NFB) of Canada. Describes various video art pieces and Canada's Natural Magazine, the creation of an audio-videotape anthology of music, art, and poetry entitled RADIOFREERAINFOREST (1973). 871 Kennedy, Garry Neill. Video at NSCAD. Artscanada 30 no 4 (October 1973) 62-63.13 ill, En. Analyses the use of video at the Nova Scotia College of Art and Design (NSCAD) in Halifax, Nova Scotia. States that video has performed three functions since its introduction to NSCAD in 1969: as a tool for documenting events and performances; as an instructional vehicle for the television production courses within the Communica-

tions Department; and as a medium for the creation and expression of art. Claims that video is employed increasingly for instructional and documentary purposes. Provides photos and descriptions of works done by NSCAD video artists : Fill (1971) and Learning About Cars and Chocolates: Dual Simultaneous Learning (1972) by David Askevold; Patrick Kelly's Strip Up (1971) and Catch (1971); Douglas Waterman's Calculations (1971), Untitled (1971), and Inhale, Exhale (1971); Jon Young's Cup (1971); Percy Simmons's Heart Beat (1972); Ian Murray's Keeping on Top of the Song (1973); Brian McNevin's Video Tracing (1972); Al McNamara's Smile (1971); and Gerald Ferguson's Length 4: From the Standard Corpus of Present Day English Language Usage Arranged by Word Length and Alphabetized Within Word Length (1971). 872 Art Gallery of Ontario. Videoscape : An Exhibition of Video Art. 20 November 1974-1 April 1975. Introduction by Marty Dunn. Catalogue essays by Peggy Gale and Garry Neill Kennedy. Toronto, Ont: Art Gallery of Ontario, 1974. 72 p, 67 ill, bibl, En. Marty Dunn introduces video as a new art form, categorizing the four approaches used within the video work as conceptual, performance, synaesthetic, and experimental. Peggy Gale's essay, "A New Medium," stresses the importance of time and motion as elements in video art, and describes current video activity in Canada. In "Echoes from Videospaces," Dunn discusses the synaesthetic character of video and in an untitled text Garry Neill Kennedy describes the activities of the Nova Scotia College of Art and Design in Halifax, Nova Scotia. Notes on the artists and their tapes are included. 873 University of Guelph. McLaughlin Library. Video Circuits : An Exhibition on the Theme of Videotape as Art. 4 December 1973-2 January 1974. Preface by Judith Nasby. Catalogue essays by Eric Cameron. Appendix by I.K. Easterbrook. Guelph, Ont: University of Guelph. McLaughlin Library, 1974. 21 p, bibl, En. An exhibition of recent videotapes by established artists, as well as those by the faculty and students of the University of Guelph in Guelph, Ontario, and the Nova Scotia College of Art and Design in Halifax, Nova Scotia. "Video as Art" by Eric Cameron traces the development of video presentation as an artistic technique, while "Videotape in the University Art Program" also by Cameron examines the study and practise of video art in academic institutions. The catalogue also includes a list of exhibitors, and a "Television as Art" chronology prepared specially for the exhibition. 874 Cameron, Eric. Videotape, and the university art programme. Studio International 187 no 967 Qune 1974) 289-291. 6 ill, En. Video artist Eric Cameron considers several video tapes to determine whether their use of the video medium should be categorized as art or television. Notes that basic techniques in video, as in drawing or painting, do not constitute art in themselves, but are a means of achieving art. Analyses Eric Cameron's Contact 5: Window-pane (1973), Jeffrey Spalding's The Intention of This Video Tape (1972), Al McNamara's Smile (1971), Colin Campbell's Smile (1972), and Gene Davis's Video Puzzle (1970) to demonstrate how television operates as a technique to advance the meaning of art. Suggests that in video courses art students should

Video / Video understand that they are not receiving instruction in the medium but guidance in realizing specific subjects. 875 Fleisher, Pat. "Videoscape" in Toronto: An interview with Ian Birnie. Art Magazine 6 no 19 (Fall 1974) 36-37,48.12 ill, En. In an interview Ian Birnie describes Videoscape, a survey of Canadian video art shown November 1974-March 1975 at the Art Gallery of Ontario in Toronto, Ontario. Video is a relatively new art form, and the exhibition represents the various approaches artists have to the medium. While the exhibit is designed to introduce video to the public, it is hoped that the gallery will continue to include video in its collection. Future possibilities of video are considered. 876 Somers, Eric. Video art at Banff: An experiment in electronic colour and space. Art Magazine 6 no 19 (Fall 1974) 38-39,48. 5 ill, bibl, En. Eric Somers provides an overview of his course on video art offered 29 July-2 August 1974 at the Banff School of Fine Arts, in Banff, Alberta, which was designed for students with previous television experience. In his course, Somers taught students how to apply video art techniques to a commercial television format. Somers states that video art is still in the early stages of development, and argues that the most effective approach to video involves a concentration on material and form. Somers emphasizes, for the production of quality video work, the awareness of both video materials, such as cameras, monitors, mixers, keyers, and video forms, such as conceptual experiments, documentary videotapes, and light composition on the face of a monitor. Somers also states that video creation is divided into two approaches : the structure based approach is usually a result of the time constraints involved in borrowing equipment or studio space, while the material approach requires unlimited studio time. Somers concludes that video art is becoming more accessible due to the growth of video collections in libraries and museums. 877 Gillies, Mary. "Video Bag" at Burnaby. Criteria 1 no 3 (March 1975) 7-8. 7 ill, En. Reviews the October 1974 Video Bag exhibition of video and performance art at the Burnaby Art Gallery in Burnaby, British Columbia. Cites Vancouver, British Columbia's lack of cultural activity, the high cost of video equipment, and the resulting collectivization of artists as reasons for the lack of originality and inspiration of the video pieces exhibited. Among the entries were Al Razutis's 98.3KHz (Bridge at Electrical Storm) (1973), Byron Black's Infinity Mandalas (1974), Don Druick's Van de Graaff (1974), Randy Gledhill's The Unveiling (1974), Michael de Courcy's The Camera (1974), and Paul Wong's Earthworks in Harmony (1974). Discusses several videos dealing with the subject of performance art and artists including Metro Media's recording of a live performance of the Burnaby Mountain Dancer's for Rites of Everything (1974) and the modern dance works by Matthew Speier. Refers to the work of Paul Wong and Metro-Media as successful examples of the use of the video medium. 878 Cameron, Eric. La videographie dans un contexte d'art. Vie des arts 20 no 80 (automne 1975) 62-63. 3 ill, fr.

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L'auteur s'interroge sur le video comme forme d'art. II s'interesse particulierement a une exposition intitulee Videoscape, organisee par le Musee des beaux-arts de 1'Ontario a Toronto (Ontario) en 1974. II en commente 1'installation et souligne le travail de quelques artistes representes. Les videos cites incluent Genesis (Marty Dunn, 1975), Three Pieces for Circuits (Noel Harding, 1973), Ross Street Tapes (Lisa Steele; Tom Sherman, 1975) et Good Evening, Gentlemen (Winston McNamee, 1975) et sont accompagnes de breves descriptions. 879 Gale, Peggy, ed. Video by Artists. Introduction by Tom Sherman. Essays by Les Levine, David Askevold, PeggyGale, Dan Graham, A.A. Bronson, and Jean-Pierre Boyer. Toronto, Ont: Art Metropole, 1976. 223 p, ill, bibl, En. Provides biographical notes, exhibition lists, videographics, publications, bibliographies, analyses, and interviews pertaining to the work of the following Canadian artists and artists groups working in the field of video : Colin Campbell, Don Druick, Bruce Emilson, General Idea, Noel Harding, Michael Hayden, Al Razutis, Lisa Steele, Vincent Trasov, Bill Vazan, John Watt, Rodney Werden, and W.O.R.K.S. Also features essays on or by Canadian video artists, including Les Levine's "One-Gun Video Art," Peggy Gale's "Colin Campbell -Windows and Mirrors" and "Lisa Steele -Looking Very Closely," and A.A. Branson's "Pablum for the Pablum Eaters," and an introduction by Tom Sherman. 880 Schneider, Ira; Korot, Beryl, comps. and eds. Video Art: An Anthology. Managing editor Mary Lucier. New York, New York : Harcourt Bruce Jovanovich, 1976. 286 p, ill, bibl, En. A compilation of statements by American and Canadian artists related to their video work, plus articles by artists, curators, and reviewers regarding video artists. Includes Canadians Eric Cameron, John Fleming, Ernest Gusella, Les Levine, Bill Ritchie, and Michael Snow. Essays dealing with closed-circuit exhibitions and the broadcasting of video art are followed by commentaries by 16 video artists. Eric Cameron's article, "Structural Videotape in Canada," differentiates between structural analytic video, eminating from the Nova Scotia College of Art and Design in Halifax, Nova Scotia, and structural narrative video from the Toronto, Ontario, region. Cameron discusses David Askevold's Fill (1971) and My Recall of an Imprint from a Hypothetical Jungle (1973), Douglas Waterman's Shuffle (1971), John Watt's I'm a Killer (1973) and Peepers (1973), Michael Hayden's Scan : Gaspe (1972), General Idea's Light On (1971), Jeffery Spalding's Scanning Lines (1973) Winston McNamee's Reality Series # 2 (1974), Colin Campbell's Hindsight (1974), Love-Life (1974), True: False (1972), and I'm a Voyeur (1976), Lisa Steele's Sleep Dream Vigil (1973) and Internal Pornography (1975), Bruce Emilson's Disturbances (1974), and Noel Harding's Birth's Child (1973), Table and Chairs (1976), and Three Pieces for Circuits (1973). 881 Gale, Peggy. Video art in Canada : Four worlds. Studio International 191 no 981 (May-June 1976) 224-229. 7 ill, En. An overview of video activity in four cities. In Vancouver, British Columbia, the emphasis has been on information, cooperation, open access, and general interest. Discusses the work of Video Inn, Western Front, Don Druick, and Al

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Razutis. In Toronto, Ontario, the work produced by Lisa Steele, Colin Campbell, Bruce Emilson, and General Idea (A.A. Bronson, Felix Partz, and Jorge Zontal) is more personal and introspective. Video activity in Montreal, Quebec, is more preoccupied with social concerns, as exemplified by 148 documentary and experimental videos completed at Videographe between 1971 and 1975. The survey of activity in Halifax, Nova Scotia, focuses on the city's Nova Scotia College of Art and Design with its recent emphasis on community involvement, and the work of David Askevold. 882 Dalhousie Art Gallery. In Video. 1-30 November 1977. Catalogue essay by guest curator Peggy Gale. Also shown : Toronto (Ont), Art Gallery of Ontario, 7 January-26 February 1978; Winnipeg (Man), Winnipeg Art Gallery, 7 March-12 April 1978. Halifax, NS: Dalhousie Art Gallery, 1977. 36 p, 17 ill, En. Peggy Gale introduces this exhibition on video art according to the overlapping themes of performances and concepts, personal views in stories and identities, and culture probe. Explores the affiliation of video with television, the artists' appropriation of this medium for social and cultural comment, and the fascination with video compared with television's capacity to imprison and destroy the imagination. Questions the audience's response to video as generally boring and / or self-indulgent, emphasizes the significance of video as a tool for communication about technology, and notes the impact of its colour capabilities. Among selections of videos by North American artists, includes with a brief synopsis and credits these Canadian works : Susan Britton's The Formula (1976), I'm OK You're OK (1976), and In the Mood (1976); Eric Cameron's Numb Bares (1976); Colin Campbell's Hollywood and Vine (1977) and True /False (1972); Cyne Cobb's Dynamic Desire (1977); Don Druick's Al; Bl; B2; B3 (1977) and (AE) TWO; Sequence 6 (1976); Pierre Falardeau's Le Magra (with Julien Poulin, 1975); General Idea's Pilot (1977); Noel Harding's Birth's Child (1973); Clive Robertson's In Video Traction (1977); Tom Sherman's Television's Human Nature (1977); Lisa Steele's Waiting for Lancelot (1978); Douglas Waterman's Shuffle (1971); and Rodney Werden's Pauli Schell (1976) and Typist (1976). 883 National Gallery of Canada / Galerie nationale du Canada. Another Dimension / Une autre dimension. 1977. Catalogue essay by Mayo Graham. Ottawa, Ont: National Gallery of Canada / Galerie nationale du Canada, 1977. 49 ; 49 p, ill, bibl, En, fr. An exhibition of the work of Ian Carr-Harris, Murray Favro, Michael Snow, and Norman White representing an exploration of the concept of motion in Canadian art. Different types of motion are discussed including light and sound motion (both involving the transmission of energy through space), and "local motion" (implying mechanical motion). The artists explain their work through statements and diagrams. Les oeuvres de Ian Carr-Harris, Murray Favro, Michael Snow et Norman White composent 1'exposition dont le theme est 1'exploration du concept de mouvement dans 1'art canadien contemporain Le son, la lumiere et le mouvement local sont les trois types de mouvements representes. Chaque oeuvre utilise parfois un melane de ces trois genres. Une breve biographic precede la section consacree a chaque artiste et comprend des photographies

des oeuvres, des citations de 1'artiste et un tableau explicatif d'une oeuvre. 884 Vancouver Art Gallery. From This Point of View: 60 British Columbia Painters, Sculptors, Photographers, Graphic and Video Artists. 7 September-2 October 1977. Introduction by Alvin Balkind. Catalogue essays by Paul Wong and Gary Michael Dault. Vancouver, BC : Vancouver Art Gallery, 1977. 66 p, 64 ill, En. The catalogue for the exhibition, From This Point of View, provides an overview of current artistic trends in British Columbia in video, painting, sculpture, graphic arts, and photography. Asserts that art resolved itself into a solution of personal and private investigations by the end of the 1960s. Paul Wong notes that video art is strong and categorizes video into narrative works, such as Cathy Charlton's Rounds (1977), Kate Craig's Skins (1977), Ross Gentleman's Stairs (1977) and Colour One (1977), and Sheera Waisman's Makeup (1977); conceptual video, such as Don Druick's Interim (MC+ABBB) (1977); and abstract or synaesthetic works, such as Gregg Simpson's videos Re-wonder (1977), Genagual (1977), and Dot Plane (1977). 885 Gale, Peggy. Toronto video : Looking inward / Video : regard introspectif. Vie des arts 21 no 86 (printemps 1977) 85-86; 17-19. 5 ill, En, fr. There are three types of small format video activity : social and political commentary, documentation, and art works. Of these, the last type is the most interesting to Toronto, Ontario, artists. The works of Colin Campbell, General Idea (A.A. Bronson, Felix Partz, and Jorge Zontal), Lisa Steele, and Rodney Werden are interpreted as forms of autobiograpy or personal journalism. Some attention is also given to the different means of presenting video art. II existe trois types d'activite video de petit format: le commentaire social et politique, le documentaire et 1'oeuvre d'art. Et c'est ce dernier qui semble le plus interesser les artistes torontois. Les oeuvres de Colin Campbell, General Idea (A.A. Bronson, Felix Partz et Jorge Zontal), Lisa Steele et Rodney Werden sont interpreters en tant qu'autobiographie ou journalisme personnel. On porte egalement une attention particuliere aux differents moyens de presenter 1'art video. 886 Gale, Peggy. Video has captured our imagination. Parachute no 7 (Summer 1977) 16-18. 5 ill, En. Discusses the development of video as a medium for personal expression, social action, and electronic experimentation. Suggests how the video movement has attempted to change the nature of mass media, using it as a system of two-way communication rather than as simply a marketing terminal in the home, and how video departs from the patterns and assumptions of commercial televison. Addresses the popular notion of video as a boring medium, and argues that perhaps the context rather than the content of a video work is responsible for the subtle and pervasive impact of the video medium. Explores these concepts in Lisa Steele's A Very Personal Story (1975), Rodney Werden's I'm Sorry (1975), Al Razutis's Synapse (1976), Colin Campbell's Secrets (1974), and General Idea's Pilot (1977). 887 Roque, Georges. « Une autre dimension ». Parachute no 9 (hiver 1977-1978) 22-24. 4 ill, fr.

Video / Video Compte rendu de 1'exposition Une autre dimension, tenue a la Galerie Rationale du Canada a Ottawa (Ontario). On y presente quatre oeuvres de quatre artistes canadiens dont la thematique principale est le mouvement. On y trouve les installations suivantes : // s'agit simplement de prendre la bonne decision (1977) de Ian Carr-Harris, Lac synthetique (1977) de Murray Favro, Les Deux Cotes de la medaille (1977) et De la (1972) de Michael Snow. 888 Kunsthalle Basel. Ian Carr-Harris, Robin Collyer, Greg Curnoe, Paterson Ewen, Eric Fischl, General Idea, N.E. Thing Co. Ltd., Vincent Tangredi, Shirley Wiitasalo / Video: Susan Britton, Colin Campbell, General Idea, Noel Harding, Lisa Steele, Vincent Trasov, Rodney Werden. 11 June-16 July 1978. Catalogue essay by Peggy Gale. Basel, Switzerland : Kunsthalle Basel, 1978.180 p, 97 ill, bibl, Ge, En summary. The video component of the 1978 exhibition of contemporary Canadian art held in Basel, Switzerland featured work by Susan Britton, Colin Campbell, General Idea, Noel Harding, Lisa Steele, Vincent Trasov, and Rodney Werden. The catalogue includes brief descriptions of their lives and their work as well as stills from each artist's oeuvre, a comprehensive videography for each artist, and an essay by Peggy Gale, who examines the role of video within Canadian art. 889 Vancouver Art Gallery. Eric Cameron, Noel Harding : Two Audio-Visual Constructs / Eric Cameron, Noel Harding : deux installations audio-visuelles. 15 January-12 February 1978. Catalogue essay by Ted Lindberg. Travelling exhibition. Vancouver, BC : Vancouver Art Gallery, 1978. 24 p, 15 ill, En, fr. Catalogue of the touring exhibition Two Audio-Visual Constructs, featuring two audiovisual pieces containing elements of video art, cinema, conceptual art, and performance. The works, Keeping Marlene Out of the Picture -and Lawn (1978) by Eric Cameron, and Once Upon the Idea of Two (1978) by Noel Harding are discussed in terms of their physical constructs and temporal implications. Cameron and Harding each contribute a description of their work. Both are intrigued by the manipulative potential of video time and video space. Catalogue d'une exposition itinerante de deux installations, chacune comportant des elements de la video, du cinema, de 1'art conceptuel et de performance Les deux oeuvres, Keeping Marlene Out of the Picture - and Lawn (1978) d'Eric Cameron et Once Upon the Idea of Two (1978) de Noel Harding, sont presentees en fonction de leur construction physique et de leurs implications temporelles. En complement a 1'introduction, le catalogue presente aussi une description par Cameron et Harding de leur propre travail. Les deux se montrent fascines par le potentiel d'exploration du temps et de 1'espace video. 890 Vancouver Art Gallery. Montreal Tapes : Video as a Community or Political Tool. 1-23 April 1978. Introduction by Jo-Anne Birnie Danzker. Catalogue essays by Francine Couture, Esther Trepanier, and Frangois-Marc Gagnon. Vancouver, BC : Vancouver Art Gallery, 1978.16 p, 2 ill, bibl, En, fr. The exhibition, Montreal Tapes : Video as a Community or Political Tool, focused on the relationship between video and political history in Quebec, with emphasis on the use

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of video both as an art form and as a political tool for addressing questions of political and cultural sovereignty. The catalogue includes interviews with Quebec minister of Cultural Affairs Louis O'Neill, video producers Pierre Falardeau, Julien Poulin, and Robert Forget, former Canada Council video officer Penni Jacques, and Cooperative de Production Videoscopique de Montreal co-founder Robert Morin. Also includes statements from such video oriented organizations as Challenge for Change, Groupe d'intervention video, Intercom Satellite Project, La Femme et Le Film, Videotron, and Parallel Institute, essays by Francine Couture, Esther Trepanier, and Francois-Marc Gagnon, an address index for video workers and centres in Montreal, Quebec, and statements on videotapes exhibited as part of the exhibition. Catalogue de 1'exposition Montreal Tapes: Video as a Community or Political Tool qui a exploite la relation entre la video et 1'histoire politique du Quebec et plus particulierement 1'utilisation de la video comme outil politique et artistique dans le debat sur la souverainete politique et culturelle. Le catalogue comprend des interviews avec le ministre des Affaires culturelles du Quebec, Louis O'Neill, avec les producteurs de video Pierre Falardeau, Julien Poulin et Robert Forget, avec un ancien membre du Conseil des Arts, Penni Jacques et avec le cofondateur de Cooperative de Production Videoscopique de Montreal, Robert Morin. Ce catalogue recueille aussi les opinions d'organisations concernees par la video comme Challenge for Change, Groupe d'intervention video, Intercom Satellite Project, La Femme et Le Film, Videotron et Parallel Institute. Des articles de Francine Couture, Esther Trepanier et Francois-Marc Gagnon, un index d'adresses des travailleurs en video et des centres de video a Montreal ainsi que des commentaires sur des videos presentees a 1'exposition completent ce catalogue. 891 Kriesche, Richard, ed. Art Artist and the Media. Essays by Marshall McLuhan, Peggy Gale, and Jo-Anne Birnie Danzker. (AVZ Books, no 2. Publikation zu...MEDIART). Graz, Germany : AVZ, 1978.167 p, 56 ill, Ge, En. Proceedings from the 23-25 October 1978 Art Artist and the Media conference includes articles by and about Canadian mass media among the international contributions and debates. In "Museum and Guerrilla Television," Jo-Anne Birnie Danzker analyses the development of video art in Canada, as a political tool in Quebec from the early 1970s and as an artistic medium supported by parallel galleries. Recounts the development of a video space at the Vancouver Art Gallery in Vancouver, British Columbia, in 1978, noting its relationship to other galleries, exhibition policies, and the public responses to its programming. Questions the growth of Canadian video art considering the decrease of funding to galleries, the main centres of video production and exhibition. In "Quality and Public Appeal," Peggy Gale surveys the artistic and commercial production of videos in Canada. Stresses the dilemma of video art as a medium born of the television market that confronts and subverts accepted television programming. In "General Idea's Press Conference," members A.A. Bronson, Jorge Zontal, and Felix Partz, discuss the context and content of the value of art and its method of expressing cultural, political, and social concerns. In "Biennale seminar on Video 1977," Marshall McLuhan presents, with the aid of anecdotes, the impact of technology on man's socialization and perceptions. Suggests that film

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affects the left hemisphere of the brain while video affects the right hemisphere as a multi-sensuous, immediate, and participatory experience. 892 Gale, Peggy. Temporal Realities: Eric Cameron and Noel Harding. Parachute no 10 (Spring 1978) 12-14. 8 ill, En. Discusses two video art installations exhibited 15 January12 February 1978 at the Vancouver Art Gallery, in Vancouver, British Columbia. States that the two works, Eric Cameron's Keeping Marlene Out of the Picture - and Lawn (1978) and Noel Harding's Once Upon the Idea of Two (1978), represent reproduced reality and a synthetic concept of time. Argues that while Cameron's work is temporally based, with time sequences manipulated, edited, and juxtaposed, Harding's is chiefly spatial, involving private and public dimensions. Both works are similar in connecting critical concepts to psychological and actual states. 893 Danzker, Jo-Anne Birnie. Montreal-Montreal: "Montreal Tapes : Video as a Community or Political Tool." Vanguard 7 no 2 (March 1978) 7,11-12. 2 ill, En. The author discusses the interrelationship between video art (young, portable, "alternative," and with the potential to supply access to mass media) and the political beliefs of the Parti quebecois (PQ). Francophone video artists support the leftist PQ, national independence, cultural sovereignty, and a "leftist" art practise that implies art by and for the masses. Jo-Anne Birnie Danzker outlines her expectations of video art in Quebec based upon these premises, and contrasts it with the situation as it is perceived in the province. Includes statements by video artists Pierre Falardeau, Julien Poulin, and Robert Forget. 894 Goldberg, Michael. Video innovator. Vanguard 7 no 5 (June-July 1978) 20-21.1 ill, En. Michael Goldberg, ex-video officer for the Canada Council, recounts his involvement with video art beginning with his days with Intermedia in Vancouver, British Columbia. The Video Exchange Directory, which he established in order to facilitate the exchange of videotapes between artists and enthusiasts, led to his involvement in exhibitions at the Vancouver Art Gallery. Discusses his subsequent work for the Canada Council, particularly with regard to the cases of Videographe and the Cooperative de production videoscopique de Montreal, and his current involvement in fund-raising. 895 Gale, Peggy; Shaul, Sandra. Light, movement, technology : New tendencies in sculpture. Artmagazine 9 no 3839 (June 1978) 44-47.1 ill, bibl, En. An interview in which Peggy Gale discusses how video, light sculpture, and other technological and performance related activities apply to issues in sculpture. Relates the movement of video to cubism, futurism, constructivism, and kinetic art. Topics discussed include video in the relationship between art and life, the content expressed in video, video as a measure of humanity, its instantaneous quality, and the applicability of ritualistic trends in sculpture to video. The most specific sculptural quality of video is its ability to draw the viewer inward to the source of light, just as the viewer is drawn toward material sculpture.

896 Racine, Rober. Tele - performances / Toronto. Parachute no 13 (hiver 1978) 11-13. 7 ill, fr. L'auteur resume les performances videos qui ont eu lieu lors de la conference video a Toronto (Ontario) intitulee Fifth Network, Cinquieme reseau, du 7 au 10 septembre 1978. Au programme : Demo Model (1978) d'Elizabeth Chitty, Artists Support System (1978) de General Idea, See the Text Comes to Read You (1978) de Tom Sherman, Explaining Pictures to Dead Air (1978) de Clive Robertson, Fruit Cocktails (sortie sous le titre Lamonte Del Monte and the Fruit Cocktails, 1978) de David Buchan, In Conversation with a Diplomat (1978) de Dennis Tourbin, Propos Type (1978) de JeanFrancois Cantin, Another State ofMarshalore (1978) de Marshalore, Centre of a Tension (1978) de Randy and Berneche, Valeur extra regie (1978) de Daniel Guimond et Daniel Dion et The Government (1978) and Affairs Hummer (1978) des Hummer Sisters. 897 Duchaine, Andree; Steele, Lisa; Blouin, Rene; Robertson, Clive; Baert, Renee; McGlade, Terry; Falardeau, Pierre ; MacNevin, Brian; Gilbert, Claude. « Fifth Network, Cinquieme reseau » : conference video a Toronto. Parachute no 13 (hiver 1978) 5-10.4 ill, bibl, fr, En. Differentes perspectives sur la conference video a Toronto (Ontario) intitulee Fifth Network, Cinquieme reseau, qui s'est deroulee du 7 au 10 septembre 1978. Andree Duchaine aborde premierement 1'organisation de la conference, puis s'attarde au probleme de diffusion de la video d'art. Rene Blouin fait un compte rendu critique de la conference qu'il denonce en raison du nombre trop eleve de themes abordes dans les ateliers. Pierre Falardeau fait un plaidoyer en faveur d'un systeme de distribution au Quebec afin « de permettre (au peuple quebecois) de parler, lui permettre d'entendre, lui permettre d'ecouter, lui permettre de vaincre ». Claude Gilbert, quant a lui, critique 1'ennui profond ressenti lors de cette conference. Tout en commentant les bons points de cette assemblee, il essaie d'en expliquer son mauvais fonctionnement. A collection of the perspectives of video artists on the Fifth Network, Cinquieme reseau conference on video, held 7-10 September 1978 in Toronto, Ontario. Lisa Steele describes the traditional format of the conference, and the implications of such a format on the exhibition of video works. Steele also questions why, in a conference which focuses on video, performance assumed a dominant position in the conference's festival presentation. Clive Robertson, from Arton's in Toronto, examines the conference's panel discussions on "Exhibition Standards and Fees," and "Censorship and Fines." Renee Baert, representing the Canada Council, criticizes the rigid structure of the conference and the isolation, factionalism, and lack of communication among the participants. Terry McGlade, from Toronto's Fifth Network, describes the conference as a forum through which independent video producers could meet with people from educational, broadcast, library, cable, or art gallery backgrounds. Brian MacNevin, representing the Centre for Art Tapes in Halifax, Nova Scotia, states that delegates from Atlantic Canada felt alienated by the conference's centralist focus. 898 Didlake, Scott. First experiments in writing and reading video. Centerfold 3 no 1 (December 1978) 59-62. 8 ill, En. Discusses videowriting, a process by which an electronic press is capable of writing information that is adaptable to

Video / Video visual and aural images onto video. States that though it is preferable to compose directly onto an electric machine called the videowriter, writing may be first worked out on paper as a literary score, with the videowriter being used only at the final moment of playing the score onto the videotape. Examines the various types of videowriting machines and the language imagery involved in photoelectric writing and in printwriting, and describes various videowriting techniques. Also discusses techniques of reading videowriting, a process that involves a reorientation of viewer expectations concerning time and space. Scott Didlake examines his own work, a series of tapes entitled Essays on Television (1978), as well as Tom Sherman's Individual Times (1978) and Opal Nations's Romeo and Juliet (1978), all of which incorporate the use of a videowriter. 899 Keziere, Russell. Video in Vancouver: Pumps on Cable 10. Centerfold 3 no 1 (December 1978) 63-64. 2 ill, En. An account of the premiere of a one-half hour anthology of recent video productions, broadcast 14 November 1978 on Cable 10 television in Vancouver, British Columbia, calling it a positive step towards the public exposure of recent work in the medium of video. The anthology, produced by Pumps Video Group, a Vancouver video production collective, and edited by Ken Kuramoto and Mike McDonald, is a continuing series that features video productions by local and visiting artists. Argues that the first instalment, which includes work by Fabio Mauri, Sanja Ivekovic, Kate Craig, Margaret Dragu, Liza Bear, and Pete Lipskis, addresses issues concerning the exhibition of video art, such as the destruction of the contextual basis of the video work and the unconscious redefinition of artistic intention. Concludes that the anthology series provides the opportunity for current productions to reach a wider audience, provides incentive for more video production, and offers a challenging context for emerging ideas and artists. 900 Agnes Etherington Art Centre. Transcript from the "International Video Art Symposium" : 5-7 March 1979. 5-7 March 1979. Introduction by Linda Milrod. Catalogue essays by Wulf Herzogenrath, Ian Murray, Susan Britton, Paul Wong, Jo-Anne Birnie Danzker, David Hall, Maria G. Bicocchi, Kate Craig, Michael Goldberg, Clive Robertson, and Jaime Davidovich. Kingston, Ont: Queen's University, Agnes Etherington Art Centre, 1979. 69 p, En. Various aspects of video art were considered by an international panel brought together to define Canadian video activity within a larger global context. The papers introduced by Linda Milrod are presented along with an edited transcript of the final panel discussion on "TV: Art in Your Home." They include "Video Artists and Television as a Medium" by Wulf Herzogenrath, "Support Structure for Artists working with Videotape : Notes" by Ian Murray, "Video Lunch" by Susan Britton, "Making Video: Cable Access, Artists Cooperative, Fees and Rights" by Paul Wong, "London Video Arts, Britain and the European Scene" by David Hall, "Video and Its Distribution" by Maria G. Bicocchi, "Outlets for Video" by Kate Craig, "Free Television" by Michael Goldberg, "TV Art in the Home" by Clive Robertson, and "Home Marketing of Video Art" by Jaime Davidovich. Also reprints excerpts from Jo-Anne Birnie Danzker's interview with Pierre Falardeau and Julien Poulin on the occasion of the exhibi-

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tion "Montreal Tapes : Video as a Community or Political Tool", held at the Vancouver Art Gallery in Vancouver, British Columbia, 1-23 April 1978. 901 Association of National Non-Profit Artists' Centres / Association des centres nationaux d'artistes a but non lucratif. Spaces by Artists / Places des artistes. 3 Parallelogramme Retrospective / 3e Retrospective Parallelogramme, 1978-79. Edited by Tanya Rosenberg. Toronto, Ont: Association of National Non-Profit Artists' Centres / Association des centres nationaux d'artistes a but non lucratif, 1979. xi, 347 p, ill, En, fr. One of the four annual Retrospective volumes published between 1976 and 1981 in Montreal, Quebec, and Toronto, Ontario, each with a slight variation in its title, documenting the activities of the members of the Association of National Non-Profit Artists' Centres. Supplementing information appearing in the monthly Parallelogramme about these parallel galleries, Spaces by Artists / Places des artistes contains essays and reports offering critical analyses of Canada's artistic community. A common topic is technology, and how artists have responded to it. In "Experimental Film: A Problem of Definition" Anna Gronau notes that experimental film has suffered from critical and curatorial neglect. She explains that the confusion surrounding the definition of experimental film has resulted in its unfair critical treatment as entertainment and that its non-narrative, experimental features have been ignored. Gronau lists film cooperatives in the United States and Canada, and makes distinctions between their mandates. She contends that experimental film should be promoted as a separate medium with properties that differ from television and Hollywood movies. "Discussing the State of Video" is a transcript of a conversation between Kate Craig of the Western Front, Kim Tomczak of Pumps, and Paul Wong of the Video Inn. Each provides information on their respective artist-run video facilities in Vancouver, British Columbia. They state that video artists often act as video critics, and are thus open to charges of self-promotion. Participants agree on the need for more independent, professional video critics. Une des quatre retrospectives annuelles publiees sous differents titres entre 1976 et 1981, a Montreal (Quebec) et Toronto (Ontario), qui decrit les activites des membres de 1'Association des centres nationaux d'artistes a but non lucratif Constituant un supplement d'information a ce qui a paru dans la revue Parallelogramme sur ces galeries parralleles, ce document comprend des essais et des rapports critiques sur la communaute canadienne. Dans « Le film experimental: un probleme de definition », Anna Gonau souligne que le film experimental a souffert d'un manque d'interet de la part de la critique et des conservateurs. Elle explique que la definition imprecise du film experimental lui a valu d'etre classe injustement, par la critique, dans la categorie des divertissements et que ses aspects non narratifs et experimentaux ont ete laisses de cote. Gronau donne la liste des cooperatives de films aux Etats-Unis et au Canada et decrit leurs divers mandats. Elle affirme qu'on devrait promouvoir le film experimental comme un media distinct dont les caracteristiques different de la television et des films d'Hollywood. « Bulletin de sante du video » est une transcription d'une conversation entre Kate Craig, de Western Front, Kim Tomczak, de Pumps, et Paul Wong, de Video Inn. Ces trois artistes decrivent leurs studios de video a Vancouver (Colombie-

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Britannique). Us precisent que les artistes eux-memes jouent souvent le role de critique et c'est pourquoi on les accuse souvent de faire leur propre publicite. Les participants s'entendent pour dire que I'art video a besoin de critiques professionnels et independants. 902 Memorial University of Newfoundland Art Gallery. Videoscape : Newfoundland Edition. April 1979. Catalogue essay by Elizabeth Brown. St. John's, Nfld : Memorial University of Newfoundland Art Gallery, 1979. unpaged p, ill, bibl, En. Two Newfoundland artists, Stephen Payne and Mike Riggio, and five artists from across Canada, Norman Conn, Kate Craig, Pierre Falardeau, Brian MacNevin, and Terry McGlade, were invited to create a new video work based on the environment and people of Newfoundland. Recent works by the artists were exhibited along with the newly created "videoscapes." 903 Lord, Catherine. 60 videos entre 1'humour et la rage. L'Actualite 4 no 2 (fevrier 1979) 18.1 ill, fr. La video Quebecoiserient (Diane Hefferman et Suzanne Vertu, 1976) fait partie des 60 documents audiovisuels tournes sur les femmes du Quebec. II contient des temoignages recueillis lors de la semaine de rencontres organisee pour celebrer le premier anniversaire de la « Librairie des femmes d'ici». 904 Danzker, Jo-Anne Birnie. Mediart: Notes from Graz and Barcelona. Vanguard 8 no 2 (March 1979) 15-16. 1 ill, bibl, En. Conferences held in the cities of Graz, Austria and Barcelona, Spain discuss the differences between the video art of North America and that of Europe. Noting that Canadian levels of financial support, video equipment banks, and access to new technologies are rare in Europe, a parallel is drawn to the European caution in combining video art with mass media. European interests with art history and historical and sociological concerns contrast with the perceived lack of perspective in North American video art. 905 Pontbriand, Chantal. Notion(s) de performance / Notion(s) of Performance. Parachute no 15 (ete 1979) 25-29 ; 30-32. 7 ill, bibl, fr, En. Chantal Pontbriand tente de definir ce qu'est une performance. Elle fait la difference entre la performance en direct (qui comprend le performer et les objets directs qu'il utilise) et en differe. Cette derniere categoric inclut des supports tels que le film, la video, la photographic, 1'enregistrement sonore. Ce qui frappe, selon elle, c'est 1'aspect transitif de tous ces moyens et le desir de mettre en relief le processus derriere 1'oeuvre. Elle explique 1'evolution de la notion de performance et la perception de la critique face a ce media. Elle mentionne brievement la relation entre la performance et la video concernant La Region centrale (1970) de Michael Snow. Discusses the phenomenon of performance in contemporary art, outlining the difference between a direct performance, which comprises the performer and the objects used, and a deferred performance, which includes elements of support such as film, video, photography, sound recordings, and certain forms of sculpture Argues that

performance art is a fundamental aspect of post-modern culture, in that it is associated with ritual and technology and is more concerned with the process of artistic practise than with the finished product. Explains the evolution of the notion of performance art and the critical response it has received. Briefly mentions the relationship between performance and film and video, referring to Michael Snow's La Region centrale (1970). 906 Campbell, Colin. Video '79 : Roman style. Centerfold 3 no 6 (August-September 1979) 303-304.1 ill, En. Reports on "Video '79 : The First Decade," a conference held in Rome, Italy. Argues that the conference, designed to assess the past ten years of video production by independent producers, exhibited a number of videos that appeared dated and obsolete. States that the Canadian output of video productions is extremely high compared to European countries, and that in general conferences on video tend to neglect video art. 907 Todd, Kim. The nine tape test. Centerfold 3 no 6 (August-September 1979) 331-332.1 ill, En. An account of the presentation of recent independently produced videotapes, held at Pumps, a Vancouver, British Columbia, video collective 10 June 1979. Provides critical analyses of a number of the videos exhibited, including Mitchelangelo's The Agony and the Ecstasy (1979), Bruce McCrimon, Peg Campbell, and Madeleine Duff's Girls' Club (1979), Chris Reed's Breakfast of Champions (1979), Kim Tomczak's Action 58 by Hermann Nitsch (1979), Pumps Video Group's Off the Street with Peter George (1979), Jim Cummins's The Great Cock Cut Off (1979) and Punk-a-Roonie (1979), Keith Donovan's Commercial Break (1979), and Kate Craig's Delicate Issue (1979), in terms of their various thematic and formal approaches. 908 National Gallery of Canada / Galerie nationale du Canada. Canada Video : Colin Campbell, Pierre Falardeau / Julien Poulin, General Idea, Tom Sherman, Lisa Steele. Venice (Italy), XXXIX International Biennial Exhibition, 1 June 1980-September 1980. Introduction and catalogue essay by Bruce Ferguson. Ottawa, Ont: National Gallery of Canada / Galerie nationale du Canada, 1980. 108 p, 52 ill, bibl, En, fr, It. Video art in Canada has been well supported by the Canada Council, but museums and television have given it limited exposure. Nevertheless, several Canadian video artists are thriving and together represent Canada in the 1980 Venice Biennale in Venice, Italy. The video artists are Colin Campbell, Pierre Falardeau and Julien Poulin, General Idea, Tom Sherman, and Lisa Steele. Video works and exhibitions for each artist are listed. L'art video au Canada est bien soutenu par le Conseil des Arts du Canada, mais il semble que les musees et la television y aient consacre tres peu d'attention Ce catalogue presente quelques travaux et 1'approche individuelle de plusieurs artistes de I'art video presents a la Biennale de Venise, tenue a Venise (Italic) en 1980, soit: Colin Campbell, Pierre Falardeau et Julien Poulin, General Idea, Tom Sherman et Lisa Steele. On y trouve une liste d'oeuvres video, d'expositions et une bibliographic pour chacun des artistes mentionnnes. 909 A Space; Art Gallery at Harbourfront. 222 Warehouse.

Video / Video 3-13 July 1980. Toronto, Ont: The Gallery, 1980.117-151 p, ill, En. This exhibition of multi-media works represents several Canadian artists. In a brief introduction artist Tom Sherman explains that the works in the show address the artists' responses to presenting their ideas within the confinces of a warehouse. Sherman states that the works fall into four categories of artistic activity, installation, installation-performance, performance, or video. 910 Gauthier, Andre. L'histoire de la video-animation. Cahiers de la femme / Canadian Women's Studies 2 no 3 (1980) 103.1 ill, fr. Une lettre ouverte au ministre des Affaires culturelles du Quebec qui fait appel a la necessite d'etablir un reseau de media communautaire, surtout de videographes, pour combattre la croissance politique et economique des medias traditionnels. 911 Demers, Pierre. SCRAM, le video militant. Derives no 24-25 (1980) 43-48.1 ill, fr. Lors d'une entrevue avec Michel Lemieux, on discute de la Societe de communication et de recherche pour 1'acces aux medias (SCRAM) qui, entre 1973 et 1976, a produit une dizaine de videos militantes sur les tensions et les luttes des travailleurs de la region. On note que la SCRAM faisait de l'animation sociale grace a ses videos et qu'elle a ferme ses portes faute de n'avoir pu trouver des solutions a ses debats theoriques. 912 Britton, Susan; Chitty, Elizabeth; Clark, Tim; Craven, David ; Craig, Kate; Dragu, Margaret; Dean, Max; Fish, Robert; Gervais, Raymond; Greyson, John; Harding, Noel; Massey, John; Tomczak, Kim. lie Biennale de Paris: Les Canadiens. Parachute no 20 (automne 1980) 4-17. 15 ill, bibl, fr, En. Cet article comprend des textes ecrits par 13 artistes de moins de 35 ans, choisis pour representer le Canada a la lie Biennale de Paris de 1980 a Paris (France). On y trouve, entre autres, ceux des videastes Susan Britton, qui a realise Casting Call (1979), Elizabeth Chitty, qui a presente Telling Tales (1979), Kate Craig et Margaret Dragu qui ont fait Back Up (1980) et, enfin, Noel Harding qui a offert son Chapter One: Introduction to Character (1980). Provides texts written by 13 artists each under the age of 35 who were chosen to represent Canada at the llth Paris Biennale of 1980 in Paris, France Video art works presented included Casting Call (1979) by Susan Britton, Telling Tales (1979) by Elizabeth Chitty, Back Up (1980) by Kate Craig and Margaret Dragu, and Chapter One: Introduction to Character (1980) by Noel Harding. 913 Doyle, Judith. "222 Warehouse." Parachute no 20 (Fall 1980) 50-51. 2 ill, En. The 222 Warehouse exhibition, held 3-13 July 1980 was presented by A Space and the Art Gallery at Harbourfront in Toronto, Ontario. It featured video, performance, and installation works by 23 artists. Refers specifically to Alan Sondheim and Laura Hayes's Exile and Others (1980), Lisa Steele's The Gloria Tapes (1980), Andrew Paterson's Bedsitter (1980), Norman Cohn's Michelle on the Day of Surgery (1980), and Tom Sherman's TVideo (1980) and Envisioner (1978).

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914 Ikon Gallery. Canada in Birmingham. 2 May-30 May 1981. Introduction by Hugh Stoddart. Catalogue essay by Martha Fleming. Birmingham, England : Ikon Gallery, 1981. 22 p, 11 ill, En. The Canada in Birmingham exhibition, co-sponsored by the Canadian High Commission in London, England, featured Canadian painting, sculpture, and installation, as well as a "Canadian Artists' Videotapes" program, organized by curator Martha Fleming, which included work by Robert Hamon, Nora Hutchinson, Edward Lam, Eric Metcalfe, and John Watt. An essay by Fleming entitled "New Video : Sequence and Denial" provides a historical, critical, and theoretical context for the video program. 915 Macdonald Stewart Art Centre. Realism: Structure and Illusion: Toward a Definition of Representational Art. 3 May-14 June 1981. Catalogue essay by David Nasby. Also shown: Burlington (Ont), Burlington Cultural Centre, 21 June-26 July 1981. Guelph, Ont: Macdonald Stewart Art Centre, 1981. 41 p, 30 ill, En. The catalogue for Realism : Structure and Illusion, an exhibition of contemporary Canadian art, states that the exhibition was designed to articulate a definition of contemporary representational art, and that the artists featured in the exhibition bring an innovative approach to a highly personal depiction of reality. The video component of the exhibition includes Ian Carr-Harris's Look (1978), Noel Harding's Chapter Two: Suspense (1980), Nora Hutchinson's C'etait un jeu de memoire (1977), and Tom Sherman's TVideo (1980). The catalogue includes a brief biographical profile and an exhibition list for each artist. 916 Sherman, Tom. Transvideo: Video information produced by artists must be assessed in terms of its communications potential. Fuse 5 no 2-3 (March-April 1981) 97-99. 1 ill, En. Argues that video is first and foremost an electronic communications medium and that interactive television is the goal video artists should be striving for. Video information produced by video artists must be assessed in terms of its communication potential. An aesthetic of video should not be based on a fine arts aesthetic arising from the material formalism of traditional media. Criticizes artists who turn video into an art medium in order to achieve the economic security of serving art institutions, and condemns video artists who limit the accessibility of their video information to those institutions. Concedes that such established cultural institutions can lend credibility to an unknown information source and help distribute the video information of video artists. Objects to wasteful video programming that renders the medium useless and makes the goal of creating interactive television more difficult. 917 Pallain, Marc. Video: Quebec, dix ans d'age. Cahiers du cinema no 321 (mars 1981) i-ii. fr. Bilan des 10 ans d'existence de la video au Quebec. Pallain fait 1'historique des activites du Videographe, fonde en 1971, et du Groupe d'intervention video, fonde en 1975. 918 Oille, Jennifer. A question of place 2. Vanguard 10 no 9 (November 1981) 12-17. 9 ill, En. Looks at a series of art projects in Toronto, Ontario,

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including "Video-Video: State of the Art" presented as part of Toronto's Festival of Festivals. Video projects by Lisa Steele, Tom Sherman, and Vera Frenkel are discussed, along with the versatility of the video art form itself. Developments in technology and the effects of these on video and art in general are explored. 919 World Wide Video Festival. 1982-. Annual (irregular). The Hague, Netherlands : Kijkhuis, 1982-. ill, Du, En. The World Wide Video Festival held in Holland, September 1982,1983,1984,1986,1988, and 1989 explored experimental videos with an international scope. The catalogues list the videos screened with plot synopses. The introduction notes that for the year 1982, the videos obscure the distinction between art tapes and critical video productions, and the quality of the productions is professional. The article "The No Man's Land between Art and Information Does Not Exist" celebrates the evolution of video art to incorporate telecommunication forms with an artistic tradition, while "Video-Art-Video -Art and Video" discusses the inherent relationship between video and television. Canadian videos include Michael Goldberg's A Couple of Changes (1982), Noel Harding's Out of Control (1981), Nora Hutchinson's Granny and Me (1982) and Cetait unjeu de memoire (1977), Ardele Lister's Split (1981), Nancy Nicol's Sacrificial Burnings (1980), Tom Sherman's Transvideo (1981), John Watt's Industrial Track: A Series of 13 Programs (1981), and Paul Wong's Prime Cuts (1981). For 1983 Canadian videos screened include Edward Mowbray's Excerpts and Euphoria (1983), Nicol's Intervention Productions Presents : Let Poland Be Poland (1982), Kim Tomczak's Paradise Lost (1981), Harding's Houses Belong to Those Who Live in Them (1982), Vera Frenkel's And Now the Truth (1981), Helen Doyle's Les Mots... Manx du silence (1983), Peter Wronski's Reichland (1982) and It's Only a City, Darling, They Call New York (1983). The article "Video and Computer" in the 1984 catalogue discusses the advances in computer technology to manipulate video images. Canadian videos include Eric Metcalfe and Hank Bull's Sax Island (1984), Jayce Salloum's "...In the Absence of Heroes..."(IV) (1984), and Geoffrey Shea's Timmins, Ont. (1984). The 1986 catalogue announces the festival's first video related performances in environments best suited for their viewing. Canadian videos include Michael Balser's Jerungdu (1986), Doris Chase's Table for One (1985), Francois Dugre and Johanne Fournier's Le Sourire d'une parfumeuse (1986), Francois Girard's Le Train (1985), Bernar Hebert's Fiction (1985), Susan Rynard's Absence (1986), and Geoffrey Shea's The Truth About the USSR (1986). 920 Biennale of Sydney. Vision in Disbelief: The 4th Biennale of Sydney. 7 April-23 May 1982. Preface by Elwyn Lynn. Sydney, Australia : Biennale of Sydney, 1982. 224 p, 224 ill, bibl, En. The catalogue for the fourth Biennale of Sydney, Australia, entitled Vision in Disbelief, provides an overview of issues relevant to contemporary art in Australia and includes the participation of international artists. Canadian works screened for the "Film and Video" section were : Colin Campbell's videos Dangling by Their Mouths (1981), He's a Growing Boy -She's Turning 40 (1980), and Conundrum Clinique (1981); Norman Conn's Children in Hospital: Peter, in Long Term Care (1982), and Michelle on the Day of Surgery (1980); Nancy Nicol's Miniature

Theatre: Notes from an Unknown Source: A Science Fiction (1979), and Sacrificial Burnings (1980); Lisa Steele's A Very Personal Story (1975), Facing South (1975), The Ballad of Dan Peoples (1976), The Damages (1978) and Makin' Strange (1978), and The Gloria Tapes (1980); John Watt's Two Way Mirror (1980); and Rodney Werden's AM Radio Was His Only Friend (1977), Call Roger (1973), Typist (1976), Baby Dolls (1978), and Yes (1981). 921 Duchaine, Andree. Historique de la videographie au Quebec : pour une theorie des genres. Maitrise en sciences. Montreal, Quebec : Universite de Montreal, 1982. vii, 145 p, bibl, fr. Discussion sur le video divise en trois parties. Premierement I'avenement de la videographie au Quebec est situer dans un contexte social et culturel. Deuxiemement Andree Duchaine analyse les specificites de la production videographique d'une periode donnee (1969 a 1981). En dernier lieu 1'auteur definir trois principales ecoles en video et d'en formuler les regies sur le plan syntagmatique. 922 Musee d'art contemporain. Video du Quebec: une exposition organisee par le Service des expositions itinerantes du Musee d'art contemporain, Montreal, avec la participation financiere du Conseil des Arts du Canada. 4 mars-4 avril 1982. Mise en circulation jusqu'en 1983. Essai par Andree Duchaine. Montreal, Quebec : Musee d'art contemporain, 1982. 47 p, 21 ill, bibl, fr. Andree Duchaine a mis sur pied une exposition sur les diverses manifestations de la video au Quebec. Elle dresse un bilan historique de la videographie au Quebec, de 1967 a 1981 et situe 14 productions videos dans leur contexte social et culturel. Les videos sont les suivantes : Qu'est-ce qu'on a pufaire au Bon Dieu (1971) d'Yves Chaput; Pea Soup (1979) de Pierre Falardeau et Julien Poulin; Videogrammes inedits (1975) de Jean-Pierre Boyer; Metamorphoses (1972) de Richard Martin; Box Concert (1974) de Suzy Lake; Chaperons rouges (1979) d'Helene Bourgault et Helen Doyle; Memoire d'octobre (1979) de Jean-Pierre Boyer; Dutch Light: Textual Actions (1981) de Marshalore; Quebecoiserient (1976) de Diane Hefferman et Suzanne Vertu; Gus est encore dans I'armee (1979) de Lorraine Dufour et Robert Morin; Propos type (1978) de Jean-Frangois Cantin; Systeme de Beaux-Arts (1981) de Daniel Dion et Philippe Poloni; Serie Art Montreal, Michael Haslam, emission no 2 (1981) de Michael Haslam; T.V. Screen (1981) d'Alain Bergeron et Miguel Raymond. Le catalogue comprend une chronologic des principaux evenements relies a la videographie au Quebec de 1967 a 1982. 923 Musee d'art contemporain. Semaine de la video feministe quebecoise. 19-25 avril 1982. Recherche et redaction, Christine Ross. Montreal, Quebec: ministere des Affaires culturelles, 1982.17 p, index, fr. Une vingtaine de videastes quebecoises presentent au Cinema Parallele a Montreal (Quebec) quelque 28 videos realises entre 1976 et 1982 dans le cadre de 1'exposition «1'Art et le feminisme ». La presentation est divisee en deux volets : un sur la fiction et un sur le documentaire. On constate que les femmes videastes ont depasse les stades de la denonciation et de 1'appropriation d'un moyen d'expression. Elles donnent desormais leur propre vision de la realite en faisant des recherches formelles et

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en explorant tous les aspects de 1'ecriture, qu'elle soit realiste, poetique ou symboliste.

Time Comix Presents : Steel and Flesh, 1980), produced by Eric Metcalfe.

924 Brandon, Laura. "New Uses for Television." ArtsAtlantic 4 no 1 (Spring 1982) 15.1 ill, En. Gives highlights of the video exhibition New Uses for Television held 3-8 November 1981 at the Confederation Centre Art Gallery and Museum as well as the Great George Street Gallery in Charlottetown, Prince Edward Island. Curator David Craig outlines the exhibition as an attempt to establish a position whereby television could be considered as a medium outside of the realm of commercial stations. Mentions that a talk was given by video artist Ed Slopek and videos shown including William Perry, Woodcutter (Norman Cohn, 1981), Losing : A Conversation with the Parents (Martha Rosier, 1977), and TVideo (Tom Sherman, 1980).

928 Walter Phillips Gallery. The Second Link : Viewpoints on Video in the Eighties. 8 July-21 July 1983. Catalogue essays by Lome Falk, Gene Youngblood, Carl Loeffler, Sandy Nairne, Dorine Mignot, Barbara London, Kathy Huffman, Peggy Gale, and Brian MacNevin. Also shown : New York (NY), Museum of Modern Art, 18 August-27 September 1983; Amsterdam (Netherlands), Stedelijk Museum, 9 September-16 October 1983 ; Toronto (Ont), A Space, 1 October-29 October 1983; Long Beach (California), Long Beach Museum of Art, 20 November 1983-15 January 1984; London (England), Institute of Contemporary Arts, 16 December 1983-15 January 1984. Banff, Alta: Walter Phillips Gallery, The Banff Centre School of Fine Arts, 1983.109 p, ill, bibl, En. The exhibition, The Second Link: Viewpoints on Video in the Eighties, includes videos by American, British, Canadian, and European artists with Canada represented by John Watt, Lisa Steele, Ed Slopek, Ian Murray, Eric Metcalfe, General Idea, Vera Frenkel, Helen Doyle, Norman Cohn, and Marion Barling. Catalogue essays focus on the relationship between video art and television, the meaning of video as art, the uses of video technology, and the artistic and commercial applications of video. Peggy Gale in "Video's Voices" notes that artists' videos in Canada began as a negation of television and suggests that the Canadian videos in the exhibition use different narrative techniques and demand strong personal responses from the viewer.

925 Tourangeau, Jean. « Video du Quebec ». Parachute no 27 (ete 1982) 40.1 ill, fr. Compte rendu de 1'exposition Video du Quebec, tenue du 11 mars au 4 avril 1982, au Musee d'art contemporain de Montreal (Quebec). Jean Tourangeau discute des liens entre la pratique de la videographie et le contexte social et culturel du Quebec. II note trois grands parametres qui caracterisent cette videographie nationale. Premierement, ces oeuvres decrivent des evenements politiques et sociaux comme Qu'est-ce qu'on a pufaire au Bon Dieu (1971) d'Yves Chaput, Pea Soup (1979) de Pierre Falardeau et Julien Poulin et Memoire d'octobre (1979) de Jean-Pierre Boyer. De plus, des films tels que Chaperons Rouges (1979) d'Helene Bourgault et Helen Doyle et Quebecoiserient (1976) de Diane Hefferman et Suzanne Vertu commentent la condition feminine. Enfin, les artistes explorent les divers elements esthetiques du media. Jean Tourangeau mentionne les videogrammes suivants : Gus est encore dans I'armee (1979) de Lorraine Dufour et Robert Morin, Metamorphoses (1972) de Richard Martin, Dutch Light: Textual Actions (1981) de Marshalore, Box Concert (1974) de Suzy Lake, Serie Art Montreal, Michael Haslam, emission no 2 (1981) de Michael Haslam, Propos type (1978) de JeanFrangois Cantin, Systeme de Beaux-Arts (1981) de Daniel Dion et Philippe Poloni, Videogrammes inedits (1975) de Jean-Pierre Boyer et T.V. Screen (1981) d'Alain Bergeron et Miguel Raymond. 926 Langlois, Yves. Arts visuels: manifeste d'un videomane. Le Temps Fou no 23 (novembre-decembre 1982) 52. fr. Notes sur les possibilites de la production videographique et les petits budgets. 927 Gale, Peggy. Colour video / vulgar potential. Parachute no 29 (December 1982-January-February 1983) 18-23. 7 ill, bibl, En. Discusses the dynamic state of video as an artistic medium, focussing on the incorporation of colour as the most fundamental recent change affecting video art. Considers the contribution of colour to video art and analyzes how colour video is utilized in Colin Campbell's Dangling by Their Mouths (1981), Lisa Steele's Tunnel of Love (1979) and Some Call It Bad Luck (1982), Noel Harding's Out of Control (1981), Paul Wong's Prime Cuts (1981), and Dana Atchley and Hank Bull's Steel and Flesh (released as Crime

929 Wiirttembergischer Kunstverein. Kiinstler aus Kanada : Raume und instaliationen. 10 February-20 March 1983. Introduction by Tilman Osterwold. Catalogue essays by Philip Monk, Glenn Lewis, Ulrich Bernhardt, and Bruce Ferguson. Stuttgart, Germany: Wiirttembergischer Kunstverein, 1983.128 p, ill, bibl, Ge, En. The catalogue for the exhibition, Kiinstler aus Kanada : Raume und instaliationen, of contemporary Canadian art includes a section on video art, featuring articles and descriptions of videos exhibited in the Videos aus Kanada program at the Kiinstlerhaus, 16 February-4 March 1983. In "A Space in Toronto - A History" Philip Monk outlines the history and mandate of Canada's first artist-run centre, A Space, since it opened in 1971. In "Western Front, Vancouver" Glenn Lewis describes how Vancouver, British Columbia's parallel gallery, Western Front, accommodates video artists. The Videos aus Kanada program screened Crime Time Comix Presents : Steel and Flesh (1980) produced by Eric Metcalfe and directed by Dana Atchley and Hank Bull, New Freedom (1981) by Anne Ramsden, I Am an Artist (1980) by Les Levine, Nightmare (3 Essays for Edmund O. Wilson) (1978) by Ed Slopek, Sugar Daddy (1980) by Ardele Lister, Up Down Strange (1981), ...And a Woman (1983), Casting Call (1979), and Me$$age to China (1979) by Susan Britton, Conundrum Clinique (1981) by Colin Campbell, Yes (1981) by Rodney Werden, Test Tube (1981) by General Idea, and Television's Human Nature (1977) by Tom Sherman. 930 Tourangeau, Jean. In video : Is Canada invisible? Vanguard 12 no 7 (September 1983) 26-30. 4 ill, En. Traces the development of video art in Canada since the

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late 1960s, focussing on the original self-contained emergence of the art form in several regions. Television's increasing role in broadcasting video in both its commercial and artistic manifestations is seen as a corruption of the medium and its message. Concludes that video art is at a crossroads in its development. 931 Jean, Suzanne. Le regard active. 24 Images no 19 (hiver 1983-1984) 18-20. 2 ill, fr. Retrospective de videogrammes presentee a Quebec (Quebec), en 1983, organisee par 1'organisme Obscure et avec la collaboration du Festival international du nouveau cinema de Montreal, tenu a Montreal (Quebec) et le centre du Cinema Parallele de Montreal. L'auteure mentionne les videogrammes suivants : Traces (1983) d'Helene Roy et Francois Dugre, Empreintes ou Relations avec man double (1983) de Marie-Helene Parant, L'Hermit ou la prise de son (1984) de Robert Perrault, Suite pornographique (1983) de Jean Gagnon et L'Oeil rechargeable (1983) de Michel Lemieux. 932 Art Metropole. Evidence of the Avant-garde since 1957: Selected Works from the Collection of Art Metropole including Audio Tapes, Records, Videotapes, Film, Multiples, Kitsch, Manuscripts, Stamps, Buttons, Flyers, Posters, Correspondence, Catalogues, Porn, T-shirts, Postcards, Drawings, Poems, Mailers, Books, Photographs, and Ephemera: An Art Metropole 19th Anniversary Event. 17 November-8 December 1984. Catalogue essays by Peggy Gale, Peggy, General Idea, and Christina Ritchie Toronto, Ont: Art Metropole, 1984. 94 p, ill, bibl, En. The exhibition, Evidence of the Avant-garde since 1957, commemorates Art Metropole's tenth anniversary with a selection of materials from its archive, including video works. Christina Ritchie in explaining how the holdings of Art Metropole reflect the forms of expression of the avant-garde calls for a review of the movement. Peggy Gale discusses Art Metropole's early years highlighting various events relating to its mandate. Includes a chronology of activities from 1974 to 1984, a list of publications, and a postscript by A.A. Bronson of General Idea. 933 Manifestation internationale de video 2e : 1984 : Montbeliard, France. Actes du colloque video, fiction et cie. Propose et anime par Jean-Paul Fargier. Texte par Andree Duchaine. Saint-Denis, France : Centre de recherche, Universite de Paris VIII; Montbeliard, France : C.A.C. de Montbeliard, 1984. 67 p, 9 ill, fr. Comprend du texte en anglais. Lors d'une des seances de ce colloque portant sur la fiction video, Andree Duchaine (representante du Canada) discute de la semantique discursive du documentaire et du document d'intervention sociale. L'auteure presente sa terminologie personnelle, car la conception d'une syntaxe visuelle suscite plusieurs difficultes d'ordre method ologique. Elle explique comment 1'ecole cinevideo utilise, dans le documentaire, les structures edifices par le cinema et de quelle maniere 1'ecole de la televideo utilise, dans le document d'intervention sociale, des precedes discursifs qui s'apparentent a ceux de la television. 934 Mendel Art Gallery. Prime Time Video: Elizabeth Chitty, Kit Fitzgerald / John Sanborn, General Idea, Noel Harding, Stuart Sherman (1982). 15 October 1982-12 November 1984. Catalogue essays by Allan Mackay, John G.

Hanhardt, Peter Lynch, Reny Onasick, Robert F. White, Bruce W. Ferguson, and Renee Baert. Travelling exhibition, 16 February 1983-12 November 1984. Saskatoon, Sask : Mendel Art Gallery, 1984. viii, 89 p, 20 ill, En, fr. Catalogue to an exhibition of video works by Noel Harding, Elizabeth Chitty, General Idea, Stuart Sherman, Kit Fitzgerald, and John Sanborn, created especially for prime time television and telecast five consecutive evenings on the Canadian Broadcasting Corporation (CBC) Saskatchewan Channel 11 / Cable 12 Newsday program. Allan Mackay recounts how the series, developed from the idea to broadcast video art, had its premiere screening at the Mendel Art Gallery in Saskatoon, Saskatchewan, in October 1982, and was followed a week later by a screening on Saskatoon television. "Notes on Video / Television: Prime Time Video" by John G. Hanhardt traces the history of video art in North America, distinguishing it from avant-garde filmmaking, and introduces the exhibition as an innovative concept wherein video art productions are broadcast within a documentary format. "Prime Time Video : Breaking Ground" by Peter Lynch and Reny Onasick, notes the concern of video artists to reach a broader audience, and points out how popular television is changed with the three Canadian videos screened, Harding's Houses Belong to Those Who Live in Them (1982), Chitty's TV Love (A Made for TV Love Story) (1982), and General Idea's Loco (1982). "Is It Prime Time Yet?" by Robert F. White, considers the future of video art in relation to television innovations like cable and satellite programming and comments upon the individual videos. "Making Airwaves" by Bruce W. Ferguson, distinguishes video art from the financial, political, and social limitations of television and analyses the deconstructed television conventions of Loco and Houses Belong to Those Who Live in Them, as compared to TV Love's clear manipulation of the medium. "Artists' Markings in the TV Landscape" by Renee Baert, looks at the growth of video productions for television, compares the technical sophistication of American video to Canadian works concentrating on narration and content, and concludes with an abbreviated history of cable television programming by Canadian artists. Catalogue d'une exposition d'oeuvres videos realisees par Noel Harding, Elizabeth Chitty, General Idea, Stuart Sherman, Kit Fitzgerald et John Sandborn Les videos ont ete produits specialement pour 1'emission Newsday de la Societe Radio-Canada (SRC) Saskatchewan (canal 11, cable 12) et elles ont ete diffuses cinq soirs consecutifs aux heures de grande ecoute. Allan Mackay raconte comment la Mendel Art Gallery de Saskatoon (Saskatchewan) a participe a 1'elaboration de ce projet d'envergure nationale qui a permis la presentation de bandes videos en premiere en octobre 1982. John G. Hanhardt signe 1'article «Remarques sur la video / television: Prime Time Video » dans lequel il fait un bref historique de 1'art video en Amerique du Nord. II y fait la distinction entre les films d'avant-garde et la production video, et demontre que 1'exposition Prime Time Video constitue un concept innovateur diffuse en format documentaire. Dans « Prime Time Video : innovation » Peter Lynch et Renya Onasik remarquent que les artistes de la video veulent atteindre un plus large public et decrivent comment les trois videos canadienes Houses Belong to Those Who Live in Them (1982) de Harding, TV Love (A Made for TV Love Story) (1982) de Chitty et Loco (1982) de General Idea, ont change la television populaire. Dans « L'Art video aux heures de grande

Video / Video ecoute? », Robin F. White decrit 1'avenir de 1'art video en tenant compte des innovations televisuelles, comme le cable et le satellite, et en commentant la video-maison. « Remous sur les ondes », de Bruce W. Ferguson, nous montre 1'art video a travers le spectre des limites financiere, politique et sociale de la television. II analyse aussi la deconstruction des conventions televisuelles dans Loco et Houses Belong to Those Who Live in Them comparativement a la manipulation claire du media dans TV Love. Enfin, Renee Baert ecrit sur la croissance de la production video pour la television. Elle compare les sophistications de la video americaine aux oeuvres canadiennes concentrees davantage sur la narration, et conclut avec un bref historique de la programmation d'artistes canadiens sur la cablodistribution. 935 Baert, Renee. Video in Canada: Process and production. Video 84: International Video Conferences, Montreal, September 27'-October 4, 1984/Video 84: Rencontres video internationales de Montreal, 27 septembre-4 octobre 1984, 19-20. Montreal, Quebec : Video 84,1984. En. Paper presented by Canadian video curator Renee Baert at the first International Video Conference in Montreal, Quebec, in 1984. Baert recounts the evolution of video as an art form in urban centres across Canada. Stresses the close relationship between video, television, and mainstream media, but notes that video has not participated in as wide a cultural milieu. Explains how technical advancements have allowed for a new emphasis on narrative in video art and a more subtle differentiation from television. 936 Fox, Ted. High tech art. Cinema Canada no 109 (July-August 1984) 13-14. 1 ill, En. An overview of the video art scene in Toronto, Ontario, focussing on the video art groups Trinity Square Video, the Arts Television Centre, Charles Street Video, and Art Metropole. Also mentions the Association of National Non-Profit Artists' Centres and the Artculture Resource Centre, which represent the two main exhibition spaces for Toronto's video artists. 937 Rans, Goldie. "Video Refractions." C 3 (Fall 1984) 2426. 3 ill, En. Praises Renee Baert, a curator at the London Regional Art Gallery in London, Ontario, for situating video art in relation to commercial television. In "Video Refractions," an exhibition of Canadian made art videos for cable distribution, Baert positioned three monitors within simulated domestic environments. This arrangement reveals how the seemingly slow "real-time" of video art is its greatest distinction from standard broadcast television and cable video. Reviews Two Way Mirror (1980), a video by John Watt in which an analogue of a soap opera is created to expose how screen audiences are primed to be receptors for misinformation. Watt's video, like others in the exhibition, plays with the conventions and codes of television. No successful method of merchandising has been found for video art, and as a result and for financial reasons, it has turned to the sex industry. Consequently art galleries must decide if they will follow the Ontario Censor Board's regulations, and the London Regional Art Gallery's board of directors cannot agree on this issue.

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938 Gagnon, Jean. La video canadienne et les precedes de 1'ironie. 24 Images no 22-23 (automne 1984-hiver 1985) 26-27. 1 ill, fr. A la suite du Festival international du nouveau cinema et de la video de Montreal, tenu a Montreal (Quebec) en 1984, 1'auteur commente la situation de 1'art video au Canada. II souligne la diversite de cet art et 1'attitude ironique que les realisateurs demontrent envers les medias. II presente The Woman Who Went Too Far (1984) de Colin Campbell comme etant le film le plus subtilement ironique qui critique la notion de fiction et la realite de 1'information. Jean Gagnon commente ensuite Disposable (1984) de Penelope Buitenhuis, qui pose la problematique de 1'art classique et de 1'art populaire. II souligne egalement la facilite d'execution du deroutant Scheme Video (1984) de Marc Paradis et Luc Bourdon, qui va a 1'encontre des difficultes techniques de la realisation artistique. II termine en observant que ces themes et ces precedes servent a tailler une place a 1'art video entre le cinema et la television. 939 Third Eye Centre. Visual Facts: Photography and Video by Eight Artists in Canada. 8 June-6 July 1985. Catalogue essay by Michael Tooby. Also shown: Sheffield (England), Graves Art Gallery, 27 July-1 September 1985; London (England), Canada House Gallery, 11 September-8 October 1985. Glasgow, Scotland : Third Eye Centre, 1985. 31 p, 23 ill, bibl, En. Catalogue of Visual Facts, the video art and photography exhibition featuring works by video artists Vera Frenkel, Anne Ramsden, and Paul Wong. Michael Tooby's essay addresses the nature of reality and the representation of facts in video and photography. Tooby also notes that the selection of the artists was based on their appreciation of the possibilities of photography and video and their differing cultural backgrounds within Canada. Brief analytical essays, and biographical notes, are provided for the work of each artist represented in the exhibition. 940 Winnipeg Art Gallery. The Winnipeg Perspective 1985: Video. 21 February-24 March 1985. Catalogue essay by Shirley Madill. Winnipeg, Man : Winnipeg Art Gallery, 1985.16 p, 22 ill, En. This exhibition catalogue focuses on contemporary developments in North American video art. Shirley Madill traces the history of video art, the first experiments and challenges to the dominance and authority of television in the 1960s, the theatricalization of video and performance in the 1970s, and the changes in defining art in the 1980s. Notes that video art tends to incorporate other artistic forms such as performance, sculpture, and music, making the viewing environment an important issue. Defines Canadian video as more concerned with issues of content than experimentation and as tending towards narrative and poetic structures that are sometimes combined with abstract imagery. Indicates the predominant movements in video art by region, an intermedia approach in Vancouver, British Columbia, the documentary videographe tradition in Quebec, the analytical conceptual form in Halifax, Nova Scotia, the serialized narrative in Toronto, Ontario, and the concentration on narration and documentary work combined with social issues in Western Canada, Winnipeg, Manitoba, and Calgary, Alberta. After briefly introducing each artist, lists the following Canadian videos accompanied by short quotes by critics, curators, and

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other artists, as well as a videography : Susan Britton's Freeze Frame (1983), You, You're the One (1984), and International Band (1982); Elizabeth Vander Zaag's Baby Eyes (1983) and Through the Holes (1981); Elizabeth Chitty's TV Love (A Made for TV Love Story) (1982); Rick Raxlen's The Polytechnic World (1983) and Jaffa-Gate (1982); Raphael Bendahan's Le Jardin (du paradis) (1982); Robert Perrault's L'Hermit ou la prise de son (1984); Eric Metcalfe and Hank Bull's Sax Island (1984); Randy and Berneche's Once Upon a Time (1984); Paul Wong's Prime Cuts (1981); Eric Cameron's Thin Air: And Lawn (1980); Tomiyo Sasaki's Scavengers (1981-1982); Noel Harding's Elephants (1983); Gerry Kisil's Ballistics (1981) and Dating and Mate Selection (1983); Alexander Poruchnyk's Live Wire (1981) and When I Was a Kid (1980); Jeff Funnell and John Will's Making the Rounds (1981); Al Rushton's Anarchist Weekly (1981); Vern Hume's User Friendly (1984) and Core (1984); Wendy Geller's 48 Hour Beauty Blitz (1982); and Vera Frenkel's The Last Screening Room : A Valentine (1984). 941 Greyson, John. Homo video. Jump Cut no 30 (March 1985) 36-38. 5 ill, En. Argues that video art, because of its status as an independent art form, should be incorporated into gay media culture as a means of analysing the representation of gay sexuality. Examines the work of a number of male video artists, including Rodney Werden's Baby Dolls (1978) and I Bet You Ain't Seen Nothing Like This Before (1981), Paul Wong's Prime Cuts (1981), Nick Jenkins's Desire (1980), Colin Campbell's The Woman from Malibu (1976), Modern Love (1979), He's a Growing Boy - She's Turning 40 (1980), Dangling by Their Mouths (1981), Conundrum Clinique (1981), and White Money (1984), and General Idea's Test Tube (1981). The works are evaluated in terms of their agendas of artistic impressions, their placement in relation to some existing cultural reality, their plurality of approaches and techniques, and their rejection or questioning of conventions of seduction, indentification, realism, and closure in favour of a new self-critical vocabulary. Argues that though many of the videotapes discussed are incompetent, trendy, or politically irresponsible, they remain collectively important as an overt opposition to dominant media culture. Explores ways in which a critical framework may be established for a discussion of gay video art and how video artists may express their responsibility to the gay community. 942 Barber, Bruce. "Evidence of the Avant-garde since 1957" : Selected works from the collection of Art Metropole. Parachute no 38 (March-April-May 1985) 46-47.1 ill, En. An overview of Art Metropole's tenth anniversary exhibition of ephemera, artists' books, magazines, audio tapes, and videos entitled Evidence of the Avant-garde since 1957, held 17 November-8 December 1984 in Toronto, Ontario. Five video programs, representing approximately ten hours of viewing time, reflected the largest ratio of Canadian to non-Canadian works represented in the exhibition. 943 Picard, Jean. Le video clip quebecois: une necessite culturelle. Quifait quoi? 2 no 5 (juin 1985) 22-24.2 ill, fr. Les producteurs de video-clips quebecois analysent cette Industrie.

944 Gale, Peggy. A tableau vivant. Parachute no 39 (JuneJuly-August 1985) 33-35. 5 ill, bibl, En. Discusses the cyclical nature of the video installation, describing it as a form of tableau vivant linked referentially to sculpture and theatre. Argues that despite the characteristic of continuity in video installation, and its responsiveness to its environment or its programming, a form of narrative does persist in much installation work. Explores, in this context, Vera Frenkel's Her Room in Paris (1982), General Idea's Cornucopia (A.A. Bronson, Felix Partz, Jorge Zontal, 1982), Eric Cameron's Keeping Marlene Out of the Picture -And Lawn (1978), Michael Snow's Interets (1983), Noel Harding's Once Upon the Idea of Two (1978) and Space for a Corridor against a Door (1976), and Dan Graham's Time Delay Room (1974). 945 Pevere, Geoff. Collision in the capital: Politics and art hit head-on in video festival. Fuse 9 no 1-2 (Summer 1985) 47-50. 4 ill, En. Reports that the SAW Gallery in Ottawa, Ontario, begrudgingly complied with the Ontario Film Review Board's request that it submit plot summaries of all videos intended for public display at the 1985 "Exhibition of Canadian Video Art." Stresses how the exhibition has become newly politicized due to the recently increased authority of the Ontario Film Review Board. Discusses how film and video art are mistakenly treated as commercial film in the censorship process. Reviews Marilyn Burgess and Peter Sandmark's If the Jet Plane Bombs You Down (1985), Jane Wright's This Is What (1985), John Marshall's Apocalypso (1985), Martin L'Abbe's Spaghetti: une obsession (1984), Jan Zarzycki's Rubicon (1985), John Will's Trimmin' and Burnin' (1985), Paula Fairfield's Relative Activities (1984), Wendy Walker's Ritual of a Wedding Dress (1985), Jan Peacock's Pie y Cafe (1984), Francois Barbes's Peaux d'Ame (1985), and Mona Hatoum's Changing Parts (1985). 946 Ross, Christine. « T.V. or Not T.V ». Parachute no 40 (septembre-octobre-novembre 1985) 34-35.1 ill, fr. Compte rendu de 1'exposition T.V. or Not TV., tenue du 16 avril au 21 mai 1985, a la galerie Videographe de Montreal (Quebec). On y presenta 28 videogrammes quebecois et canadiens ou 1'on illustre les differences entre la video et la television, ainsi que les thematiques typiques aux videogrammes : la critique des medias, les genres visuels, le feminisme, la pornographie et le visage. L'auteure mentionne les oeuvres suivantes : Le Voleur vit en enfer (1984) de Robert Morin, Le Train (1985) de Francois Girard, Twelve of Us (1983) de Luc Courchesne, Love In (1982) de Marylin Burgess et Peter Sandmark, Desire Control (1981) d'Elizabeth Chitty, Suite pornographique (1983) de Jean Gagnon, La Cage (1983) de Marc Paradis, Confused (1984) de Paul Wong, Y-R-U-A-B-C (1984) de Bruce Robb et Deep Gossip (1980) de Les Levine. 947 Blanchette, Manon. Contemporary Videography: Essay on a Critique of Religious Myth / Videographie actuelle: essai sur une critique du mythe religieux. Protee 13 no 3 (automne 1985) 59-64. 2 ill, bibl, En, fr. Analyses the video art of Joelle de la Casiniere and Tony Oursler in discussing contemporary art's adaption of religious iconograpy. Distinctions between the religious and the secular merge in the video works of de la Casiniere and Oursler, as art itself explores new forms.

Video / Video Analyse de 1'art video de Joelle de la Casiniere et Tony Oursler a partir de discussions sur 1'adaptation de 1'art contemporain de 1'iconographie religeuse Des distinctions sont apportees quant aux fac.ons dont les aspects religeux et seculaire se fusionnent aux oeuvres videos par 1'exploration de nouvelles formes artistiques. 948 Tuer, Dot. Feminine pleasure in the politics of seduction. C no 4 (Winter 1985) 20-21. 2 ill, En. Compares the strategies of seduction in Vito Acconci's videotape Theme Song (1985) and James Coleman's videotape So Different... and Yet (1980). Both works utilize a stationary camera, Acconci's black and white work is improvisational and reverses the traditional cinematic focus of the feminine as spectacle and the masculine as spectator, while Coleman emphasizes colour, elaborate staging of his text, and the feminine as seduction. Argues that although Acconci reverses the masculine and feminine positioning of the viewer, he does not challenge the hierarchy of a patriarchal society that is structured upon the division created in the desire for the "other." Coleman's videotape is seen as a beginning in linking critical discourse to issues of sexual difference. Demonstrates how the woman in Coleman's tape, being the visual focus, narrator of her fantasies, and the character of the story, undermines the feminine as the "other," and how the shifting roles of the object of her desire denies fixed positions and evokes pleasure as a holistic totality. 949 Burnett, Ron. Video-puce. Copie Zero no 26 (decembre 1985) 21-23. 2 ill, fr. Grace a une image provenant d'une bande magnetoscopique transferee sur ordinateur Macintosh, 1'auteur analyse le resultat de la combinaison des technologies du magnetoscope, de 1'ordinateur et de I'impression. II decrit les possibilites et les limites de cette technologic. 950 Senecal, Michel. La videographie au Quebec : d'abord une industrie culturelle? Copie Zero no 26 (decembre 1985) 4-6.1 ill, fr. Historique de 1'avenement de la video au Quebec. L'auteur commente le developpement des appareils portatifs dans les annees 1970, ainsi que leur impact sur les activites sociales du Quebec. II rappelle 1'essence industrielle de ce media et sa dependance a la haute technologie. Senecal commente les facteurs qui ont permis a la video de constituer une solution de rechange pour les mass media. II situe a cet effet 1'arrivee des premiers groupes d'intervention video ou les preoccupations socioeconomiques sont de mise. L'auteur relate ensuite les etapes de la structuration d'un secteur professionnel qui est marque par 1'arrivee simultanee des formats commerciaux Beta et VHS et des formats de qualite de diffusion. II souligne enfin le developpement professionnel des equipements dans les annees 1980 et tente d'expliquer 1'engouement du milieu du cinema pour ce media. 951 Jutras, Pierre; Veronneau, Pierre. D'un syndrome a 1'autre: des professionnels ont la parole. Copie Zero no 26 (decembre 1985) 7-17.15 ill, fr. Analyse de 1'impact de 1'art videographique sur 1'industrie cinematographique a travers des echanges avec des realisateurs, producteurs et techniciens. En s'appuyant sur les

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etudes realisees par 1'Association des cinemas paralleles du Quebec, 1'auteur s'interroge sur le role de la video dans la diminution massive de la frequentation des salles de cinema depuis 1980. Apres avoir explique les raisons pour lesquelles le public prefere voir les films en salles, il precise pourquoi la video occupera une place preponderante. Ainsi, il mentionne qu'en raison de leur apport financier, les stations de televisions reclament qu'un film sorte a la television avant, simultanement ou peu de temps apres sa distribution en salles et il rappelle qu'a la television a peage les films sont presentes peu de temps apres leur sortie en salle. Cependant, Louise Gendron, directrice generate de la Societe generale du cinema, s'oppose a ces politiques et declare que la television ne peut, a elle seule, determiner la cinematographic quebecoise. Dans cet ordre d'idees, 1'auteur remet en question le tournage sur pellicule et fait ainsi des comparaisons avec un tournage video. Enfin, il se demande si les cineastes pergoivent une demarcation radicale entre la video et le cinema. 952 Ring House Gallery. A Tale of Two Cities : Video Art in Alberta. 22 October-16 November 1986. Edmonton, Alta : Ring House Gallery, 1986. 37 p, 4 ill, bibl, En. The exhibition A Tale of Two Cities: Video Art in Alberta, discusses the emergence of video art in Calgary and Edmonton, Alberta, juxtaposing the close association of Calgary video with performance art, conceptual art, and the art gallery system, to the identification of video with experimental filmmaking in Edmonton. Analyses videos from 1969 to 1985 by Alan Barkley, Marcella Bienvenue, Heather Elton, Kyle Wagner, Charlie Fox, Wade McGregor, John Freeman, John Galloway, Ryan Wagner, Don Stein, Vern Hume, Robert Milthorp, Cherie Moses, Grant Poier, Clive Robertson, Janice Starko, Henry Van Rijk, Robert Van Shaik, John Will, Paul Woodrow, and Rick Holyoke. Kyle Wagner, Ryan Wagner and Don Stein are also collectively known as Ground Zero and Paul Woodrow, Clive Robertson, and Rick Holyoke as WO.R.K.S. 953 Video Inn; Western Front Video. Luminous Sites : 10 Video Installations. 25 February-4 April 1986. Catalogue essays by Daina Augaitis, Karen Henry, Jody Berland, and Peggy Gale. Vancouver, BC : Video Inn / Western Front Video, 1986. 62 p, ill, bibl, En. In the foreword, curators Daina Augaitis and Karen Henry explain that Luminous Sites, an exhibition of video installations, attempts to present the multifaceted aspects of video as an active source of light and movement. Literal, visual, and narrative references that engage critical dialogue with the audience are explored in the contributing essays. 954 Robertson, Clive. Performance art re-visited. Fuse 9 no 6 (May-June 1986) 24-32.14 ill, En. Analysis of 13 performance art pieces performed in Toronto, Ontario, criticizing the inability of the local press to review the work. The annual Rhubarb Festival, organized by Buddies in Bad Times, exhibited performances pieces at the Tarragon Theatre. In Finding Faults with the Firmament (1986), performance artist Francis Leeming used film clips, stage props and dislocated film voices to make a collage about the reporting of natural disasters. Christian Morrison used film clips of a man floating in a bathtub and a moving male torso in conjunction with light beams and

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scripted dialogue in School of Thought (1986). Shaun Lynch, in Keep It Clean (1986), directed a man to bathe on stage while watching pre-recorded excerpts from the soap opera All My Children and using cleansing products as they are advertised during the commercials. During Voyeurgeur 3, an evening of performances at the Rivoli Restaurant, filmmaker John Porter performed How to Make a Movie (1986) using audience participation. Annette Mangaard mixed film with monologue in What Guilt? (1986) and Her Soil is Gold (1986). Edie Steiner's performance, Possibilities of Love (1986), a film-poem read by a succession of his friends, is praised, while his film Episode (1986) is described as dated. At the Joseph Workman Theatre, the A Space's performance committee held a five-evening event named 1001 Nights. Discusses John Greyson's You Taste American (1986), a performance piece incorporating docudrama film clips about washroom sex arrests in Ontario. Written into the performance are videotaped fictional portrayals of Michel Foucault and Tennessee Williams, and film clips on farmworker unionization in Ontario. 955 Diamond, Sara. 'Stalling art. Fuse 10 no 1-2 (Summer 1986) 55-57.1 ill, En. A review of Luminous Sites, a video art exhibition at the Vancouver Art Gallery in Vancouver, British Columbia, exhibition displaying the work of video and installation artists from across Canada. Discusses many of the works as representative of the two treatments video installations have generally received: as a post-modern medium which questions representation and the media; or as a popular medium which interacts with audiences. Both methods question the relationship between artist and object, object and viewer. Disapproves of the exhibition because it mainly comprised entertaining work about artmaking and beauty, thus ignoring issue oriented and documentary pieces that attempt to redefine video installation. Describes Ian Carr-Harris's On T.V. (1986), which reinterprets the art of Manet; Vera Frenkel's Lost Art: A Cargo Cult Romance (1986), a humorous critique of the Canadian art system; David Tomas's Through the Eye of the Cyclops (1986); Randy and Berneche's Rune (1986), dealing with semiotics; Tomiyo Sasaki's ecological piece Spawning Sockeyes (1986); Kate Craig's Clay Cove, Newfoundland. Park Place, Vancouver (1986); Barbara Steinman's Cenotaphe (1986), on the impact of Fascism, and Max Dean's interactive piece, Prototype (1986). 956 Diamond, Sara. On off TV. C no 10 (Summer 1986) 7273. 4 ill, En. Reviews Luminous Sites, a video art exhibition at the Vancouver Art Gallery in Vancouver, British Columbia. Works by Tomiyo Sasaki, Barbara Steinman, Paul Wong, Corry Wyngaarden, Ian Carr-Harris, Max Dean, David Tomas, Randy and Berneche, Kate Craig, and Vera Frenkel are discussed, focussing on the thematic use of the video installation by the artists and the subjects they chose to represent. Art's role in society and the nature of representation are topics arising from the discussion. 957 Van Steenburgh, Phil. "Habits" by YYZ, Toronto: Invitation to a screening. Cinema Canada no 132 (JulyAugust 1986) 26-27.4 ill, En. An overview of the Bad Habits program of contemporary video art which was recently held at the YYZ artists' cen-

tre in Toronto, Ontario. The program consisted of five videotapes, produced by local Toronto artists that addressed themes such as social injustice, repression, alienation, and stereotyping. The videotapes featured in the program were Gary Kibbins's Henry Kissinger Won the Nobel Peace Prize (1986), Clive Robertson's Qu'est-ce qu'un homme pent faire? (1986), John Greyson's Moscow Does Not Believe in Queers (1986), Richard Fung's Chinese Characters (1986), and Colin Campbell's No Voice Over (1986). 958 La Rochelle, Real. De la reproduction. Copie Zero no 29 (septembre 1986) 14-15. fr. Tout en reconnaissant les aspects commerciaux negatifs du developpement de 1'industrie de la video, 1'auteur en souligne les consequences potentiellement positives, notamment en ce qui a trait a 1'education et a la recherche audiovisuelle. Real La Rochelle souligne les nombreux obstacles contournes par la video dont la chute dans 1'oubli de certaines oeuvres artistiques et 1'inaccessibilite des copies 16 et 35 mm. II incite enfin les institutions a se doter d'infrastructures necessaires pour favoriser, dans 1'enseignement du cinema, 1'emploi de cette technologie qui n'a pas encore fait ses preuves en raison du vide juridique qui 1'entoure. 959 Shea, Geoffrey. The "1986 New Work Show." Cinema Canada no 135 (November 1986) 33-35. 5 ill, En. An overview of the 1986 New Work Show, a video art and independent production showcase which was held 22-25 September 1986 in Toronto, Ontario. Notes the overall technical quality of the productions and the large number of social issue documentary tapes featured as part of the show. Refers specifically to the collective EMMA Production's No Small Change (1986), Clive Robertson and Craig Condy's Up to Scratch (1986), Lisa Steele and Kim Tomczak's See Evil (1986), Su Rynard's Absence (1986), and Andrew Paterson and Jorge Lozano's Hygiene (1986), Michael Connolly and Malcolm Harris's South Africa is Not Far Away (1986), Rodney Werden's Money Talks, Bullshit Walks (1986), David Askevold's 1 /4 Moon (1986), Chris Martin's Love Roller Coaster (1986), Rhonda Abrams's Myth of the Fishes (1986), B.H. Yael's Jain Walks the Line (1986), Michael Balser's Jerungdu (1986), Amanda Hale and Donna Golan's That Other Animal (1986), Paulette Phillips's Cadence of Insanity (Part II) A Reaction (1986), Randy and Berenicci's History (1986), Christian Morrison's School of Thought (1986), Tanya Mars's Pure Virtue (1986), and Christa Schadt's One's Man's Illusion is Another Man's Truth (1986). 960 Wilson, Pat. Broadcasting bureaucracy and new television. Fuse 10 no 4 (Winter 1986-1987) 24-26,28,30,32. En. Describes the Artists and Television Symposium held in Toronto, Ontario, 14-23 November 1986, which opened a dialogue between independent video producers and public broadcasters. Panelists were Barbara Osborn, a New York City, New York based television producer who sits on the board of Media Alliance; Jean Gagnon, a video curator and producer at the Videographe in Montreal, Quebec; Michel Ouellette, co-founder of Montreal's production company Agent Orange; TV Ontario's director of adult programing, Stan Fox; John Dimon and Jim Burt from the Canadian Broadcasting Corporation (CBC); and mediator Susan Crean, a Canadian cultural writer and critic. Three

Video / Video panels are discussed, all dealing with the limited accessibility that video art has to public television and the underfunding of independent video productions, which broadcasters blame on limited public demand. Critics of government film development agencies say that they marginalize and ignore video art. Artist run television is seen as a possible alternative to distribution through commercial markets. 961 Robertson, Clive. Three's company: CBC - Telefilm CFDC. Fuse 10 no 4 (Winter 1986-1987) 27, 29. 4 ill, En. Criticizes government-run funding and broadcasting agencies such as Telefilm Canada, the Canadian Film Development Corporation, and the Canadian Broadcasting Corporation (CBC) which rely on feature film production as expressions of Canadian culture, and asserts that the video community is producing material that more accurately represents Canadian culture. Verbal exchanges between independent video producers and public broadcasters during the Artists and Television Symposium held in Toronto, Ontario, 14-23 November 1986, are given as examples of the unwillingness of broadcasters to show alternative programming. 962 Campbell, Colin. It's a long time to hold your breath. Fuse 10 no 4 (Winter 1986-1987) 31. En. Discusses the Artists and Television Symposium held 14-23 November 1986 in Toronto, Ontario, stating the ideological and formal differences between broadcast television and video art, and noting that there were no funding prospects for video artists from Telefilm Canada, the Canadian Film Development Corporation, the Ontario Arts Council, or the Canadian Broadcasting Corporation (CBC). 963 Jacques, Marie-Claude. Regard sur la production recente d'art video a Montreal: les ondes brouillees de 1'art video. Matrise. Montreal, Quebec: Universite de Montreal, 1987. v, 147 p, bibl, fr. Ce memoire jette un regard sur la production recente d'art video a Montreal. A travers un corpus de vingt-trois bandes realisees a P.R.I.M. Video (Productions et realisations independantes de Montreal) depuis 1982 il s'agit de deceler les multiples tendances de cet art difficilement saisissable. II n'y a pas de grille d'analyse fixe, 1'approche se veut plutot empirique, dictee par les oeuvres. Apres un contract avec 1'art video dans un premier temps, differents points de vue sont abordes, tels 1'hybridite, 1'impact des nouvelles technologies et la narration. Chacun de ces aspects constitue un chapitre dans lequel sont repris des exemples provenant des bandes du corpus. La conclusion fait le point sur les tendances de la production recents d'art video a Montreal en la situant par rapport a la production internationale. L'utilisation commerciale et experimental de 1'art video est remise en question quant a 1'avenir qu'on lui reserve. 964 Power Plant. Toronto: A Play of History (Jeu d'histoire). 1 May-17 June 1987. Introduction by William J.S. Boyle. Curated by Louise Dompierre and Alvin Balkind in cooperation with Bruce Ferguson and Blaine Allan. Toronto, Ont: Power Plant, 1987.174 p, ill, En. The exhibition provided a series of viewpoints and positions relating to the cultural history of Toronto, Ontario, over the last decade and describes the commitment, on

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the part of the Power Plant, to include film and video artists as an integral part of contemporary art exhibitions. 965 Lecompte, Patrice. Les films invisibles: le super-8 deviendra-t-il caduque [sic]? Nouvelles expressions no 11 (1987) 9-10. fr. Equipements et laboratoires de developpement rarissimes, absence d'aides gouvernementales aux jeunes cineastes, tels sont les elements qui menacent 1'accessibilite au format super-8 au Quebec, selon 1'auteur qui incite la releve a se tourner vers la video. 966 Tuer, Dot. Video in drag : Trans-sexing the feminine / Lorsque la video se travestit: la transgression du feminin. Parallelogramme 12 no 3 (February-March 1987) 24-29; 37-43. 4 ill; 4 ill, En, fr. Examines the construction of the feminine as it emerges from the intersection of feminist theory and mass media in recent video art. Identifies, within the recurring theme of representation and gender in video art, the influence of three major theoretical positions: gender role theory, French feminism, and essentialism. Examines how many of the videotapes featured at an exhibition held October 1986 in Toronto, Ontario, have located the visual as a site where contradiction between theory and artistic practise is played out. Argues that such a contradiction is frequently articulated in these works through the development of the theme of transexualism and its relation to feminism, and notes that transexualism is most frequently represented through images of transvestism. Analyses the following tapes in this context: Byron Ayanoglu and Ric Amis's Marie Antoinette (1986), Shalhevet Goldhar's Bleachables (1986), David MacLean's Bon Voyage My Love (1986), Tanya Mars's Pure Virtue (1985), Andy Paterson and Jorge Lozano's Hygiene (1985), Colin Campbell's No Voice Over (1986), and Rodney Werden's Money Talks, Bullshit Walks (1986). Regard sur la construction du feminin comme resultat du croisement entre la theorie feministe et les mass media dans 1'art video d'aujourd'hui L'auteure identifie, a partir du theme constant de la representation et du genre dans 1'art video, 1'influence de trois principales positions theoriques : la therie du role du genre, le feminisme frangais et 1'essentialisme. L'auteur se penche aussi sur les videos presentes au Toronto (Ontario) en octobre 1986 qui ont fait de 1'aspect visuel un espace ou la contradiction entre la theorie et la pratique artistique est debattue. Elle soutient que cette contradiction est souvent presentee par le developpement du theme de la transexualite et ses rapports au feminisme. Elle note, par ailleurs, que la transexualite est, la plus part du temps, representee par des images de transvestisme. L'auteure analyse, selon ce point de vue, les videos suivantes : Marie Antoinette de Byron Ayanoglu et Ric Amis (1986), Bleachables de Shalhevet Goldhar (1986), Bon Voyage My Love de David MacLean (1986), Pure Virtue de Tanya Mars (1985), Hygiene d'Andy Paterson et Jorge Lozano (1985), No Voice Over de Colin Campbell (1986) et Money Talks, Bullshit Walks (1986) de Rodney Werden. 967 Gale, Peggy. "Dark / Light." Parachute no 46 (March-April-May 1987) 126-127.1 ill, En. An overview of the Dark /Light exhibition held 11 November-13 December 1986 at the Mercer Union and

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YYZ galleries in Toronto, Ontario. Argues that the three projection installations making up Dark / Light address the themes of time, memory and an awareness of loss. Discusses Rebecca Garrett's Crazy Jane and the Torrent Men (1986) at the YYZ gallery and Judith Barry's In the Shadow of the City... vamp r y... (1986), and James Coleman's Living and Presumed Dead (1986) at Mercer Union in this context. 968 Paterson, Nancy. Curating video. Cinema Canada no 139 (March 1987) 14.1 ill, En. Nancy Paterson, curator and artist in the field of video and electronic art, describes the problems inherent in curating the time based medium of video. Patterson discusses issues faced by a curator of a video screening or festival and the various possible modes for the exhibition of video art, and notes that video exhibitions are usually organized historically, by notion, thematically, or by commissioning works. Patterson also compares real-time video, characterized by computer generated or assisted images, with pre-recorded or computer edited video, and discusses examples of multiple monitor installations. 969 Shea, Geoffrey. Video Tales. Cinema Canada no 139 (March 1987) 33. En. Describes the tendency of the television industry to incorporate and appropriate video art, without any consideration that the work of video artists is rarely designed for a television context or audience. Notes how TVOntario is attempting to shift this tendency by creating a special compilation program exclusively for the exhibition of video art. 970 Shea, Geoffrey. Video Tales. Cinema Canada no 142 (June 1987) 34-35. En. Discusses a number of modes of exhibiting video art, such as artist-run centres, closed circuit exhibitions, the development of video magazines, the establishment of artistrun consumer video distribution networks, and the "Video-Wall" project, implemented by the Public Access organization in Toronto, Ontario, which involves the commission of artists to create works for a public wall of video monitors. 971 Tuer, Dot. "Artists' Television." Parachute no 47 (JuneJuly-August 1987) 46-48. 2 ill, bibl, En. An overview of Artists' Television, a symposium held 14-23 November 1986 in Toronto, Ontario, under the sponsorship of UMAS (United Media Artists) and Trinity Square Video. States that the aim of the symposium was to enhance dialogue between public broadcasters and independent producers, and that its format was comprised of panels, workshops, and the exhibition of independent videos produced for television. Argues that the symposium did not critically address the manipulation and dissemination of the mass mediated image, but rather embraced the ideology of liberal pluralism that conjoins American free enterprise and Canadian state broadcasting policies. Emphasizes that expanding an audience for video art involves the creation of a community and the enhancement of community access to video works, and cites the Inuit Broadcasting Corporation as a paradigm of alternative television through which a specific community has begun to define its own social and aesthetic needs.

972 Campbell, Colin. Another world. Fuse 11 no 3 (Fall 1987) 23-25. 5 ill, En. Reviews the exhibition Another World : Five Video Premieres by Gay Men, held at A Space in Toronto, Ontario, 9 July 1987. Begins by criticizing the title of the exhibition as misleading and politically alienating. Colin Campbell decides that Michael Balser's Astroturf (1987) is only partially successful, devoting little time to portraying gay issues, while David Mclntosh's Fourth Person Plural: A Sketch (1987) is difficult to assess as it is a work in progress, but it is certain to arouse controversy. Criticizes the characterization of David Mac Lean's It's Your Time (1987) and George Groshaw's It's Only a Dime (1987), and praises the cold lyricism of Rolley Mossop's Pleasure (1987). 973 Paterson, Andrew J. "Four Redheads." Fuse 11 no 3 (Fall 1987) 31-33. 4 ill, En. A review of a Toronto, Ontario, video screening, held at 60 Bathurst Street 23 July 1987 entitled, Four Video Premieres by Four Redheads. Unites the four tapes presented under the theme of the dichotomy between the natural and the artificial, in which the artificial is characterized by the excess fabrications of the industrial consumer society. Tess Payne's Life On Our Planet (1987) presents vignettes contrasting similarly unbalanced realities of urban and rural life, which are not integrated so as to allow dance and performance segments to disrupt the seeming authority of time created by editing. Rhonda Abrams's The Lament of the Sugar Bush Man (1987) is presented as an evocation of a vision of environmental desperation similar to Payne's, yet is more successful in its performance art time span. Dennis Day's Oh Nothing (1987) is seen as an expression of the absurdity of the heterosexual couple within the madness of technocracy, this feeling being accentuated by an editing style and speed reminiscent of television commercials. Stillness and silence characterize Su (Susan) Rynard's Within Dialogue (Silence) (1987), the tape's search for meaning is condemned as fruitless, falling somewhere between the emotional and spiritual power of Abrams's work, and the laissez-faire slickness of Day's tape. 974 McLeod, Kathy; Shaw, Nancy. On signs and sex. Fuse 11 no 3 (Fall 1987) 34-36. 3 ill, En. Discusses Visual Evidence, a ten-part exhibition of videotapes organized by curator by Sara Diamond and Karen Knights and held in Vancouver, British Columbia, 25 April-28 June 1987. States that the exhibition was designed to challenge censorship laws, specifically legislation recently enacted in British Columbia, by promoting the screening, criticism, and production of video works that deal with explicitly sexual themes. Examines the video productions presented as part of the exhibition, including Colin Campbell's No Voice Over (1986) and Conundrum Clinique (1981), Michael Goldberg's Orgasm (1975), Rodney Werden's Call Roger (1973), AM Radio Was His Only Friend (1977), and The Story of Red (1984), Lynda Benglis's Female Sensibility (1973), Roberta Killagerous's Transsexual Lifestyle (1973), Jorge Lozano's Accessory Transit Company (1980), Carla Murray's Art for Whom (1987), Elizabeth Chitty's Desire Control (1981), Stokely Seip's Snuff Flick (1987), Branda Miller's That's It, Forget It (1985), Reece Metcalfe and Marlin Oliveros's Pat Pong (1986), Karen Hardie and Sarah Goldstein's Is This Heaven (1987), John Greyson's The Perils of Pedagogy (1984), the Hummer

Video / Video Sisters' Hormone Warzone (1983), and Amanda Hale's That Other Animal (1984). 975 Shea, Geoffrey. Video Tales. Cinema Canada no 144 (September 1987) 42. En. The writer asks the question "Whither goes video art?" His explanation involves a critique of four videos recently premiered at the Toronto, Ontario, video collective 698515 Inc.: Within Dialogue (1987) by Su Rynard, Lament of the Sugar Bushman (1987) by Rhonda Abram, Dennis Day's Oh Nothing (1987), and Tess Payne's Life on Our Planet (1987). The writer argues that video artists must first determine if they are making art for themselves or for their audience, which he sees as a battle between selfexpression versus propaganda; second, the artist must determine what type of venue he or she wants to display their art in. 976 Grenville, Bruce. "Toronto: A Play of History (Jeu d'histoire)." Parachute no 48 (September-October-November 1987) 61-62.1 ill, En. Discusses Toronto : A Play of History (Jeu d'histoire), an exhibition of contemporary Toronto, Ontario, art shown at the Power Plant in Toronto 1 May-June 17 1987. Examines the terms and conditions under which the show was developed, and states that the exhibition's film and video component, forced into a marginalized position, reflected an arbitrary selection process. 977 Bruce, Bryan. Whipping it up: Gay sex in film and video. CineAction! no 10 (October 1987) 38-44. 6 ill, bibl, En. Discusses the homoerotic content of the films of Naked Eye Cinema, named for a contemporary Super-8 movement based in New York City, New York, and shown in Toronto, Ontario, in the summer of 1987. Argues that the movement's work reflects the stagnancy of the once revolutionary gay subculture, as evidenced by the group's failure of imagination, an apolitical attitude, an inability to extend beyond the camp aesthetic, and nostalgia for the gay activism that characterized the 1970s. Also describes the work of several Toronto video artists, screened at Toronto's A Space in a recent show entitled Another World. States that David MacLean's It's Your Time (1987), George Groshaw's It's Only a Dime (1987), Michael Balser's Astroturf (1987), Rolley Mossop's Pleasure (1987), and David Mclntosh's Fourth Person Plural: A Sketch (1987) conform to outmoded notions of homosexual aestheticism. 978 Tuer, Dot. From the father's house: Women's video and feminism's struggle with difference. Fuse 11 no 4 (Winter 1987-1988) 17-24. 6 ill, bibl, En. Uses Sylvia Eraser's autobiography My Father's House (Toronto, Ont: Doubleday Canada, 1987) as a metaphor for the patriarchal domination of society, and examines the effects of such domination on the art world in general, and on the genre of video art in particular. Describes how the institutionalization of feminism on the margins of society is complicit with patriarchy and states that although feminism has altered the exterior facade of patriarchy, it has not affected its internal structure. Argues that video began as an art form relatively free of ideological constraints, but its appropriation by a white heterosexual male dominated art world has limited access to the medium through the use of technical language and elitist,

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jargon intensive debates over form and style. Emphasizes the need to examine women's complicity with patriarchal institutions in video art and to question the absence of video works by women from visible minority groups, without fearing that such questions will invalidate the feminist vision. Concludes that video may be claimed as a medium that presents women's images from both inside and outside master narratives. 979 Shea, Geoffrey. Video Tales. Cinema Canada no 147 (December 1987) 34. En. Examines the videotape production rental fee structures of video art centres V / tape, YYZ, and CARFAC (Canadian Artists Representation), all in Toronto, Ontario, and the Centre for Art Tapes in Halifax, Nova Scotia. 980 A Space. Sight Specific: Lesbians and Representation. 4-28 March 1987. Introduction by Lynne Fernie. Catalogue essay by Dionne Brand, Sue Golding, Didi Khayatt, Makeda Silvera, and Dot Tuer Toronto, Ont: A Space, 1988. 55 p, ill, bibl, En. Lynne Fernie, coordinator of Sight Specific: Lesbians and Representation explains how this exhibition of artists presents specific references to lesbianism in a selection of contemporary art work from Toronto, Ontario. Includes a description of a video by Margaret Moores. Catalogue also contains writings by Dionne Brand, Sue Golding, Didi Khayatt, Makeda Silvera, and Dot Tuer. 981 George, Carl; Pfahler, Kembra; Wehrli, Penelope; Waters, Jack; Bruce, Bryan. Response to "Whipping it up : Gay sex in film and video" (CineAction! #10). CineAction! no 12 (April 1988) 61-63. En. Four letters to Bryan Bruce from the filmmakers whose works he critiqued in his article "Whipping it up : Gay sex in film and video" (CineAction! no 10 (Fall 1987) 38-44), in which he reviewed the 1987 Naked Eye Cinema exhibition in Toronto, Ontario, in terms of its homoerotic content. Includes Bruce's response to each of the letters, as well as an addendum in which he states that none of the Toronto video artists to whom he referred in his review responded to his criticism of their work. 982 Knights, Karen. It works : Labour and video. Fuse 12 no 1-2 (September 1988) 45-46. 1 ill, En. Discusses "Mayworks : A Festival of Culture and Working Life," which was held 1-8 May 1988 in Vancouver, British Columbia, and featured exhibitions at Video Inn, I.W.A. Hall, and other art and labour venues. States that the festival is a collaboration between the cultural community and the labour sector and argues that video is a medium appropriate to both the labour and cultural communities because of its potential for use as an industrial, educational, and artistic tool. Examines several of the videos presented at the festival, including Michael Banger's Points of View (1987) and Sara Diamond's Keeping the Homefires Burning (1988), in terms of the theme of commonality between between artists and workers. 983 O'Neill, Mark. Hybrid TV: Feature-length video. Cinema Canada no 158 (December 1988) 21-22. 4 ill, En. Compares feature-length films to the feature-length videos screened at "FLV Feature Length Video MCMLXXX-

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VIII," a four-day September 1988 exhibition organized by curators by Paul Wong and Karen Knights and sponsored by Video Inn of Vancouver, British Columbia. Notes that videographers are more committed to collaboration with their subjects than filmmakers. Discusses the implications of the label feature-length video which could mislead viewers to expect a mainstream dramatic narrative. Examines the videos Playing with Fire (Marusia Bociurkiw, 1986), Tristesse, modele reduit (Robert Morin, 1988), and Quartet for Deafblind (Norman Cohn. 1986). 984 Pottie, Lisa. Confusing the script. Fuse 12 no 4 (January-February 1989) 45-46. 2 ill, En. Argues that although the Women's Art Resource Centre's production of Joan Bora's video entitled Rewriting the Script: Feminism and Art in Ontario (1988) documents the work of a large number of Ontario's women artists, the video is problematic in terms of both content and structure. States that the art works depicted are organized into loose categories according to medium and are shot so quickly that it makes it difficult for the viewer to identify the image of the work and its maker. As well, feminist issues raised by a persistent voice-over are so decontextualized that they are rendered less effective. Argues that the video would have been more successful had a frame of reference pertaining to the specific circumstances of a piece of work or an artist's life been established. 985 Cote, Mario. L'attrait de la video. 24 Images no 42 (printemps 1989) 26.1 ill, fr. Reflexion sur 1'intrusion des images cinematographiques dans la video. On fait reference aux oeuvres videographiques suivantes : The Story of Feniks and Abdullah (1988) de Luc Bourdon, Mourir (1988) de Francois Girard, Annie et les rois mages (1988) de Josette Belanger et Gerqure (1988) de Jeanne Crepeau. 986 "Deluding Documentaries": Shotgun is solution. Cinema Canada no 163 (May-June 1989) 26. En. Report from Deluding Documentaries, a four-day seminar held at the end of March 1989 at Video Inn in Vancouver, British Columbia. Notes the view offered by Quebec videographer Robert Morin stating that broadcasting decisions are in the hands of too few people in Canada, thus limiting the chances for alternative documentaries to reach mainstream audiences. Curator Sara Diamond states that works screened at Deluding Documentaries explore multiple realities by borrowing from other film genres. Lists participants in the seminar. 987 Cote, Mario. Trente images / seconde. 24 Images no 43 (ete 1989) 63.1 ill, fr. Chronique sur 1'art video qui fait etat des evenements videographiques peu connus du grand public. Ainsi, on annonce, pour le 9 mars 1989, un visionnement des oeuvres de Paul Landon, dans la salle du Videographe a

Montreal (Quebec), et pour le 16 fevrier 1989 des extraits de 1'oeuvre de Luc Courchesne a la galerie PRIM a Montreal. 988 Conley, Christine. Hot tramp, I love you so! Fuse 13 no 1-2 (Fall 1989) 53-54.1 ill, En. Discusses the exhibition Rebel Girls: A Survey of Canadian Feminist Video Tapes organized by curator by Susan Ditta and held 14 February-21 May 1989 at the National Gallery of Canada in Ottawa, Ontario. Beginning with Lisa Steele's Birthday Suit: Scars and Defects (1974), Christine Conley examines how the videotapes in the survey record women's history, demonstrate the personal as being political, and reclaim the female body as subject rather than spectacle. Conley refers to Nicole Giguere's On fait toutes du Show Buziness (1984), Anne Ramsden's trilogy Manufactured Romance (1985), the Hummer Sisters' Hormone Warzone (1983), Paula Fairfield's Relative Activities (1984), Tanya Mars's Pure Virtue (1985), Marg (Margaret) Moores's Frankly, Shirley (1987), Marusia Bociurkiw's Playing with Fire (1986), Kate Craig's Delicate Issue (1979), Lorna Boschman's Scars (1987), Elizabeth Vander Zaag's Hot Chicks on TV (1986), Sara Diamond's Heroics: Definitions (1984), Diane Poitras's Complines (1986), Diane Hefferman and Suzanne Vertu's Quebecoiserient (1976), Helen Doyle and Helene Bourgault's Chaperons rouges (1979), Emma Productions's No Small Change: The Story of the Eaton's Strike (1985), Amelia Productions's Concerned Aboriginal Women (1981), Kem Murch's The Fleck Women (1978), Vera Frenkel's The Last Screening Room : A Valentine (1984), Susan Rynard's 1932 (1989), and less Payne's Life on Our Planet (1987). 989 Cote, Mario. Dialogues de coulisses. 24 Images no 4445 (automne 1989) 82-83. 3 ill, fr. Discussions sur 1'art videographique ou Ton s'interroge sur 1'avenir de la video au Quebec. 990 Moser, Mary Anne. Video Artifact: A video journal that will serve artists and academics working in highly visual areas of research. Fuse 13 no 3 (Winter 1989-1990) 1012. En. Explores the emergence and significance of the alternative arts video journal Artifact: A Video Journal of Expressive Culture, co-founded by Brian Rusted and David Tomas. Rusted, in noting that knowledge is seen as primarily written, emphasizes the importance of demonstrating how knowledge functions in a variety of modes. Considers the audience of the journal to include academics, the arts community, and the general public and discusses possible reasons for friction between the academics and artists. Outlines the three video essays for the first tape, to be based on interviews with native artists in Alberta, curators at the National Gallery of Canada in Ottawa, Ontario, and architects who deal with vernacular and post-modern styles.

Film and Government / Cinema et gouvernement

Canada 991 Canada. Registrar of the Combines Investigation Act. Investigation into an Alleged Combine in the Motion Picture Industry in Canada. Report of Commissioner, Peter White. At head of title : Dept. of Labour, Canada. Hon. G.D. Robertson, minister of Labour. Combines Investigation Act. Peter White. Ottawa, Ont: F.A. Acland, 1931. 234 p, En. Peter White, appointed commissioner of the Combines Investigation Act to investigate an alleged combine in the motion picture industry in Canada, submitted this report to the minister of Labour on 30 April 1931. A definition of the organization of the industry and an introduction to the companies and associations cited for investigation precedes a detailed presentation on acquisitions of theatre interests by Famous Players in British Columbia, Ontario, Quebec, the Maritime provinces, Manitoba, Saskatchewan, and Alberta. Concludes that Famous Players was often in the position of being able to dictate the terms of purchase, selection, and booking of pictures to the local offices of film distributors, not only for itself, but also for its competitors. Discusses the controversy surrounding the protection of theatre companies with the period of delay between a film's first run and subsequent run and concludes that Famous Players had been able to diminish its competition by employing this tactic. Considers the imposition of block-booking and blind-booking on independent theatre owners by foreign owned distributors, the advantage gained by Famous Players in the process, and the acquiescence of the independent owners for fear of being unable to get any films. Also notes the membership and activities of the Association of Motion Picture Distributors and Exhibitors of Canada from 1925 to 1930 and outlines a standard exhibition contract and the Credit Committee rules of film boards of trade. Concludes that a combine in the motion picture industry existed from 1926, names the exhibitors, producers, and distributors involved, including Famous Players and the Association of Motion Picture Distributors and Exhibitors of Canada, and emphasizes that the combine operates against the interest of the Canadian public.

Contends that the White Report (Investigation into an Alleged Combine in the Motion Picture Industry in Canada), prepared by Peter White, investigating combines in Canada's motion picture industry for the Department of Labour, was too narrow in scope and should have included a survey of the effects of theatrical monopolies on touring companies. Criticizes film monopolies for exhibiting only American films in Canada, thus depriving Canadians of enjoying higher quality films from Britain, France, and Germany. 994 Famous Players report. Saturday Night 46 (18 July 1931) 1. En. Describes the report of commissioner Peter White (Investigation into an Alleged Combine in the Motion Picture Industry in Canada), appointed by the minister of Labour to ascertain whether a combine existed in the motion picture business in Canada. Praises White for disclosing that Famous Players is controlled by Paramount-Publix of New York City, New York. White concludes that Canada's motion picture industry is a network of subsidiaries subject to American control. Accuses Paramount-Publix of vulgarizing the art of the theatre to yield greater profits. 995 The motion picture combine. Canadian Forum 11 (August 1931) 405-406. En. Summarizes commissioner Peter White's Investigation into an Alleged Combine in the Motion Picture Industry in Canada (1931), prepared for the Canadian Department of Labour. White's report confirms allegations that Famous Players has a near monopoly on film screening in Canadian cities.

992 Combine against public interest charged in movie investigation. Monetary Times (10 July 1931) 6. En.

996 Better films. Canadian Forum 11 (August 1931) 406. En. Supports Peter White's report for the Canadian Department of Labour, Investigation into an Alleged Combine in the Motion Picture Industry in Canada (1931). Agrees with White that the artistic quality of North American motion pictures has degenerated in favour of more popular, commercial themes. Mentions Arthur Cohen's defence of Famous Players' commercial filmmaking policy by accusing White of cultural elitism. Relays rumours that newly created film societies, based on the British model, will provide more venues for British and Canadian films in Montreal, Quebec, and Toronto, Ontario.

993 Limits of recent probe. Saturday Night 46 (18 July 1931) 1. En.

997 Films by American governments : The Dominion of Canada. Films 1 no 3 (Summer 1940) 25-33. En.

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998 Crawley, F. R. Films and the Massey Report: Have independent films a look in? Saturday Night 66 (14 August 1951) 12,24. ill, En. Reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 82-88. Peterborough, Ont: Broadview Press, 1988. Frank Radford (Budge) Crawley, in responding as an independent film producer to the 1951 Massey Report (Royal Commission on National Development in the Arts, Letters and Sciences), argues that it would be in the public interest to increase the amount of creative production done outside the National Film Board (NFB) of Canada. He suggests incentives to encourage private producers to produce films of artistic quality and contends that the domestic film industry can only flourish with an infusion of monies for the training of creative artists and technicians. Douglas Fetherling notes, in the introduction, that Crawley kept independent filmmaking alive in the 1940s and 1950s with sponsored documentaries for business, industry, and government, and was increasingly drawn to feature films in general and dramatic features in particular in the 1960s and 1970s. 999 How federal government could help our film-makers. Financial Post 58 (18 April 1964) 52. En. 1000 Solomon, Hyman. Can Ottawa do job as films' angel? Financial Post 59 (23 October 1965) 3. ill, En. 1001 Le long metrage au Canada: extrait du rapport presente au Conseil d'orientation economique. Liberte 8 (mars-juin 1966) 39-42. fr. 1002 Henry, D.H.W. The Combines Investigation Act and mass media. Osgoode Hall Law Journal 8 no 1 (1970) 147-158. En. 1003 Perry, R.M. Copyright in motion pictures, videotapes and other mechanical contrivances. Canadian Communications Law Review 3 (1971) 98-128. En. 1004 Perry, R.M. Copyright in motion pictures and other mechanical contrivances. Canadian Patent Reporter 5 (1972) 256-289. En. 1005 Pelletier, Gerard. Canada's film policy: The first phase. Cinema Canada no 3 (July-August 1972) 6-7. En. A transcription of the notes for the speech delivered by secretary of State Gerard Pelletier in Montreal, Quebec, on 4 July 1972 regarding the first phase of a new federal film policy. States that the government is committed both to the development of the Canadian film industry and to assuring its control by Canadian interests. To help achieve that goal the government proposes to establish an advisory committee on film and a decentralized National Film Board (NFB) of Canada, to encourage more involvement in fostering Canadian independent film production and greater use of Canadian film by the Canadian Broadcasting Corporation (CBC), to revamp the Canadian Film Development Corporation, to increase the budget for the Canada Council to support filmmakers, to finance a study by the Public Archives of Canada on the feasibility of establishing a national film archives, and to create a film festival office for the promotion and distribution of Canadian films at international festivals. Also states that the

government is beginning to study the issue of film distribution. 1006 Tadros, Jean-Pierre. Une politique qui se cherche (toujours)! Cinema Quebec 2 no 1 (septembre 1972) 12-15. 1 ill, fr. Transcription d'une allocution du secretaire d'Etat, Gerard Pelletier, qui s'exprime sur 1'industrie cinematographique au Canada. II donne trois raisons pour lesquelles le gouvernement federal s'interesse au developpement du cinema canadien. II soumet quelques propositions qui touchent a une commission consultative du film, aux archives publiques et a des institutions telles que 1'Office national du film (ONF) du Canada, la Societe Radio-Canada (SRC), la Societe de developpement de 1'industrie cinematographique canadienne, le Conseil des Arts et le bureau des festivals. II parle egalement de distribution. De plus, 1'auteur apporte un point de vue critique de cette allocution. 1007 Bonneville, Leo. On attendait Quebec, c'est Ottawa qui vint. Sequences no 70 (octobre 1972) 2-3. fr. Explication des trois motifs qui ont guide la creation d'une loi-cadre federale regissant le cinema : 1'existance d'organismes federaux oeuvrant dans le cinema, 1'importance d'une libre circulation des films et le desir de developper 1'industrie cinematographique canadienne. 1008 Cox, Kirwan. Power and participation. Cinema Canada no 4 (October-November 1972) 48. En. Provides information that will enable filmmakers to become more actively involved in the decisions that are being made regarding the Canadian film industry by such governmental organizations as the study group established by the Ontario government's Ministry of Tourism to examine aspects of provincial participation in film, and the Department of the Secretary of State's film advisory committee in Ottawa, Ontario. 1009 Pasquill Frank T.; Horsman, Joan. Wooden Pennies : A Report on Cultural Funding Patterns in Canada. Downsview, Ont: Programme in Arts Administration, York University, 1973. ii, 75,45 p, 29 ill, bibl, En. This study conducted by the Programme in Arts Administration at York University in Toronto, Ontario, in 1973 studies Canada's cultural funding. Defines Canada's cultural framework as a metaphorical tree, with the provincial and federal government agencies providing the roots that support various branches of activities in recreation and cultural services, physical culture, media culture (including film), exhibiting arts, performing arts, multiculture, and contemporary cultural funding. Using graphs and tables, analyses the funding patterns of these branches in comparison with other government divisions. Concludes that cultural policy requires governmental commitment to cultural growth through a coordinated plurality of support and with decentralized funding policies balanced between tradition and innovation. Traces briefly the history of the film industry, noting the effects of television on film attendance since 1952, and provides percentages of funding by the National Film Board (NFB) of Canada and the Canadian Film Development Corporation since 1961. Lists the proposals announced by the Department of the Secretary of State on 4 July 1972 in

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response to the problems of centralization, inadequate funding, and poor distribution in the film industry.

will range from $5,000 to $25,000 for productions, and from $4,000 to $15,000 for individual artists.

1010 Pelletier, Gerard. Le contexte canadien: Democratisation et decentralisation. Cinema Quebec 2 no 9 (1973) 26.1 ill, fr. L'auteur discute des trois raisons pour lesquelles le gouvernement federal s'interesse au developpement du cinema canadien : son engagement dans le domaine des activites cinematographiques, la possibilite d'utiliser le cinema comme instrument de democratisation et de decentralisation de la culture et, enfin, 1'existence d'une industrie cinematographique privee vigoureuse.

1019 Backhouse, Charles F. Canadian Government Motion Picture Bureau 1917-1941. (Canadian Film Archives. Canadian Filmography Series, no 9). Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1974. iv, 44 p, 14 ill, bibl, En. A history of the Canadian Government Motion Picture Bureau from its beginning in 1918 to its eventual replacement by the National Film Board (NFB) of Canada in 1939. Sources consulted include primary materials, government files, private collections, and interviews with people connected with the bureau. Appendices include lists of ministers of Trade and Commerce, original equipment purchased, exhibits, and publicity (1918), votes and salaries for the bureau (1929-40), expenditures and revenue (1920-41), and the total number of theatrical and non theatrical prints in circulation (1929-41).

1011 Bonneville, Leo. Une politique Rationale du film. Sequences no 71 (Janvier 1973) 2-3. fr. Resume des dispositions envisagees par Gerard Pelletier pour coordonner les activites cinematographiques des institutions federates. 1012 Senior citizens producing film on federal grant. Cinema Canada no 6 (February-March 1973) 13. En. Discusses the New Horizons program, instituted by the federal government for the financing of senior citizens' film projects. 1013 Government creates festival office. Canadian Film Digest (March 1973) 2. En. Secretary of State Hugh Faulkner announces the creation of a film festival office, headed by Jean Lefebvre, to promote, publicize, and distribute Canadian films. 1014 Le Conseil des Arts du Canada annonce 1'attribution de subventions d'une valeur globale de $201 330. Le Devoir (17 mai 1973) 10. fr. 1015 Canada Council senior arts grants to 32 prominent artists. Cinema Canada no 8 (June-July 1973) 13. En. Lists those filmmakers who will receive Canada Council senior arts grants in 1973. 1016 Visual arts and film organizations receive $201,330 in Canada Council grants. Cinema Canada no 8 (June-July 1973) 16. En. States that Canada Council grants totalling $201,330 were allotted to 15 visual arts and film organizations. 1017 Canada Council holds "think-tank" session in Gaspe. Cinema Canada no 9 (August-September 1973) 9. En. Discusses the Canada Council's meeting to determine film policy and priorities in Gaspe, Quebec 5-10 August 1973. 1018 Koller, George Csaba. Canada Council announces new program to help independent filmmakers. Cinema Canada no 10-11 (October 1973-January 1974) 6-7.1 ill, En. Penni Jaques, film officer of the Canada Council, outlines the council's tentative program "Aid to Film and Video Artists" during a visit to Toronto, Ontario in October 1973. Notes that the program will aid those professional artists who are making short and medium length films. Grants

1020 Young, Bert. Corporate interests and the state : Anticombine activity in Canada, 1900-1979. Our Generation 10 no 1 (1974) 70-83. En. 1021 Commons committee and CFDC face off. Canadian Film Digest (April-May 1974) 12. En. Reports on a meeting between the Standing Committee on Broadcasting, Film and Assistance to the Arts, the Canadian Film Development Corporation, and the Council of Canadian Filmmakers. 1022 Canadian film news. Cinema Canada no 15 (AugustSeptember 1974) 6. En. Outlines phase II of the Federal Film Policy as announced by secretary of State Hugh Faulkner on 4 July 1974. Phase II of the policy proposes to increase the Capital Cost Allowance for investment in feature film production to 115 per cent from 60 per cent, to open discussions with the provinces concerning quotas, and to change the mandate of the Canadian Film Development Corporation by providing them with funds for the promotion and distribution of Canadian films. 1023 Jacques, Arthur O. Law and music. Motion 4 no 2 (1975) 13. En. Brief summary of the legal aspects of film score contracts including royalties under the Copyright Act and guild agreements pertaining to performance of musical works. 1024 Spencer, Michael D. Re: Quotas for Canadian films in Canadian motion picture theatres. Cinema Canada no 18 (March-April 1975) 8-10. En. A federal government memorandum that provides an overview of the federal laws and mandates that oversee the distribution of English language films in Canada. The memorandum also includes suggestions for increasing the number of Canadian feature films exhibited in Canadian theatres, such as the implementation of quotas or levies. 1025 Faulkner announces new deal for Canadian features. Pulse 1 no 10-11 (July-August 1975) 3-4. En.

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1026 Harris, Rick. Should Faulkner re-examine his position? Pulse 1 no 10-11 (July-August 1975) 5. En. 1027 Faulkner discusses plans for Canadian film houses. Boxoffice 107 (21 July 1975) 11. En. 1028 Chesley, Stephen. Faulkner's policys [sic]. Cinema Canada no 21 (September 1975) 8. En. Reports on secretary of State Hugh Faulkner's announcement on 5 August 1975 that film investors will be granted a 100 per cent tax incentive for investing in Canadian films and that Famous Players and Odeon Theatres have agreed, after intensive negotiations with Faulkner, to implement a quota of four weeks per theatre per year and an investment of at least $1.7 million to aid in the exhibition and production of Canadian films. 1029 Chesley, Stephen. Reactions. Cinema Canada no 21 (September 1975) 8-9. En. Reports on the negative reaction of the Canadian film industry towards proposed federal tax incentive and quota legislation as announced by secretary of State Hugh Faulkner on 5 August 1975. States that such initiatives are no more than declarations of intents, and that they will only make provincial legislation more difficult. 1030 Chesley, Stephen. Mr. Faulkner's Trojan horse. Cinema Canada no 22 (October 1975) 41-42. En. A review of Hugh Faulkner's proposed changes to the federal film policy, as announced 5 August 1975. Assesses Faulkner's proposals by examining his past actions and what his proposals actually imply. Addresses the three main elements of Faulkner's proposals : the voluntary agreement by Famous Players and Canadian Odeon Theatres to implement an exhibition quota; the proposed investment of $1.7 million in the Canadian feature film industry by Famous Players and Canadian Odeon Theatres; and the federal government's definition of Canadian films as cited in the 100 per cent Capital Cost Allowance outline. 1031 Canada. Secretary of State. Office of the Special Advisor on Film. Big Word, Small Format: A Study of the Use and Distribution of 16 mm Film, Tape and A-V Materials. Ottawa, Ont: Secretary of State, 1976. xi, 257 p, En. French edition: Petits formats deviennent grands: etude sur la distribution et 1'utilisation des films de 16 mm, des enregistrements et des documents audio-visuels. This distribution study of nontheatrical educational films and audiovisual materials was prepared by Sydney Newman, special adviser on film to the Department of the Secretary of State. Based on survey responses from user and distribution organizations across Canada it focuses on business practises, financial requirements, needs, and objectives. Defining users as educational institutions and boards, public services and associations, private organizations and institutions, hospitals, industries, businesses, and government agencies, the report provides statistics on existing collections and expenditures for film and audiovisual materials. Also describes the characteristics of these users, their methods of operation, and how they attempt to fulfill their mandates. Statistics on the revenues of commercial and non-commercial distributor organizations

1972-75 follow with a description of their management characteristics, and for non-commercial distributors, information on film audiences. Summarizes how film interests are, in part, met by national organizations, reviews provincial funding policies, and concludes that distributors want government action to support Canadian owned production, while users desire more Canadian content to select from. Appendices describe the methodology of this study and include copies of the questionnaires. 1032 Drabinsky, Garth H. Motion Pictures and the Arts in Canada: The Business and the Law. Foreword by N.A. Taylor. Toronto, Ont: McGraw-Hill Ryerson, 1976. xix, 201 p, bibl, index, En. This legal and economic analysis of the film industry in Canada arises from Garth H. Drabinsky's realization, in preparing lectures for film students at York University in Toronto, Ontario, that there is a dearth of resource materials available with a Canadian point of view. Correcting this, Drabinsky offers an introduction to the legal and business aspects of the feature film industry in Canada, along with their attendant financial facets. Chapter 1 outlines the fundamentals of production, following the producer through a typical step by step process from the choice of the film to publicity. Chapter 2 looks at contracts, while chapter 3 investigates defamation laws, the right of privacy, and insurance. A detailed explanation of copyright forms chapter 4, and in chapter 5, the acquisition of film rights for literary or dramatic works is discussed. Chapter 6 looks at the role of the agent, chapter 7 notes the function of the screenwriter and the screenplay agreement, and chapter 8 outlines the nature of agreements between the producer and the director. Chapter 9 presents actors as artists and discusses the talent agreement, the provisions of the ACTRA (Association of Canadian Television and Radio Artists) collective agreement and the tax consideration of loan out agreements. Chapter 10 discusses the rights inherent in a musical work and the legalities of music in film, while chapter 11 analyses modes of financing a feature film, including private investment, the Canadian Film Development Corporation, co-production agreements, and studio production-distribution agreements. Chapter 12 looks at the distribution agreement, chapter 13 at the relationship between distributors and exhibitors, including an overview of nontheatrical markets. The final chapter provides an overview of obscenity laws, censorship, and film classification. 1033 Schafer, D. Paul. Aspects of Canadian Cultural Policy. (Studies and Documents on Cultural Policies). Paris, France: UNESCO, 1976. 95 p, 8 ill, En. French edition: Aspects de la politique culturelle canadienne. This publication of UNESCO is one in a series that attempts to demonstrate how cultural policies are planned and implemented in the various member states. Looks at Canadian culture from an international perspective, notes that Canada is often perceived as possessing an indistinct culture, and introduces the people, economic, social and political conditions, and cultural themes of Canada. Outlines the framework of the nation's cultural policy, examining the dichotomy between the spontaneity of culture and the systematizing force of policy and its attendant bureaucracy. Observes the dynamism within the arts of the nation and the support offered by such institutions as the Canada Council. Examines the mass

Canada media, noting its overwhelming control by private interests, monopolies and oligopolies, and American mass media corporations. D. Paul Schafer describes the formation of the Canadian Film Development Corporation whose mandate is to promote the growth and development of the Canadian film industry. Also describes community and citizen initiatives, and concludes by reiterating the priorities for a comprehensive cultural policy for Canada within the international community. 1034 Le controle etranger sur 1'industrie du cinema fera 1'objet d'une enquete. Le Devoir (7 fevrier 1976) 11. fr. 1035 Chesley, Stephen. Major Developments. Cinema Canada no 26 (March 1976) 6. En. Announces that the Canada Council has appointed Fran^oyse Picard as the new film officer, and has indicated that a new film policy determining the jurisdiction in applying for film funding between the Film and Video division, the Explorations program, and the Canadian Film Development Corporation will be announced in March 1976. More emphasis may also be placed on film as business not only film as art and the funding of film cooperatives that do not produce films will be reconsidered. 1036 Chesley, Stephen. Cables. Cinema Canada no 28 (May 1976) 10. En. Discusses negotiations between the federal and provincial governments on regulating cable services and transferring some local aspects of cable to the provinces. 1037 Tadros, Jean-Pierre. A conversation with Hugh Faulkner. Cinema Canada no 28 (May 1976) 30-34.1 ill, En. Interview with secretary of State Hugh Faulkner on the future of federal government policy regarding the Canadian film industry. Faulkner emphasizes that his department is looking into the possibility of consolidating the Canadian Film Development Corporation, the Canadian Broadcasting Corporation (CBC), and the National Film Board (NFB) of Canada with the aspirations and interests of the private sector. He comments, in some detail, on the issue of getting film houses, such as Famous Players and Odeon, more involved in financing and screening Canadian films. Faulkner also touches on how the NFB might better serve national interests that the private sector would otherwise ignore. 1038 Chesley, Stephen. "Toronto Star." Cinema Canada no 28 (May 1976) 8.2 ill, En. Sid Adilman of the Toronto Star received a news leak about the Tompkins Report on the film industry that recommended establishing a comprehensive agency to oversee both public and private aspects of the Canadian film industry. The report will be made public 1 May 1976. 1039 Chesley, Stephen. Treasury Board. Cinema Canada no 28 (May 1976) 8. En. Jean Chretien, head of the Treasury Board of Canada, recently announced the budget estimates for federal funding of arts grants for 1977 as $598 million, up 14.5 per cent from the previous fiscal year. Provides allotment figures for the Canada Council, the Canadian Broadcasting Corporation (CBC), the Canadian Radio-television and Tele-

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communications Commission, and the National Film Board (NFB) of Canada. 1040 Chesley, Stephen. Alice in never-never land. Cinema Canada no 29 (June-July 1976) 10. En. According to a story leaked to the media secretary of State Hugh Faulkner has developed a new film policy based on the Tompkins Report. The report proposes the creation of a group to oversee the film industry, the reliance on the private sector instead of expanding government programs, and the retention of the Canadian Film Development Corporation's investments. Consolidating sources of government funding, Stephen Chesley contends, will make it more difficult for filmmakers to receive funding and places civil servants in a position of ajudication which he suggests is wrong. 1041 Faulkner, Hugh. Des lois et des cadres: le «testament» cinematographique de M. Hugh Faulkner. Cinema Quebec no 43 (ete 1976) 28-30. fr. Propos de Hugh Faulkner, secretaire d'Etat, devant une commission parlementaire de la Chambre des communes. II parle du role et des objectifs de la Societe de developpement de 1'industrie cinematographique canadienne, de la domination etrangere en matiere de distribution au Canada, de la croissance parallele de 1'Office national du film (ONF) du Canada et du secteur prive, du role de la television d'Etat, ainsi que de la revision de la politique cinematographique gouvernementale. 1042 Losique, Serge. Opinion : Where is Canadian cinema heading? Cinema Canada no 30 (August 1976) 50-53.1 ill, En. Serge Losique reflects on the current state of government involvement in Canadian cinema, and calls for radical restructuring and downsizing of various federal agencies involved in film. Losique argues that the top-heavy bureaucracies are a negative monopolistic force that have eroded private initiative, attempted to legislate creativity, and protected mediocrity and provincialism. Criticizes the National Film Board (NFB) of Canada, the Canadian Film Development Corporation, the National Film Archives division of the Public Archives of Canada, and the Canadian Broadcasting Corporation (CBC). Suggests that only the Canada Council should concern itself with the cultural, versus the commercial, aspects of filmmaking and allocate its funds to emerging filmmakers. Other government agencies should limit their involvement to facilitating a free and competitive market-place for filmmakers. 1043 The "Tompkins" Report: Conclusions. Cinema Canada no 31 (October 1976) 9-11. En. Outlines the recommendations of the Tompkins Report, an independent study of the Canadian film production industry that identified and analysed the composition of the labour force. Undertaken from July 1975 to March 1976 and commissioned by secretary of State Hugh Faulkner, the report suggests increasing the market for Canadian films, increasing the proportion of films produced for the government that are commissioned from the private sector, including work done through the National Film Board (NFB) of Canada and the Canadian Broadcasting Corporation (CBC), and initiating an indepth study of all film industry labour agreements in effect in Canada.

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1044 Chesley, Stephen. Bill C58 still hanging in. Cinema Canada no 32 (November 1976) 10. En. Eighteen United States' senators drew up a bill to ban Canadian films, television programs, and records from the United States if Bill C58 is put into effect. Bill (William) Marshall of the Canadian Association of Motion Picture Producers sent a letter to Henry Kissinger asking for the ban because Canadians could retaliate by banning American films in Canada. The owners of American television border stations have responded by proposing to set up a production fund of $5 million for Canadian producers. 1045 Draft Film Policy. Cinema Canada no 32 (November 1976) 22-25. En. Selected excerpts from the draft film policy prepared for presentation to the federal Cabinet in April 1976 and leaked to the press. Recommends that the Canadian Film Development Corporation Act be changed to include a wider range of film types for investment and that the Canadian Film Development Corporation be directed as a banking agency, that public sponsored films be open to private investment, that the Canada Council limit its sponsorship to low budget or developmental films, and that provincial governments assume more responsibility in these areas. The policy was unable to make any proposals regarding distribution and exhibition except to cite recent moves by the National Film Board (NFB) of Canada to expand the scope of distribution services. Concludes by noting that complementary private and public investment can effectively develop the Canadian film industry. 1046 Chesley, Stephen. Capital cost: "Canadian film." Cinema Canada no 33 (December 1976-January 1977) 10. En. Summarizes the Treasury Board's official definition of a Canadian film or video work to qualify it for the 100 per cent Capital Cost Allowance. This makes it official law retroactive to 26 May 1976. The criteria necessary for certification of a film is outlined, as well as the points in the filmmaking process that certification can be officially gained. The criteria for features as well as shorts is discussed. 1047 Canada. Conseiller special pour le cinema aupres du Secretaire d'Etat. Petits formats deviennent grands : etude sur la distribution et 1'utilisation des films de 16 mm, des enregistrements et des documents audio-visuels. Ottawa, Ont: Secretariat d'Etat, 1977. xiii, 280 p, fr. Version anglaise : Big Word, Small Format: A Study of the Use and Distribution of 16 mm Film, Tape and A-V Materials. Cette etude sur la distribution de materiel didactique et audiovisuel non commercial preparee par Sydney Newman, conseiller special pour le cinema aupres du secretaire d'Etat, est basee sur un questionnaire envoye aux usagers et maisons de distribution a travers le Canada. Cette analyse cerne les pratiques commerciales, les exigences financieres, les besoins du public et les objectifs a atteindre. Parmi les utilisateurs, on trouve des institutions educatives, des organismes gouvernementaux (provinciaux et federaux), des musees, des bibliotheques, des hopitaux, 1'industrie et le monde des affaires. Le rapport fournit des statistiques sur les collections existantes de films et de documents audiovisuels et sur les budgets qui y sont alloues. On y decrit aussi les caracteristiques des usagers, leur methode de fonctionnement et leurs

efforts pour remplir leurs mandats. Suivent des statistiques sur les revenus des maisons de distribution, qu'elles soient commerciales ou non. Pour les distributeurs non commerciaux, on donne aussi des informations sur leur public. On resume 1'attitude gouvernementale face aux films, puis on etudie les politiques provinciales de subventions et, enfin, on conclut que les distributeurs veulent une action gouvernementale pour aider la production canadienne, tandis que les usagers desirent un plus vaste choix de films canadiens. En annexe se trouvent la methodologie de 1'enquete ainsi qu'une copie du questionnaire. 1048 Schafer, D. Paul. Aspects de la politique culturelle canadienne. (Politiques culturelles. Etudes et documents). Paris, France: UNESCO, 1977. 97 p, 8 ill, fr. Version anglaise : Aspects of Canadian Cultural Policy. Cette publication de 1'UNESCO fait partie d'une serie qui cherche a decrire comment la planification et 1'implantation d'une politique culturelle s'effectue dans les divers etats membres de 1'UNESCO. Dans cette etude a perspective internationale, on presente les diverses ethnics, les conditions economiques, sociales et politiques et les themes culturels du Canada en plus d'indiquer que la culture de ce pays est difficilemente perceptible et peu definie. Dans une breve description de la politique culturelle nationale, on examine la dichotomie entre la culture spontanee et la puissance ecrasante d'une politique et de sa bureaucratie. On remarque aussi le dynamisme artistique de la nation qui est soutenu par des organismes comme le Conseil des Arts du Canada. En decrivant ensuite les medias, on note qu'ils sont majoritairement controles par des interets prives, des monopoles, des oligopoles et des medias americains. Une analyse des pratiques et des politiques cinematographiques revele que malgre la creation de 1'Office national du film (ONF) du Canada et 1'action gouvernementale pour contrer le lien monopolistique entre la distribution et la presentation cinematographique, 70% des cinemas commerciaux et 80% des societes de distribution sont detenus par des compagnies etrangeres, principalement des societes americaines. La creation de la Societe de developpement de 1'industrie cinematographique canadienne, explique D. Paul Schafer, a pour objectif de promouvoir 1'expansion et le developpement de 1'industrie cinematographique canadienne. Enfin, 1'auteur fait aussi part des initiatives des citoyens et des communautes et conclut en reiterant 1'importance d'une politique culturelle globale pour le Canada au sein de la communaute internationale. 1049 Smookler, Kenneth M. The law in motion : Freedom! Motion 6 no 2 (1977) 30-31.1 ill, En. Explains that English Common Law is the major background of Canadian jurisprudence and outlines the requirement of visas and work permits for non-Canadians working in Canadian films. 1050 Hill, O. Mary. From Filmstrip to Film Board. Canada's Salesman to the World : The Department of Trade and Commerce, 1892-1939, 387-405 Montreal, Quebec: McGill-Queen's University Press, 1977. index, bibl, En. Mary Hill describes how in 1915 the Department of Trade and Commerce, under the minister Sir George Foster, became aware of the possibilities of film as a medium for

Canada spreading information about Canada and for selling Canadian products. Summarizes the events leading up to the establishment of a filmmaking unit on 1 September 1917, under the direction of Bernard Norrish, to prepare films and slides promoting government related activities. Notes that the Department of Agriculture was one of a number of departments to object to the new filmmaking facilities. Reviews the bureau's activities until 1920 when Norrish resigned to join Associated Screen News and was replaced by Raymond Peck. Explores the period of the 1920s including the role of the Dominion Government Motion Picture Bureau, the Empire Marketing Board of Great Britain, and people such as Frank C. Badgley, Ross McLean, Vincent Massey, and John Grierson. 1051 Ott, Giinter. The immigration dilemma. Motion 6 no 3 (1977) 9. En. Report on the employment visa regulations for performers from abroad working in Canada. Comments on similar laws in the United States and Europe. 1052 Tadros, Connie. Federal policy in three months. Cinema Canada no 36 (March 1977) 8-9.1 ill., En. Secretary of State John Roberts announces in March 1977 that Canada will have a new comprehensive film policy in three months time. Concerned with film distribution in Canada, Roberts met with members of the Canadian Motion Picture Distributors Association (CMPDA). The CMPDA proposes a solution of importing American methods to Canada. Roberts feels that the Canadian Film Development Corporation (CFDC) has been faced with the decision of making more commercial films or ones that are culturally important and he is interested in exploring the ways in which the two factors can coincide. He will meet with Jack Valenti the president of the Motion Picture Association of America and of the Motion Picture Export Association of America. Roberts states that it is difficult for the Canadian government to justify its investment into the Canadian film industry while the American film industry annually draws $30 million from the distribution of its films. It was thought that the CFDC would become self-financing after initial investment by the federal government. Today the CFDC has recuperated 17 per cent of the $21 million it has invested in film production to date. 1053 Chesley, Stephen. Boyle moves on. Cinema Canada no 40 (September 1977) 9.1 ill, En. Cites the reasons behind the retirement of Canadian Radio-Television and Telecommunications Commission chair, Harry Boyle. 1054 Camu to head CRTC. Cinema Canada no 41 (October 1977) 9. En. Discusses the mixed reactions to the appointment of Pierre Camu as head of the Canadian Radio-television and Telecommunications Commission with regard to his background as a lobbyist, a government bureaucrat, and his connections to the Trudeau administration. 1055 Ministere des communications et Direction generale du developpement et des politiques. Impact economique des politiques federates en communications. Quebec, Quebec : ministere des Communications, 1978. 55 p, fr.

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Etude des politiques et des programmes federaux qui touchent le secteur de la telephonic, de la radio-television, de la presse ecrite et du cinema pouvant influencer 1'economie quebecoise. En ce qui concerne le domaine cinematographique, on analyse les politiques se rapportant aux investissements du Secretariat d'Etat et a la regionalisation de 1'Office national du film (ONF) du Canada et de la Societe du developpement de 1'industrie cinematographique canadienne. 1056 Cole, Frank. Money cooperation. Motion 7 no 1 (1978) 28. En. Bill Boyle, former executive co-ordinator of the Toronto Filmmakers' Co-op, assesses the success of the Canadian Film Development Corporation, the Ontario Arts Council, and the Canada Council. 1057 Film policy: No drastic revisions - clearer definitions. Trade News North 5 (April 1978) 10-11. En. 1058 Roberts defends policy. Trade News North 5 (April 1978) 1-2. ill, En. 1059 Tadros, Jean-Pierre. Roberts presente sa « Politique du film » : 1'ONF devra partager sa part du gateau. Le Devoir (12 avril 1978) 23. fr. 1060 Roberts unveils film package. Winnipeg Free Press (12 April 1978) 24. En. 1061 National "film policy" need for stronger support: Roberts. Vancouver Sun (13 April 1978) B3. En. 1062 Dzeguze, Kaspars. Written on the wind. Maclean's 91 no 8 (17 April 1978) 28-29.1 ill, En. Analyses the film policy proposed by secretary of State John Roberts in April 1978. Argues that Robert's policy is an emasculated version of his original plan, which intended to double the $3 million invested annually by the Canadian Film Development Corporation (CFDC) by introducing a 10 per cent tax on the income of foreign film distributors. Claims that Roberts also intended to assist Canadian investors interested in buying the Odeon Theatres chain, provided they screen a substantial number of Canadian films. States that both measures were rejected in Cabinet. Contends that Roberts's most significant policy permits the CFDC to fund made for television movies and to improve filmmaking skills. Concludes that Roberts's reliance on voluntary quotas will be ineffectual. 1063 Roberts announces gov't plan to aid film industry. Boxoffice 113 (22 May 1978) K7. En. 1064 Gathercole, Sandra. The best film policy this country never had. Cinema Canada no 47 Qune 1978) 28-31. En. Reprinted and expanded in Take Two, edited by Seth Feldman, 36-46. Toronto, Ont: Irwin Publishing, 1984. An analysis of the 1978 film policy that situates the policy in the historical context of American and Canadian negotiations. Describes the 1948 voluntary Canadian Cooperation Project and secretary of State Hugh Faulkner's voluntary agreement with Famous Players and Odeon in 1973 as precursors to the 1978 policy, and argues that the cur-

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rent policy represents a continuation of inadequate voluntary agreements. Closely examines the final form of the policy, radically altered from its original, much more effective form, in terms of its measures regarding increased funding to the Canadian Film Development Corporation (CFDC), increased National Film Board (NFB) of Canada contracts with the private sector, changes in the Capital Cost Allowance for film investors, and the problem of foreign control of the educational and theatrical markets. Documents the negative reaction to the policy by the ACTRA (Association of Canadian Television and Radio Artists), the Canadian Film and Television Association, the Council of Canadian Filmmakers, the CFDC, and the Canadian public, and the positive reaction by American film companies. Concludes that the policy encourages the domination of the Canadian film industry by an American controlled market system. Sandra Gathercole notes in a postscript from 1984, six years after John Roberts's memorandum on film policy attempted to confront foreign control, that little has changed. Despite funding from the CFDC, private production is minimal; private Canadian investment has evaporated with the collapse of the Capital Cost Allowance and most films still depend on American investment. The lessons of Pay-TV, voluntary agreement, and the Capital Cost Allowance have taught that without secure Canadian distribution policies, production in Canada will depend on the American market. Public funds for production need corresponding measures that open up domestic distribution and moral suasion is not as effective as legislation when dealing with Hollywood or Pay-TV licensing. Seth Feldman, in his prefatory comments to the reprint, emphasizes that Canada's film industry needs a strong policy statement and that the history of Canadian film policy has been an avoidance of the obvious. 1065 Bonneville, Leo. Le cinema canadien en rouge et en bleu. Sequences no 93 (juillet 1978) 2-3.1 ill, fr. Editorial sur les propositions gouvernementales au sujet de 1'aide a apporter a 1'industrie cinematographique canadienne du long metrage. L'Office national du film (ONF) du Canada et la Societe de developpement de 1'industrie cinematographique du Canada sont aussi concernes. 1066 Smith, Nelson. Proposed legislation to aid small businesses. Trade News North 8 (July 1978) 8. En. 1067 Cultural budgets are explained by Roberts. Boxoffice 113 (2 October 1978) K4. En. 1068 Futures Socio-Economic Planning Consultants. The Canadian Cultural Industries. (Arts Research Monographs, no 3). Ottawa, Ont: Government of Canada. Dept. of Communications, 1979. 27 p, bibl, En. Anticipating a parliamentary review of the roles played by federal departments vis-a-vis the "cultural industries," this Arts Research Monograph attempts to create a holistic overview of national culture. Culture is compartmentalized into four areas, one of which, artistic culture, makes up ten component industries that form an integrated industrial entity through the copyright mechanism. The economic importance of this industry is stressed, particularly with regard to competition with other First World nations. Successful participation in this competition

enhances national prestige and helps balance Canada's international balance of payments. Federal departments gearing up for a review of the cultural industries are advised to pursue their growth in a manner similar to that of the Canada Council, by intervening and offering support at all cultural levels. 1069 Remillard, G. La competence legislative des provinces sur le commerce des productions cinematographiques. Revue du Barreau 39 (1979) 91-101. fr. 1070 Distribution : Fed priority for 1979? Cinemag 14 (February 1979) 3. En. 1071 CBC-CRTC best kept secret in town. Cinemag no 15 (March 1979) 8. En. 1072 An election review of federal film policies. Cinema Canada no 54 (April 1979) advertisement 1, 6-8. En. A feature paid for by the Council of Canadian Filmmakers provides a review of the incumbent Liberal Party as well as the opposition Progressive Conservative and New Democratic Party platforms on government support for the filmmaking industry prior to the 1979 federal general election. Outlines the proposals put forth by each party, citing that the recommendations of Progressive Conservative critic David MacDonald and his New Democratic counterpart Cyril Symes often follow party ideologies. Notes the pragmatic stance of John Roberts, the Liberal secretary of State, who was unsuccessful in receiving additional funds for Canadian filmmakers. 1073 Wise, Richard M. The new rules for motion picture tax shelters. Canadian Tax Journal 27 no 3 (May-June 1979) 245-255. bibl, En. Contends that uncertainties regarding motion picture film tax shelters were not clarified by the amendments to the regulations issued by Revenue Canada in December 1978. Examines the film tax regulations prior to 1978 and describes the changes contained in the December amendments. Isolates three areas of the regulations that have caused the most confusion : determining the cost of a film for purposes of acquiring the 100 per cent Capital Cost Allowance (CCA) deduction; establishing when a film becomes a depreciable asset; and creating a scale to measure the Canadian content of a production for certification. Under the amendments, the definition of a certified feature production was narrowed, the investor was permitted a CCA deduction on production costs incurred while principal photography is being completed, and the investor is required to reduce the CCA deduction by the amount of revenue guarantees. 1074 The Clyne Report: A very positive step forward. Cinema Canada no 54 (May 1979) advertisement 3-4.1 ill, En. Discusses the recommendations made in the Clyne Report, titled Telecommunications in Canada, which suggests changes in the production and distribution systems so that Canadian sovereignty is more adequately protected. 1075 Roberts, John. Film policy update. Cinema Canada no 54 (May 1979) advertisement 2, 8. En.

Canada Secretary of State John Roberts reports on the progress made in the Canadian feature film industry in the year since he presented a revised film policy to the House of Commons. Roberts outlines the recent success of Canadian films in domestic as well as foreign markets. Outlined is the government's interpretation of the roles that the Canadian Film Development Corporation, Capital Cost Allowance, National Film Board (NFB) of Canada, and the Canadian Broadcasting Corporation (CBC) play in the advancement of the film industry. 1076 Daigneault, Claude. Appliquer la loi a fond avant de la modifier: O'Neill et le dossier du cinema. Le Soleil (25 aout 1979) E3. ill, fr. 1077 Forum on entertainment law. Cinemag 21 (1 September 1979) 25. En. 1078 Federal Cultural Policy Review Committee / Comite d'etude de la politique culturelle federale. Speaking of Our Culture : Discussion Guide / Parlons de notre culture: guide de discussion. Ottawa, Ont: Federal Cultural Policy Review Committee / Comite d'etude de la politique culturelle federale, 1980. 23 ; 23 p, En. 1079 Legislation proposals anger projectionists. Calgary Herald (16 May 1980) Bl. En. 1080 National film policy ready. Cinemag no 42 (21 July 1980) 1-2. En. 1081 Three models for an amended definition. Cinemag no 43 (4 August 1980) 11. En. 1082 Fox announces cultural review in five stages. Cinemag no 45 (1 September 1980) 3. En. 1083 Subtitle law could restrict film runs distributors claim. Montreal Gazette (4 November 1980) 4. En. 1084 Hoy, Alexandra. Copyright: Better to be safe, than sorry. Cinema Canada no 70 (December 1980) 17-18. bibl, En. An outline of the Canadian Copyright Act. Explains that a copyright can only be obtained for an original work, excluding ideas and titles. Lists the copyright owner's rights, such as controlling the translation, publication, and performance of the work. Notes that the author of a piece is the automatic copyright owner, unless the creation was commissioned by an employer, and need not apply for ownership. Discusses when, and how, an author should register for copyright, suggesting that film producers check that authors have not assigned copyright privileges to more than one film company. Remarks that most works draw on existing material, departing from it in differing degrees, so rigid enforcement of the Copyright Act could hamper the creative process. 1085 International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators, Local No. 300. A Brief from IATSE Local Number 300 to the Federal Cultural Policy Review Committee and the Province of Saskatchewan Cultural Policy Secretariat. Saskatoon, Sask : Local No. 300,1981. 6 p, En.

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These recommendations by the IATSE (International Alliance of Theatrical and Stage Employees and Moving Picture Operators of the United States and Canada) Local No. 300, regarding the motion picture and theatre industries in Saskatchewan, were presented to the Federal Cultural Policy Review Committee in March 1981. They make suggestions for training programs and increased government funding to the province. 1086 Roston, John. A Model for the Development of the Canadian Feature Film Industry. Edited by Jane F. Bisel. Revised, September 1981. (Working Papers in Communications). Montreal, Quebec: McGill University, Graduate Communications Program, 1981. 19 p, bibl, En. French summary. John Roston addresses the problem of government intervention in the Canadian film industry, proposing that Canada should produce enough feature films each year to provide a self-support pool of talent, and the majority of these films should be distinctly Canadian and commercially and critically successful in Canada so that Canadians receive the full benefit from their production. Recommended tax changes include the Capital Cost Allowance and an excess profits tax on box office grosses. A new model with a national film school, feature film corporation, film industry office, and the National Film Board (NFB) of Canada, under a Canadian film commission, and headed by the minister of Communications, is presented, explained, and given a budget and time frame for implementation. 1087 Producers mixed reviews for pts. Cinemag no 55 (2 February 1981) 1. En. 1088 Free enterprise forgotten in bill for film industry. Calgary Herald (13 April 1981) A3. En. 1089 Fox to meet Valenti soon to say thanks and raise question of distribution of American film. Cinema Canada no 74 (May-June 1981) 3. En. Francis Fox, the federal minister of Communications, will meet with Jack Valenti, the executive director of the Motion Picture Export Association of America, to discuss the distribution of American films in Canada and to express his views on the distribution of Canadian films in the United States. 1090 Fox unveils federal plan for aid to Canadian film industry. Winnipeg Free Press (8 June 1981) 25. En. 1091 Background to the strife. Cinema Canada no 75 Quly 1981) En. Announces that, as of March 1981, the Immigration and Naturalization Service of the United States Department of Justice requires all foreign entertainment personnel who wish to work in the United States to obtain temporary work permits, which are valid for a period of 30 days. Notes that there are two categories of permits : H-l, which apply to people who are pre-eminent in their fields, and H-2, which apply to the majority of technicians and film personnel. 1092 Guidelines paper in works for fall. Cinema Canada no 75 (July 1981) 5. En.

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Announces that a Guidelines Brochure is being prepared by the Canadian Film Certification Office and will be published in the fall of 1981. 1093 Business side of Canadian film industry stressed during cultural review hearing. Globe and Mail (7 July 1981) 20. En. 1094 CMPDA sets record straight for Applebert. Cinema Canada no 76 (August 1981) 10. En. As the only representative of multinational American filmmaking corporations to appear before the Applebaum-Hebert Commission (Federal Cultural Policy Review Committee), the Canadian Motion Picture Distributors Association offered their opinions on the role the government in the film industry and the importance of foreign distribution. 1095 Drastic changes required if Canadians are to win back public. Cinema Canada no 76 (August 1981) 12. En. Andre Lamy, executive director of the Canadian Film Development Corporation, explains the problems with the Canadian film industry to the members of the Federal Cultural Policy Review Committee. Stresses the importance of television as a medium of communication and points out that immediate change within the system is necessary in order to avoid further domination by the American industries. Recommends five ways in which the film and television industries can be improved. 1096 Lamy, Andre. Lamy asks for recognition of cultural private sector role. Cinema Canada no 76 (August 1981) 12-13. En. Excerpts from a text read before the Federal Cultural Policy Review Committee in Toronto, Ontario, by Andre Lamy, executive director of the Canadian Film Development Corporation, on 6 July 1981, are given. Five points, including universal Pay-TV subscription and a redefinition of the government's role in the support of filmmaking, are cited. 1097 CFTA insists on private sector responsibility for cultural input. Cinema Canada no 76 (August 1981) 14-15. En. Presents excerpts from a brief presented to the Federal Cultural Policy Review Committee by the Canadian Film and Television Association (CFTA) in which the CFTA outlines the basis of a new approach to the Canadian film industry, stressing the importance of creative competition, the exportation of films to foreign countries, the availabilty of financial resources, and the dedication on the part of members of the film community to create a more viable industry. Makes recommendations to various bodies involved in the industry including the Canadian Radiotelevision and Telecommunications Commission, to which it makes suggestions concerning the purpose and development of Pay-TV and the composition and application of the Canadian content regulations; the Canadian Broadcasting Corporation (CBC), to which it makes suggestions concerning the corporation's pricing policies and the autonomy of its department for independent production; the National Film Board (NFB) of Canada, to which it makes suggestions concerning sponsored films and coproductions ; the Canadian Film Development Corpora-

tion, to which it makes suggestions concerning co-productions and the broadening of its mandate; and the Department of Communications, to which it makes suggestions concerning the copyright laws and the Capital Cost Allowance. Other suggestions noted include the adoption of the British IBA model by the Canadian cable industry, informing producers of the many government assistance programs which are available to them, and facilitating the borrowing of money by producers. 1098 Mail strike slows national film policy rewrite. Cinema Canada no 76 (August 1981) 5. En. Briefly describes the new national film policy which has been sent from Ontario to the other provincial security commissions for approval. Notes that the mail strike is greatly hindering this procedure. 1099 Coburn, Teri. Jean Lefebvre... On the fine art of festivals. Cinema Canada no 79 (November 1981) 20-23. 3 ill, En. An interview with Jean Lefebvre, who, as director of the federal Film Festivals Bureau, is responsible for the promotion of Canadian films at domestic and international film festivals. Lefebvre discusses his previous position as head of the festivals office at the National Film Board (NFB) of Canada, outlines the mandate and responsibilities of the Film Festivals Bureau, and describes the organization and function of the bureau's consultation committee, which is responsible for the selection of Canadian films to be recommended for entry in the Cannes International Film Festival in Cannes, France. Lefebvre also discusses the process of festival funding, the financial aspects of the Film Festivals Bureau, the relationship of the bureau to the Canadian film community, and the bureaucratic problems he faces as head of a government agency. Lefebvre concludes by offering his perspective on the Canadian film industry. 1100 New budget alters tax laws on Canadian films and art. Globe and Mail (14 November 1981) E10. En. 1101 Tadros, Connie. The war within : Culture vs. industry. Cinema Canada no 74 (December 1981-January 1982) 24-25. En. A position paper prepared by the editors of Cinema Canada in response to the Federal Cultural Policy Review Committee's publication Speaking of Our Culture: Discussion Guide (Ottawa, Federal Cultural Policy Review Committee, 1980). The text outlined the concerns of the committee and suggested lines of inquiry which it hoped the committee would follow, but failed to acknowledge the political aspect of Canadian cultural concerns. The position paper examines the mandate of Cinema Canada, which is to function as a trade publication as a reflection of Canada's developing cultural identity, in the context of cultural politics, cultural competition, the profitability of culture, and the role of government in cultural industries. Also includes a brief history of the development of Cinema Canada's Cinemag, discusses how the current practises of the Canadian Film Development Corporation serve to reinforce the oppression of Canadian culture, provides statistics regarding Cinemag's advertising revenues from major production companies, and includes excerpts from the film policy address delivered by secretary of State John Roberts on 11 April 1978.

Canada 1102 Canada. Comite d'etude de la politique culturelle federate. Compte rendu de memoires et des audiences publiques. Ottawa, Ont: Gouvernement du Canada. Direction de 1'information, ministere des Communications, 1982. iv, 320 p, fr. Version anglaise: Summary of Briefs and Hearings. Ce compte rendu des memoires et des audiences publiques fait suite a la politique culturelle federale de 1980. II decrit les grandes lignes des enquetes menees par le comite et les processus entames pour realiser cette premiere revue des institutions et des politiques culturelles canadiennes depuis la Comission royale sur 1'avancement des arts, des lettres et des sciences au Canada de 1949-1951. Les chapitres traitent du savoir du patrimoine, des arts visuels, des arts de la scene, de la creation litteraire, de 1'edition, de 1'industrie du cinema et de la radiodiffusion. Le premier chapitre resume les themes principaux des presentations et des memoires recueillis par le comite, en plus de mettre 1'accent sur la domination culturelle du Canada et sur sa tendance a importer une culture etrangere, plus specifiquement la culture americaine. Les pressions economiques exercees par cette domination frappent les activites culturelles les plus couteuses, comme le cinema. Divers groupes et organismes ont donne leurs points de vue sur une politique culturelle pour le Canada, en prenant en consideration le pluralisme, 1'artiste, la jeunesse, les ressources financieres et les agences privees et publiques. Le huitieme chapitre fait enquete sur les aspects monetaires du cinema en tant qu'activite culturelle. On analyse les statistiques economiques, les ressources financieres, les politiques et les mandats des principaux organismes federaux en plus de presenter les commentaires de divers groupes relies au cinema. On examine aussi les depenses deductibles, la rentabilite des productions canadiennes sur le marche local et international et 1'accessibilite des films canadiens a un public local. 1103 Canada. Federal Cultural Policy Review Committee. Report of the Federal Cultural Policy Review Committee. Ottawa, Ont: Government of Canada. Information Services, Dept. of Communications, 1982. 406 p, En. French edition : Rapport du Comite d'etude de la politique culturelle federale. Summarizes the collective efforts of the Federal Cultural Policy Review Committee in reviewing the state of cultural policies for Canada and arriving at formal recommendations for the future. With a strong emphasis on the promotion and preservation of artistic creativity, the report covers in separate chapters cultural policies and the public will; government and culture; the political economy of culture; heritage; contemporary visual and applied arts; the performing arts; writing; publishing and reading; sound recording; film; broadcasting; international cultural relations; and recommendations. The chapter dealing with film examines the structure of the Canadian film industry, Canadian film production, and the Canadian film market. Concludes with recommendations for a new film policy for Canada. 1104 Lyon, S. Daniel; Trebilcock, Michael J. Public Strategy and Motion Pictures: The Choice of Instruments to Promote the Development of the Canadian Film Production Industry. (Discussion Paper Series (Ontario Economic Council)). Toronto, Ont: Ontario Economic Council, 1982. 132 p, 7 ill, bibl, En.

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Analyses the economic role of government in the Canadian film industry, particularly in relation to feature films, and presents private interest policies that develop cultural identity and public interest policies that promote profit productions for the external market. To determine and assess the Canadian government's involvement and economic support, explores the historical development, policy structures, and economic effectiveness of the following government instruments: the National Film Board (NFB) of Canada; the Canadian Film Development Corporation; Canada Council; provincial and municipal programs; the Capital Cost Allowance; and regulations. Concludes that government policy has mostly benefited the private interest sector and recommends developing public interest subsidy policies to support and develop both the cultural and commercial dimensions of an indigenous Canadian feature film industry. 1105 Morin, Marc. Fox prepare une nouvelle offensive. Le Devoir (23 mars 1982) 2. fr. 1106 DOC preparing for June reports. Cinema Canada no 83 (April 1982) 17. En. Francis Fox, head of the federal Department of Communications, intends that his department, in congruence with the Federal Cultural Policy Review Committee, will have the elements of a cultural policy in hand by the summer of 1984. The brief also states Fox's opinion on the problem of independent film distribution within Canada. 1107 CRTC license of First Choice met with surprise, milieu measures implications. Cinema Canada no 83 (April 1982) 3,13. En. Discusses the Canadian Radio-television and Telecommunications Commission's (CRTC) decision to award six Pay-TV licences, two national and four regional. Looks at the CRTC's demand that First Choice create two separate stations in Quebec, and the surprised reaction of Canadian producers to the Pay-TV decision. 1108 Johnson, A. W. Culture, broadcasting, and the Canadian identity. SMPTE Journal 91 no 4 (April 1982) 346-352. En. A segment of the submission to the Federal Cultural Policy Review Committee by the Canadian Broadcasting Corporation (CBC), delivered in March 1981. Details the proposed strategy designed to increase the quantity and quality of Canadian programming, and to develop a broadcasting program which would ensure more Canadian content. Explains how the creation of CBC-2 and Tele-2, non-commercial cable television services, will double the prime time availability of Canadian programming. Lists CBC initiatives, such as their increased commitment to independently produced film, television programs, and video. Defines the CBC's mandate as a highway for cultural expression and an instrument for national policy in relation to the activities of Canada's cultural community. Asserts the centrality of the CBC in the promotion and survival of Canadian culture. 1109 Consultants report ready for Minister. Cinema Canada no 83 (April 1982) 5. En. Mentions the completion of a report studying the possibility of moving the Film Festivals Bureau and the Canadian

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Film Certification Office to the Canadian Film Development Corporation. 1110 New Canada rule gives native talent 1st crack at jobs. Variety 307 (19 May 1982) 2. En. 1111 Minister meets Majors, talks of cooperation and change. Cinema Canada no 85 (June 1982) 3. En. Minister of Communications Francis Fox met with major American film studios in Los Angeles, California, 28 May1 June 1982, preparing the way for anticipated government changes to film policy. 1112 Mortimer moves to federal DOC to write national film policy paper. Cinema Canada no 85 (June 1982) 33. En. Peter Mortimer will head up the team responsible for drafting a new film policy at the Department of Communications in Ottawa, Ontario. 1113 Ad Hoc Committee of Canadian Independent Filmmakers. A brief from the Ad Hoc Committee of Canadian Independent Filmmakers. Cinema Canada no 86 (July 1982) 13. En. A proposal from the Ad Hoc Committee of Canadian Independent Filmmakers to the Canadian government, which was presented to the minister of Communications, Francis Fox, in June 1982. The proposal reminds the government of the cultural necessity of having a strong film community. The committee suggests expanding the mandates and budgets of the Canada Council, the Canadian Film Development Corporation, and the Canadian Radiotelevision and Telecommunications Commission. The committee also suggests that the Canadian Broadcasting Corporation (CBC) create an independent acquisitions department. It is proposed that distribution firms working in Canada must be Canadian owned. 1114 Goodridge to head Council's visual arts. Cinema Canada no 87 (August 1982) En. Announces that Edith Goodridge has been appointed head of the Canada Council's visual arts section effective 20 July 1982. 1115 DOC broadcast policy leaked. Cinema Canada no 87 (August 1982) 3. En. A draft of the Department of Communications' new broadcast policy has been leaked to the Canadian press. 1116 Ad Hoc Committee to gather support during T.O. fest. Cinema Canada no 88 (September 1982) 15. En. Announces the intention by the Ad Hoc Committee of Canadian Independent Filmmakers to conduct a seminar at the 1982 Festival of Festivals in Toronto, Ontario. That occasion will be used as a platform to consolidate support for their brief to the federal government on their future in the Canadian filmmaking industry. 1117 To court to "correct" CRTC. Cinema Canada no 88 (September 1982) 3. En. Examines the notice of appeal filed by Andrew J. Roman, who represents a large section of the film industry against the Canadian Radio-television and Telecommunications

Commission's "Correction of error" to its Pay-TV decision. The contention that the correction amounts to an alteration, and as such, requires an amendment which involves the imput of filmmakers, is outlined. 1118 Valenti to Canada: "Get off the stick on copyright protection." Variety 308 (15 September 1982) 4 (2). En. 1119 CBC / NFB out of production says leaky Applebert [sic] report. Cinema Canada no 89 (October 1982) 3. En. A recommendation contained in the then unpublished Applebaum-Hebert (Federal Cultural Policy Review Committee) report, a federal inquiry into cultural affairs policy, calls for the dis-establishment of the Canadian Broadcasting Corporation (CBC) and the National Film Board (NFB) of Canada as major production centres. 1120 Report urges revamping of NFB—Star. Halifax Chronicle-Herald (30 October 1982) 16. En. 1121 Leaks reveal Minister and Applebaum-Hebert in cultural tussle. Cinema Canada no 90-91 (November-December 1982) 3. En. The Applebaum-Hebert, Federal Cultural Policy Review Committee, established by the Conservative federal government in 1980 to assess the state of Canadian culture, has publicized its final report. Confirming earlier information which had begun to leak to the press beginning in late August 1992, the committee suggests both that Canadian Broadcasting Corporation (CBC) production, with the exception of news, be turned over to the independent production sector, and that the National Film Board (NFB) of Canada should be dismantled and converted into a centre for film research and advanced study. Notes that the 101 recommendations made by the committee are currently being studied by a cabinet committee headed by minister Jack Austin. 1122 Applebaum, Louis; Hebert, Jacques. Towards a Canadian film policy. Cinema Canada no 90-91 (NovemberDecember 1982) 36-41. 7 ill, En. Overview of the historical development of governmental film policy. Focuses on the founding of the National Film Board (NFB) of Canada in 1939, the establishment of the Canadian Film Development Corporation (CFDC) in 1968, and the amendment of federal income tax regulations that created the Capital Cost Allowance for certified feature films in 1975-76. Acknowledges the continued difficulties in producing feature films in Canada and, while rejecting a policy requiring Canadian ownership of cinemas, suggests enlarging the CFDC's role and budget, providing for major economic assistance for Canadian distributors, and transforming the NFB into a research and training centre for film and video production. 1123 Applebaum report suggests graining role for film board. Winnipeg Free Press (13 November 1982) 17. En. 1124 Take ads off CBC, shelve NFB films : Cultural study. Globe and Mail (17 November 1982) 1-2. ill, En. 1125 Applebaum and Hebert report called "laudable but impractical." Globe and Mail (17 November 1982) 15. En.

Canada 1126 NFB filmmakers attack report. Globe and Mail (20 November 1982) E5. En. 1127 Canada's film, TV bosses blast back at new arts report. Variety 309 (24 November 1982) 1 (2). En. 1128 Film, broadcast executives make call for more federal funds in spite of economy's very anemic state. Variety 309 (24 November 1982) 55 (2). En. 1129 Report accused of poor research. Calgary Herald (24 November 1982) HI. ill, En. 1130 Petrowski, Nathalie. Heroux s'explique mal 1'indignation de 1'ONF: le rapport Hebert-Applebaum. Le Devoir (25 novembre 1982) 13. ill, fr. 1131 Czarnecki, Mark; Gray, Malcolm; Greber, Dave; Eisler, Dale; Carlyle-Gordge, Peter; McKay, Shona ; Beirne, Anne ; Clugston, Michael; Joyce, Randolf. A new blueprint for culture. Maclean's 95 no 48 (29 November 1982) 36-40, 42. 5 ill, En. Outlines recommendations contained in the ApplebaumHebert (Federal Cultural Policy Review Committee) report, which provides a detailed analysis of policies in the areas of heritage, contemporary visual and applied arts, performing arts, publishing, sound recording, broadcasting, and film. Unveiled in November 1982, the report insists that the federal government must maintain a noninterventionist funding policy for all cultural agencies, such as the National Film Board (NFB) of Canada, the Canadian Film Development Corporation, and the Canadian Broadcasting Corporation (CBC). Speculates on how the federal government will react to the report's recommendations. 1132 Zerbisias, Antonia. Canada film board faces radical shift: Arts report asks non-feature K.O. Variety 309 (1 December 1982) 7 (2). En. 1133 Applebaum-Hebert and Manitoba. Winnipeg Free Press (4 December 1982) 21. En. 1134 Globerman, Steven. Cultural Regulation in Canada. Montreal, Quebec : Institute for Research on Public Policy / Institut de recherches politiques, 1983. xxxii, 114 p, bibl, En. This study, prepared for the Institute for Research on Public Policy, presents and evaluates arguments for government intervention into cultural activities and the consequences of such intervention. Steven Globerman notes that neither a universally accepted definition of cultural activity nor an inherently quantifiable assessment of the economic extent of cultural activities exists. Chapter 1 reviews the various forms of government intervention into cultural activities, while chapter 2 presents general economic arguments in support of government intervention into market activities. Chapter 3 exposes and evaluates specific arguments suggested for intervention into cultural activities, including the cultural nationalism argument that Canadian content strengthens a national sense of identity, and emphasizes that assumptions that these cultural activities be structured like those in the United States are counter-productive. Explores the con-

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cerns about ill-founded justifications for government intervention into cultural activities and supplies an evaluation of the effects of such intervention, including the effects of the 100 per cent Capital Cost Allowance on filmmaking. Chapter 5 provides a perspective on cultural intervention in Canada, criticisms of cultural policy, choices of strategy, and issues related to implementation. Globerman concludes that the weakness of national cultural policies lies in the fact that they focus on operational considerations rather than on why there is a lack of cultural activity in Canada by Canadians. 1135 Rajotte, Jean. L'abri fiscal du cinema: discussions techniques, financieres et economiques. Maitrise. Sherbrooke, Quebec : Universite de Sherbrooke, 1983. v, 145 p, ill, bibl, fr. Etude portant sur les objectifs de la deduction pour amortissement accelere de la Loi de I'impot sur le revenu. On examine les aspects theoriques mais surtout techniques poses par cette deduction. On determine le rendement moyen d'un investissement dans un film afin de savoir si cette pratique est veritablement rentable comme abri fiscal. Puis, on analyse 1'impact de ces incitatifs fiscaux sur la croissance de 1'industrie du cinema. L'auteur presente les recommandations des organismes publics qui ont fait des etudes dans ce domaine telles que la commission Applebaum-Hebert (Comite d'etude de la politique culturelle federale), la commission Fournier (Commission d'etude sur le cinema et 1'audiovisuel) et la Conference canadienne des arts. Enfin, il semble que cette deduction ait favorise 1'apport de fonds prives dans 1'industrie cinematographique, mais en raison de la mauvaise reputation de cet investissement, la production de films a diminue. Selon 1'auteur, la survie du cinema au Canada ne depend pas entierement de fonds prives mais depend encore des politiques gouvernementales. 1136 Audley, Paul. Canada's Cultural Industries: Broadcasting, Publishing, Records and Film. (Canadian Institute for Economic Policy). Toronto, Ont: J. Lorimer; Canadian Institute for Economic Policy, 1983. xxxi, 346 p, ill, bibl, En. Issued also as a 14-page summary. This report, prepared by Paul Audley of the Canadian Institute for Economic Policy, proposes several changes to federal policy regarding the cultural industries. Notes that the cultural industries are major components of the national economy and decisively influential in cultural, social, and political life. Since the indigenous share of the national markets for books (16 per cent), films (two per cent), recordings (seven per cent), and television drama (four per cent) is low, foreign content dictates the overall structure of each of the cultural industries, particularly film. The links between economic control and propaganda in the film industry are demonstrated, and the effects of the Canadian Film Development Corporation and the Capital Cost Allowance on this structure are analysed. Proposals to strengthen domestic production and distribution emphasize removing any federal assistance for foreign cultural imports, while proposals to alter the incentive structure suggest creating policies to support national cultural industries. 1137 All-star committee to study Applebert's [sic] recommendations. Cinema Canada no 92 (January 1983) 3. En.

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Lists the members of the Austin committee, the ministerial subcommittee on broadcasting and cultural affairs who will look at the Applebaum-Hebert (Federal Cultural Policy Review Committee) report's recommendations. 1138 Applebert [sic] stirs film community: NFB comes out fighting mad. Cinema Canada no 92 (January 1983) 3. En. Film organizations across the country have been meeting and preparing their responses to the Applebaum-Hebert (Federal Cultural Policy Review Committee) report's 101 film policy recommendations. 1139 Roston, John. The sense and nonsense of Applebert [sic] and Fournier: Part I: The logic behind government aid to production. Cinema Canada no 92 (January 1983) 32-35. En. The first of a two-part article (the second part is printed in Cinema Canada 93 (February 1983) 29-30) that addresses the recommendations made with regards to the production and distribution segments of the film and television industry by the Applebaum-Hebert (Federal Cultural Policy Review Committee) report and the Commission d'etude sur le cinema et 1'audiovisuel, or Fournier report. The two reports suggest that product and producer quality should be the prime objective of government intervention in culture, recommend a substantial increase in the Canadian Film Development Corporation's budget so that it may take bolder initiatives in financing Canadian film and video productions on the basis of their cultural value, suggest new mechanisms for the evaluation of quality film and television product, recommend radical changes to the role of the public sector in the film industry, and recommend that such public sector agencies as the Canadian Broadcasting Corporation (CBC), the National Film Board (NFB) of Canada, and Radio-Canada acquire their film and video product from the private sector. 1140 Roston, John. The sense and nonsense of Applebert [sic] and Fournier: Part II: Distribution: The push for Canadian content. Cinema Canada no 93 (February 1983) 2930. En. The second of a two-part article (the first part is printed in Cinema Canada 92 (January 1983) 32-35) that addresses recommendations made with regard to the production and distribution segments of the film and television industry in the Applebaum-Hebert (Federal Cultural Policy Review Committee) report, and the Commission d'etude sur le cinema et 1'audiovisuel, or Fournier report. Discusses those aspects of the reports dealing with continuity of production, taxation and the distribution system, the American domination of the theatrical and television markets, language and Quebec's Bill 109, specialized programming, public sector distribution objectives, the international market, new technologies, video cassettes, paytelevision, and direct broadcast satellites. 1141 Gathercole, Sandra. Refusing the challenge. Canadian Forum 62 (February 1983) 7-9, 36,40. En. An unfavourable response to the 1982 Applebaum-Hebert (Federal Cultural Policy Review Committee) report. Inherent contradictions in the committee's recommendations are revealed regarding American domination of the Canadian film and broadcasting distribution market. Argues that the committee is wrong in recommending

that the market be restructured on the American model of a highly subsidized private sector. Insists that a subsidized public sector is better suited to the small market Canadian situation, and is more likely to create higher quality productions. Defends the National Film Board (NFB) of Canada and the Canadian Broadcasting Corporation (CBC) from charges of irrelevance, and criticizes the outdated information that informed the committee's findings. Concludes that it is illogical to recommend escalating privatization if Canadian quality and cultural distinction are to be maintained. 1142 Gathercole, Sandra. As the grapefruit grows: A short, critical history of Canadian film policy. Cinema Canada no 94 (March 1983) 29-31. 4 ill, En. A history of Canadian film policy, highlighting the formation of the National Film Board (NFB) of Canada in 1939, the formation of the Canadian Film Development Corporation (CFDC) in 1965, the Federal Film Policy proposals of 1972,1975, and 1978, the appearance of the CFDC and the Council of Canadian Filmmakers before the Commons Standing Committee in 1974 to discuss the exhibition and distribution crisis in the Canadian film industry, and the 1976 Tompkins Report on the extent of foreign domination of the industry. Concludes with criticisms of the latest Federal Film Policy proposals released in the ApplebaumHebert (Federal Cultural Policy Review Committee) report. 1143 Ditta, Susan. On film. Fuse 6 no 6 (March-April 1983) 342-345.1 ill, En. A critical analysis of the recommendations proposed by the Applebaum-Hebert (Federal Cultural Policy Review Committee) report regarding film production in Canada. Notes that the report speaks exclusively about Toronto, Ontario based commercial feature film production, therefore ignoring issues affecting independent filmmakers, such as censorship, poor distribution, regional inequalities, and unobtainable grants. Criticizes the report for suggesting industrialization of public sector film production and predicts the end of non-profit, indigenous cultural production without the protection of quotas and levies. Defends the National Film Board (NFB) of Canada from the report's suggestion that it be dissolved, and laments the suggestion to increase support to the Canadian Film Development Corporation. Accuses the report of finding no solution to the problem of securing access to domestic markets for Canadian filmmakers, and of channelling public money into the hands of profit oriented producers. 1144 Fed film policy this month. Cinema Canada no 93 (March 1983) 5. En. The federal Department of Communications' new film policy should be ready for presentation by the end of March. 1145 TV, movie producers applaud federal funds. Toronto Star (2 March 1983) Bl. En. 1146 Brief alleges bias. Winnipeg Free Press (3 March 1983) 25. En. 1147

Leaked task force report urges national cinema law.

Winnipeg Free Press (7 March 1983) 17. En.

Canada

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1148 Zerbisias, Antonia. Canadian study urges U.S. pullback: Sees distributors held to full-owned pix. Variety 310 (16 March 1983) 7 (2). En.

Discusses the programs affected by the decision, and includes reactions from the Canadian producers of the productions.

1149 Video aid urged for CBC, NFB. Calgary Herald (22 March 1983) A14. En.

1156 Reactions to CRTC move. Cinema Canada no 96 (May 1983) 5. En. Comments on the Canadian Radio-television and Telecommunications Commission's April 1983 workshop on Canadian content criteria, examining the split between cultural and industrial issues among the participants.

1150 Creation of government holding company urged. Halifax Chronicle-Herald (22 March 1983) E2. En. 1151 Majors to be limited in distribution. Cinema Canada no 95 (April 1983) 3. En. Summarizes the recommendations by the Department of Communications' distribution task force to adopt a national cinema act, allowing the federal government regulatory jurisdiction in an attempt to foster competition and limit the role of American Major distributors in Canada. 1152 Broadcasting only one aspect of new policies : Film policy in April. Cinema Canada no 95 (April 1983) 3,31. En. The March 1983 release of the federal government's Towards a New National Broadcasting Policy is a 20 page document that serves as a first step rather than as the comprehensive strategy expected. Notes four policy initiatives offered in Francis Fox's speech. 1153 Alive and kicking: A cultural response from Manitoba filmmakers. Cinema Canada no 96 (May 1983) 24-26. 4 ill, En. Written as a response to the recommendations made by the Applebaum-Hebert (Federal Cultural Policy Review Committee) report, this statement, signed by 57 members of Manitoba's filmmaking community, addresses concerns regarding a national cultural policy and summarizes the response of the Manitoban film community to the report. The statement criticizes the report's failure to recognize regional film communities, its misdirected and misinformed evaluation of the problems facing the National Film Board (NFB) of Canada, and its support for a centralist Canadian Broadcasting Corporation (CBC). The statement also praises the Canada Council's film program, the Canadian Film Development Corporation, and the Capital Cost Allowance for their contribution to Manitoban and Canadian film culture, and offers proposals as to how such services may be expanded. Provides a list of award-winning films produced in Manitoba before 1983. 1154 CRTC to tighten Canadian content regs for TV programming. Cinema Canada no 96 (May 1983) 3. En. Notes the Canadian Radio-television and Telecommunications Commission's (CRTC) desire to more clearly define what constitutes Canadian content. Comments on a meeting between television executives and members of the CRTC which occurred during April 1983 and the likelihood of an impending announcement to tighten Canadian content requirements. 1155 Twelve TV productions refused Cdn content. Cinema Canada no 95 (May 1983) 3,12. En. The Canadian Radio-television and Telecommunications Commission has refused to grant at least 12 First Choice Pay-TV productions with Canadian content numbers.

1157 Film policy public in June. Cinema Canada no 96 (May 1983) 9. En. Updates the status of the federal government's film policy, that underlines distribution of theatrical features as the key component to building a viable Canadian film industry. 1158 DOC-CRTC move closer on CanContent. Cinema Canada no 97 (June 1983) 5. En. The Canadian Film Certification Office is supportive of the tightening of Canadian content regulations by the Canadian Radio-television and Telecommunications Commission and will also adopt new, stricter policies. 1159 Film distribution setup to change. Calgary Herald (9 June 1983) HI. En. 1160 Tadros, Connie. Changing the status quo : An interview with Ron Cohen. Cinema Canada no 98 (July-August 1983) 14-15. 2 ill, En. Producer Ron (Ronald I.) Cohen, head of the Task Force on Distribution, is interviewed about recommendations he submitted to the Department of Communications. He discusses the legal, political, and economic ramifications of an anti-combine agreement signed by the major film exhibitors in Canada, who chose to sign the agreement instead of proceed with a hearing conducted by the federal Combines Branch. Analyses the position of Canadian independent distributors, proposing financial assistance. 1161 Cinema et tele: Fox signe deux ententes avec la France. Le Devoir (12 juillet 1983) 12. fr. 1162 Canada minister meets Valenti re distribution policy : Veiled threats. Variety 312 (31 August 1983) 3 (2). En. 1163 Industry reaction mixed. Cinema Canada no 100 (October 1983) 32, 36, 44. En. Industry reaction to the Canadian Radio-television and Telecommunications Commission's new Canadian content point system is in favour of a stricter definition of Canadian content but opposed to the requirement that 75 per cent of co-production budgets be spent in Canada. 1164 CRTC adopts Can-content measures. Cinema Canada no 100 (October 1983) 32-33. En. Outlines the new guidelines and point system for fulfilling Canadian content regulations with the Canadian Radio-television and Telecommunications Commission (CRTC). The CRTC has proposed that to qualify for Canadian content certification, television productions should

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follow the same point system used to certify feature films under the Capital Cost Allowance. Also recommended is a more sharply defined role for Canadian producers of international co-productions. 1165 Valenti lunches with Fox in effort to avoid viral spread. Cinema Canada no 100 (October 1983) 4.1 ill, En. Jack Valenti, director of the Motion Picture Export Association of America, comments on the success of the American film industry on the occasion of his visit to Montreal, Quebec to meet with Francis Fox, the federal minister of Communications. In response to questions about the new film law in Quebec, Valenti emphasized that too many restrictions can stifle an industry and suggested that Quebec may find it reasonable to revise the law. 1166 Tadros, Connie; Tadros, Jean-Pierre. The Canadian domino. Cinema Canada no 100 (October 1983) 5. En. In an editorial, Cinema Canada comments on the reactions of Jack Valenti, director of the Motion Picture Export Association of America, Harold Greenberg, president of Astral Bellevue Pathe, and Francis Fox, the federal minister of Communications, to the new Quebec law regarding independent distribution. Fox, after meeting with Valenti at the World Film Festival in Montreal, Quebec, announced that the purpose of their discussion was to establish a working agenda to improve the Canadian film industry. The editors of Cinema Canada predict that given the upcoming election, the federal government will not confront the major American distributors on the issue of film distribution in Canada. 1167 Room at the top as three honchos step down. Cinema Canada no 101 (November 1983) 31. En. Announces the resignation of Mavor Moore, Canada Council chair since 1979, John Meisel, chair of the Canadian Radio-television and Telecommunications Commission, and Peter Herrndorf, vice-president and general manager of English language television at the Canadian Broadcasting Corporation (CBC). 1168 Ferns, Pat; Nielsen, Richard. Canadian content: A plea. Cinema Canada no 101 (November 1983) 6. En. Pat Ferns, president, and Richard Nielsen, chair, of Primedia Productions in Toronto, Ontario argue that under the new Canadian content regulations, proposed by the Canadian Radio-television and Telecommunications Commission, Canadian producers will find it impossible to function outside Canada except in those countries with whom Canadian co-production agreements have been signed. They recommend that to qualify for equal co-production partnerships at least five points should be recognized and 50 per cent of the monies should be spent on Canadian elements. 1169 Weir, Aileen. Boyle's law: The Canadian third wave according to Harry Boyle. Cinema Canada no 102 (December 1983) 19-21. 2 ill, En. Harry Boyle discusses his observations of the workings of the Canadian Radio-television and Telecommunications Commission during the period he was vice-chair and chair of the commission. From his experience, he does not think public and commercial broadcasting systems can

mix and that the Canadian Broadcasting Corporation (CBC) service should be 100 per cent publicly funded. Commercial broadcasters, he believes, should be given reasons to produce Canadian material instead of regulations which produce imitations of American shows by Canadians. Suggests that both the National Film Board (NFB) of Canada and the CBC should allow for movement among its creative staff to give outsiders a chance at productions and to maintain originality. States that it is difficult to find a truly Canadian film in the stylistic sense because Canadian films are made for exportation and not for a Canadian audience. 1170 Search for genuine consensus about Canadian definition. Cinema Canada no 102 (December 1983) 30. En. The Canadian Radio-television and Telecommunications Commission is expected to give public notice that the release of its Canadian content regulations for television programming will be postponed from 3 January 1984 until 1 April 1984. 1171 Discretionary hearings in January: Universal pay on hold. Cinema Canada no 102 (December 1983) 31. En. Announces that the Canadian Radio-television and Telecommunications Commission will hold a public hearing in Hull, Quebec on 24 January 1984 to consider applications for licences to operate networks for the distribution of Canadian speciality programming services on a national discretionary basis. 1172 Artists netted by Revenue in search for shadow businesses. Cinema Canada no 102 (December 1983) 36. En. Reports on the moratorium of Revenue Canada's reclassification of the employment status of artists for tax purposes which is expected to be presented before the House of Commons. 1173 Culture agencies' revolving doors. Cinema Canada no 102 (December 1983) 41. En. Announces that Andre Bureau has been appointed chair of the Canadian Radio-television and Telecommunications Commission. 1174 Canada. Dept. of Communications. The National Film and Video Policy. Ottawa, Ont: Minister of Supply and Services Canada, 1984. 43 p, En. French edition : La Politique nationale du film et de la video. This report, prepared in May 1984 by Francis Fox, minister of Communications, outlines the federal government's National Film and Video Policy to promote the economic and cultural potential of Canada's film and video industry and to strengthen the complementary roles of the public and private sectors. Describes the fundamental objective of the policy to make available to all Canadians "in the new environment of the 1980s and 1990s, a solid core of attractive high-quality Canadian film and video productions of all kinds" through a "public sector thrust intended to assure a more focussed and more effective cultural and social role for the public sector, and in particular, the National Film Board" and "a private sector thrust intended to assure the economic development of a strong private Canadian film and video industry." Announces the reorganization of the National Film Board (NFB) of

Canada Canada as a crown corporation in compliance with the National Film Act and reviews objectives to strengthen the quality and commercial viability of production, increase support for promotion and marketing, reaffirm a lead role for Telefilm Canada, build long term competitive capabilities, and gain access to domestic and foreign screens. 1175 Canada. Ministere des Communications. La Politique nationale du film et de la video. Ottawa, Ont: ministere des Communications, 1984. 44 p, fr. Version anglaise: The National Film and Video Policy. Dans ce rapport prepare en mai 1984 par Francis Fox, alors ministre des Communications, on decrit la politique federate sur le film et la video qui vise a promouvoir le potentiel economique et culturel de 1'industrie cinematographique du Canada et a raffermir les roles complementaires des secteurs publics et p rives. Le but fondamental de cette politique est d'offrir a tous les Canadiens un vaste choix de productions cinematographiques canadiennes de haute qualite. Un meilleur engagement du secteur public assurera un role social et culturel plus efficace et plus centralise, surtout en ce qui concerne 1'Office national du film (ONF) du Canada. D'un autre cote, le secteur prive assurera le developpement economique d'une puissante industrie cinematographique privee. De meme, le ministre annonce que 1'ONF sera desormais une entreprise de la Couronne, conformement a la Loi nationale sur le cinema. Fox a aussi devoile les objectifs pour consolider la qualite et la viabilite commerciale de la production, augmenter le soutien a la promotion et a la commercialisation, reaffirmer le role influent de Telefilm Canada, batir des aptitudes de competitivite a long terme et acceder aux ecrans nationaux et internationaux. 1176 Despite growth in cultural industries, situation deteriorating. Cinema Canada no 103 (January 1984) 32. En. Broad synopsis of minister of Communications Francis Fox's brief, "Culture and communication : Key elements of Canada's economic future." One problem is that there is an increasing number of distribution media available for cultural products, but not enough Canadian product to fill it; therefore, American cultural imports to Canada have increased. The report also suggests that culture be divided into two broad categories: non-commercial, which cannot support itself; and commercial, which constitutes a business venture like any other. 1177 Cultural initiatives in throne speech. Cinema Canada no 103 Qanuary 1984) 40. En. Three paragraphs of a throne speech read by governorgeneral Edward Schreyer on 7 December 1983 concerned Canadian culture. It promised higher Canadian content requirements in a national broadcasting policy, a new film policy, policies for video and sound recordings, and revisions to Canadian telecommunications law and the Copyright Act. 1178 Bureau reaffirms CRTC's pay intentions. Cinema Canada no 104 (February 1984) 22. En. A statement from Andre Bureau, recently appointed chair of the Canadian Radio-television and Telecommunications Commission, reaffirms his commitment to impose

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minimal regulatory restrictions on Pay-TV licensees as long as they provide a distinctly Canadian service. 1179 Bureau takes firm hold at CRTC. Cinema Canada no 104 (February 1984) 24. En. Profiles Andre Bureau, the new chair of the Canadian Radio-television and Telecommunications Commission. 1180 Fox tables omnibus legislation for broadcasting/ film. Cinema Canada no 105 (March 1984) 23. En. Outlines and discusses a proposed legislation, tabled by minister of Communications Francis Fox, which gives the federal Cabinet power to issue policy directives to the Canadian Radio-television and Telecommunications Commission on any matter under its jurisdiction, except with regard to the insurance or renewal of a particular broadcasting licence. It also requires the Canadian Broadcasting Corporation (CBC) to become a "distinctive" service in a balanced and comprehensive Canadian broadcasting system, and changes the mandate of the Canadian Film Development Corporation to include video. 1181 Canada Council funds for six films. Halifax ChronicleHerald (21 March 1984) El. En. 1182 Ballantyne-Tree, Tanya. The struggle for Canadian content. Cinema Canada no 106 (April 1984) 13-17. 3 ill, En. Traces the history of the Canadian government's regulation of the airwaves, and its promotion of distinctly Canadian programming since the 1920s, up to the Canadian Radio-television and Telecommunications Commission's (CRTC) recently announced policy on Canadian content. Outlines the CRTC's ten-point Canadian program definition. Explains that Canadian content has been encouraged by improving the tax shelter benefits of investing in Canadian feature films, and by increasing the percentage of Canadian content on the Canadian Broadcasting Corporation (CBC). Inserts reproduce the CRTC's Canadian program definition and gives a history of film tax shelters in Canada. 1183 CRTC adopts Canadian definition. Cinema Canada no 106 (April 1984) 24. En. The Canadian Radio-television and Telecommunications Commission has issued new guidelines for the definition of Canadian content in programming. The definiton requires that a production have a Canadian producer; earn six points on its point system for key creative personnel, including at least one Canadian lead actor and either a Canadian writer or director; 75 per cent renumeration, other than to producer and key personnel, must be paid to Canadians ; and 75 per cent of processing and final preparation costs must be paid in Canada. Co-productions with countries with whom Canada has a film or television treaty need only have five points and 50 per cent total renumeration, though one lead actor and either the writer or director must be Canadian. A broadcast series of two or more programs, and co-production packages of two or more films where minor Canadian involvement in one film is compensated by major Canadian involvement in the next, may fall below requirements of the point system. Licencee requirements for broadcast content are also outlined.

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Film and Government / Cinema et gouvernement

1184 "No surprises" in CRTC. Cinema Canada no 106 (April 1984) 25. En. The Canadian Radio-television and Telecommunications Commission (CRTC) has received generally favourable industry response to its amendments to Canadian content regulations. Senior CRTC broadcast policy and industry conditions adviser Ralph Hart notes that because there was a relative industry concensus on the issues, the amendments held no surprises for producers and the positive responses were expected. The amendments propose stricter Canadian content requirements for producers, particularly American, wanting the benefit of Canada's Broadcast Fund and increasing television licencing fees. 1185 Toronto generally happy with CRTC. Cinema Canada no 106 (April 1984) 26. En. Toronto, Ontario based television producers have responded favourably to the Canadian Radio-television and Telecommunications Commission's (CRTC) revised Canadian content rules, released 2 March 1984. The amendments incorporated many of the recommendations proposed by the Canadian Film and Television Association at the CTRC's Canadian content industry workshop on 19 December 1983. Independent producers criticize the rules that allow averaging content over several productions which discriminates against new producers breaking into the field. 1186 Bureau spells out CRTC aims. Cinema Canada no 106 (April 1984) 42. En. Canadian Radio-television and Telecommunications Commission (CRTC) chair Andre Bureau's first public address announced the CRTC's renewed emphasis on five key points : the financial viability of new services ; a shift from regulation to a "supervisory" role ; greater flexibility in the face of industry conditions ; long-term planning by the industry; and greater attention to Canadian cultural concerns. Bureau noted the pay-television industry's voluntary guidelines for programming standards and practises as an example of self-regulation under CRTC supervision. 1187 "Go easy" on Cancon for Americans. Cinema Canada no 107 (May 1984) 28. En. The newly formed Association of Canadian Film and Television Producers filed an intervention on 30 March 1984 with the Canadian Radio-television and Telecommunications Commission (CRTC) concerning the CRTC's recent Canadian content guidelines. The association believes that co-ventures undertaken between Canadian and U.S. producers should fall under the new regulations defining Canadian content in Canadian-European co-ventures, and suggests that spending, and talent funding requirements, be adjusted to Canadian involvement. The CRTC's policy on dubbing provisions and the wording of its policy are also discussed. 1188 Adilman, Sid. U.S. distributors are the winners in Canada's new federal pic policy, dominance continuing. Variety 315 (23 May 1984) 5 (2). En. 1189 Major new policy on movies, NFB expected from Fox. Winnipeg Free Press (29 May 1984) 29. En.

1190 Film policy to sweep industry. Calgary Herald (29 May 1984) Dl. En. 1191 New federal film policy brings mixed reaction. Calgary Herald (30 May 1984) Dl. En. 1192 New federal film policy may have come too late. Calgary Herald (31 May 1984) Dl. En. 1193 Film policy draws mixed reaction. Halifax ChronicleHerald (31 May 1984) E2. En. 1194 Film policy puts faith in private sector, Majors. Cinema Canada no 108 (June 1984) 22. En. Minister of Communications Francis Fox announced a new National Film and Video Policy on 29 May 1984. Discussed are the policy's three parts that include a reorientation of the National Film Board (NFB) of Canada, making it a crown corporation ; an increase in the budget of Telefilm Canada, allowing it to support script development and bridge financing; the development of promotional and marketing divisions ; and the creation of a more cordial relationship with the American Majors. Fox feels the negotiations with the Majors will go well because he is in a position to impose quotas, taxes, and levies on the American Majors if they do not cooperate. 1195 White paper for modern copyright. Cinema Canada no 108 (June 1984) 35. En. Communications minister Francis Fox and Consumer and Corporate Affairs minister Judy Erola unveiled the federal government's proposals for the revision of the Copyright Act on 2 May 1984. The highlights, of the bill which take into consideration the development of new technology since the 1924 Act was established, are outlined. 1196 Department of Communications Film Policy could strengthen television industry. Broadcaster 43 no 6 (June 1984) 9. En. 1197 Canadian film policy: Fox is all talk and no action. Vancouver Sun (2 June 1984) D8. En. 1198 Carrots might lure movie-makers. Globe and Mail (4 June 1984) 7. En. 1199 Canadian film quotas are a crazy idea. Winnipeg Free Press (8 June 1984) 7. En. 1200 Ottawa's motives mixed. Calgary Herald (8 June 1984) C6. En. 1201 Law puts video vendors in risky business. Vancouver Sun (9 June 1984) A3. En. 1202 Fox outlines terms for federal assistance for film, TV centre. Winnipeg Free Press (12 June 1984) 39. En. 1203 Fox's plans for Canadian film distribution attacked. Winnipeg Free Press (27 June 1984) 26. En. 1204 Klady, Len. Canadian government, Manitoba create

Canada $21-mil communications fund. Variety 315 (27 June 1984) 47. En. 1205 Federal policy will kill film industry: Distributors. Montreal Gazette (27 June 1984) A6. En. 1206 Fox's plan for films attacked. Calgary Herald (27 June 1984) F10. En. 1207 Ottawa's film policy under fire. Globe and Mail (27 June 1984) Mil. En. 1208 Godbout, Jacques. Francis Fox's silent film policy. Cinema Canada no 109 (July-August 1984) 21. En. Charges that Canadian government film and television policy is modeled along financial and industrial rather than cultural lines. Compares the government's expectations of creating a viable film and television industry, based on its faith in technology, with the Canada-United States auto pact, and predicts a similar subordination of Canadian interests. Laments the effect of this stance on the National Film Board (NFB) of Canada and the Canadian Broadcasting Corporation (CBC). 1209 Canadians get tough as Telefilm Fund cash adds to credibility: New energies, new formulas for the NFB as streamlining begins. Cinema Canada no 109 (July-August 1984) 26-28. En. Interviews with Andre Lamy, head of Telefilm Canada and Francois Macerola, head of the National Film Board (NFB) of Canada, who discuss their response to the National Film and Video Policy and the kind of restructuring it will involve in the federal agencies. Both express satisfaction with the new clearly defined roles and increased funds for their respective organizations. 1210 CRTC downplays fears over Montebello Cancon meeting. Cinema Canada no 109 (July-August 1984) 28,36. En. Jean-Pierre Mongeau, a commissioner with the Canadian Radio-television and Telecommunications Commission (CRTC), downplays concerns among francophone broadcasters that a meeting of English producers and the CRTC will develop a new Canadian content policy, creating two definitions of Canadian content based on language. 1211 For the record, the text of the National Film and Video Policy. Cinema Canada no 109 (July-August 1984) 4245. En. Reproduces the official summary of the National Film and Video Policy released by the minister of Communications Francis Fox on 29 May 1984. The summary addresses such aspects of the policy as strategic objective, public sector thrust, the National Film Board (NFB) of Canada, private sector thrusts, the possibility of a new national film act, Canadian production, promotion and marketing of Canadian productions, Telefilm Canada, the competition capabilities of Canadian productions, and screen accessibility.

145

Responds to the federal government's new National Film and Video Policy and assesses its potential effect on Canadian film culture. Argues that while the policy may adequately address industrial development in the industry, it does little to protect or promote Canadian culture. Suggests that the role of nurturing Canadian film and television artists will be left to institutions such as the National Film Board (NFB) of Canada and the Festival of Festivals in Toronto, Ontario. 1214 Hunter, Lawson. On the record : Canadian content: The bottom line or better (culturally) dead than (financially) red. Cinema Canada no 110 (September 1984) 32. En. Provides highlights from Lawson Hunter's 24 July 1984 presentation of recommendations to the Canadian Radiotelevision and Telecommunications Commission. Hunter, the director of the Combines Investigation and Research Branch of the Bureau of Competition Policy, Department of Consumer and Corporate Affairs, proposed revisions to the Canadian content formula for Pay-TV in order to retain the current competitive structure of the industry. 1215 Industry unanimous in rejecting distribution policy. Cinema Canada no 110 (September 1984) 33, 35. En. In Toronto, Ontario and Montreal, Quebec on 27 June 1984, Canadian distributors held press conferences to demand that the National Film and Video Policy be amended to require that all films in which government agencies invest be distributed in Canada by Canadian companies. 1216 "Unthinkable and inexcusable" state distributors in open letter. Cinema Canada no 110 (September 1984) 35. En. Publication of an open letter written to former minister of Communications Francis Fox by the Association of Independent and Canadian-Owned Motion Picture Distributors and the Association quebecoise des distributeurs et exportateurs de films, that expresses a negative reaction to the National Film and Video Policy. The letter focuses on the private sector thrust proposal of the policy, which the association believes will only result in a stronger presence of the American film industry in Canada. 1217 Lantos, Robert; Malo, Rene; Shandel, Tom; Roth, Millard; Spencer, Michael; Christoof, George; Simpson, Peter; Emilio, Andy; Stein, Allen; Link, Andre ; Darcus, Jack ; Westwell, Jim; Loewy, Victor. Random cross-country sample of opinions on Film and Video Policy. Cinema Canada no 110 (September 1984) 37-39. En. Comments from members of the Canadian film community on the recently introduced National Film and Video Policy.

1212 Canada's federal film policy incites wrath of independent distributors. Variety 315 (11 July 1984) 5 (2). En.

1218 Universal welcomes informative discussions. Cinema Canada no 110 (September 1984) 41. En. William Soady, president of distribution for Universal Pictures, comments favourably on the discussions between the Canadian Motion Picture Distributors Association and the government of Canada, initiated by the National Film and Video Policy.

1213 Harcourt, Peter. Canadian features. Canadian Forum 64 (August-September 1984) 48-49.1 ill, En.

1219 CRTC tries new forms of consultation, creates new problems. Cinema Canada no 110 (September 1984) 43. En.

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Problems and suspicions have arisen over the Canadian Radio-television and Telecommunications Commission's two recent brainstorming sessions on the Canadian content issue which were closed to many members of the film, television, and broadcasting community, most notably francophones. 1220 Harris, Lesley E. The May white paper: Proposed copyright changes favour film industry. Cinema Canada no 111 (October 1984) 26-29. En. Outlines the federal government's proposals for revisions of the copyright law, as stated in From Gutenberg to Telidon : A white paper on copyright; Proposals for the revision of the Canadian Copyright Act (1984), which will increase protection for films and filmmakers. States that the primary change involves the naming of cinematographic works as a category separate from literary, dramatic, musical, and artistic works. Compares and contrasts the existing copyright law with that which would result from the proposed changes. 1221 Conservatives reveal policies. Cinema Canada no 111 (October 1984) 42. En. Outlines the policy statement made by Progressive Conservative Party members David Crombie and John Bosley to a Toronto, Ontario, audience on 22 August 1984. 1222 Pay-TV nets establish monopolies. Cinema Canada no 111 (October 1984) 42. En. Discusses a recent decision by the Canadian Radio-television and Telecommunications Commission to allow the restructuring of English language Pay-TV service so that First Choice will serve Eastern Canada and Allarcom will provide Western Canada service. Cites the changes necessary due to recent losses of more than $40 million and the introduction of specialty services. 1223 Conservative promise better deal for the arts, return of tax shelter. Cinema Canada no 111 (October 1984) 45. En. Reproduces the text of a speech given by David Crombie to an invitation only cultural community gathering in Toronto, Ontario, which outlines Conservative Party policy on culture. The speech specifically addressed film and television policies, private broadcasters, distribution, the Capital Cost Allowance, and the National Film Board (NFB) of Canada. 1224 Money for Canadian movies? Masse plays it safe. Vancouver Sun (19 October 1984) B8. En. 1225 Conservatives take bite out of culture. Cinema Canada no 113 (November 1984) 36. En. Reports that after pre-election promises, the Conservative Party's spending cuts on cultural programs appears to be more than double the level of cut-backs in noncultural programs. 1226 Base CanCon on performance. Cinema Canada no 113 (December 1984) 36. En. Notes requests from the government of Ontario to the Canadian Radio-television and Telecommunications Commission to change Canadian content regulations for

private television broadcasters, specifically regarding daytime television programming. 1227 Bergman, Michael. Legal Eye. Cinema Canada no 113 (December 1984) 58. En. Emphasizes the importance of well drafted contracts with specific reference to the needs and situations particular to the entertainment industry, and shows how tightly written contracts work to prevent both confusion and litigation. 1228 Canada. Canada Film Industry Task Force / Canada. Canada Groupe de travail sur 1'industrie cinematogaphique. Canadian Cinema: A Solid Base; Report of the Film Industry Task Force / Le cinema au Canada: sur un bon pied; rapport du Groupe de travail sur 1'industrie cinematographique. Co-chairs: Marie-Jose Raymond and Stephen Roth. Ottawa, Ont: Government of Canada, 1985. 56; 62 p, bibl, En, fr. This report presented by the Film Industry Task Force in November 1985 analyses the structural problems of production, distribution, and exhibition of Canada's film industry and makes recommendations. In looking at the conditions of foreign control of Canada's domestic distribution, the task force suggests that government legislate that all films and videos for Canada be distributed by Canadian companies. In studying the American domination of distribution, and Canada's limited production market, they also recommend that the government support private sector capitalization with tax shelter incentives, create a Canadian feature film fund, and promote export distribution. To undo the history of American control of Canada's distribution and exhibition market the report demands that government limit vertical integration by American Majors. The concluding statements stress that these recommendations require simultaneous attention to effectively create a healthy infrastructure upon which to develop Canada's film industry. Dans ce rapport presente en novembre 1985 par le Groupe de travail sur 1'industrie cinematographique, on analyse les faiblesses structurelles de 1'industrie cinematographique canadienne au niveau de sa production, de sa distribution et de son exploitation commerciale. En fait, on identifie trois problemes structurels majeurs : la domination etrangere sur le plan de la distribution des films et videos au Canada, la sous-capitalisation chronique des entreprises de production et les difficultes de financement des longs metrages et, enfin, la concentration de propriete des salles et 1'integration verticale distribution-exploitation qui amenent une reduction de la concurrence dans le marche de 1'industrie cinematographique canadienne. Le Groupe de travail recommande, en premier lieu, que la distribution des films et des videos destines a tous les marches canadiens soit assuree par des entreprises canadiennes. Le Groupe demande, par ailleurs, au gouvernement de creer des incitatifs fiscaux qui favoriseraient 1'investissement dans les entreprises canadiennes de production, de distribution et d'exploitation, de mettre sur pied un fonds de financement pour les longs metrages canadiens et, enfin, de prendre des mesures necessaires pour stimuler la competition dans les activites de 1'axe distribution-exploitation. Selon le Groupe de travail, ces recommandations devraient permettre une regeneration de 1'infrastruture de 1'industrie cinematographique canadienne qui la rendrait plus saine et dynamique.

Canada 1229 Pratley, Gerald. Canada. International Film Guide (1985) 88-105.14 ill, En. Analyses the federal film policy announced by the minister of Communications in 1984. Argues that the policy does nothing to correct American control of film distribution in Canada, nor does it address the problem of casting agents ignoring Canadian actors in favour of American movie stars. Criticizes the government for not enforcing regulations that ensure Canadian content in films. Suggests that the Ontario provincial government should assist their filmmakers as enthusiastically as the Quebec government does, rather than inducing American producers to film in Canada. Lists films from the National Film Board (NFB) of Canada that have received Academy Awards, and names projects recently released from the NFB, such as Paul Cowan's Democracy on Trial: The Morgentaler Affair (1984), Gail Singer's Abortion : Stories from North and South (1984), Margaret Westcott's Behind the Veil: Nuns (1984), and Giles Walker and John Smith's The Masculine Mystique (1984), among others. Provides an extensive list of documentaries by independent filmmakers. Discusses the merits of David Petrie's The Bay Boy (1984), Mort Ransen's Bayo (1985), Lea Pool's La Femme de I'hotel (1984), Andre Melancpn's The Dog Who Stopped the War (1984), Ted Kotcheff's Joshua Then and Now (1985), Jean Beaudin's Mario (1984), Charles Wilkinson's My Kind of Town (1984), Atom Egoyan's Next of Kin (1984), Lewis Furey's Night Magic (1985), Micheline Lanctot's Sonatine (1984), and Tom Shandal's Walls (1984). 1230 Masse meets with Majors. Cinema Canada no 114 January 1985) 27. En. Notes that the recently appointed federal minister of Communications, Marcel Masse has met with representatives of the American Majors to continue negotiations of a new distribution policy, initiated by the previous minister Francis Fox. 1231 Arts agencies trim back after budget cuts. Cinema Canada no 114 (January 1985) 31. En. Announces that as of 6 December 1984 the Canada Council has had its budget cut by $1 million, resulting in the lay-off of 12 employees and the cancellation of some services. 1232 Bergman, Michael. The past meets the future. Cinema Canada no 114 (January 1985) 34-35. En. Examines the legal problems resulting from increasing consumer access to audiovisual technologies such as home video, satellites and computer programs. Addresses copyright, obscenity, and piracy regulations written during the ninteenth century and calls upon Canadians to lobby for new legislation that anticipates the constant creation of new technologies and the internationalization of media use. 1233 Black, Peter. Canadian communications policy and the new technology. Cinema Canada no 115 (February 1985) 14-15.1 ill, En. Examines the fate of a national communications policy in the age of ever changing telecommunications technology. 1234 Masse and Cote on copyright changes. Cinema Canada no 116 (March 1985) 39. En.

147

Minister of Communications Marcel Masse, in collaboration with the minister of Consumer and Corporate Affairs Michel Cote, recently tabled the previous federal government's white paper on revisions to the Copyright Act with the Parliamentary Committee on Communications and Culture. 1235 Magder, Ted. A "featureless" film policy: Culture and the Canadian state. Studies in Political Economy no 16 (Spring 1985) 81-109. bibl, En. This article is a substantially revised version of a master's research paper completed in September 1983 entitled Culture and the Canadian state: The production of feature films and Canadian public policy. Ottawa, Ont: Carleton University, 1983. Discusses the Canadian state and its cultural policy in an attempt to situate cultural policy as a manifestation of the specific historical and developmental characteristics of Canadian society. Uses the feature film sector of cultural production as the focus of analysis because it represents a highly capitalized cultural industry, it provides a clear example of foreign domination of a Canadian cultural field, and it has recently been subject to a "Canadianizing" policy initiative. Examines the changing nature of the state's role in cultural production and how such changes affect Canadian national identity by critiquing the theoretical postions of Bernard Ostry, Susan Crean, and Dallas Smythe with regard to the relationship between culture and the state. Surveys specific trends in the Canadian feature film industry, especially American domination of the Canadian market and the complicity of the Canadian state in this process, and the creation of state-sponsored film organizations such as the National Film Board (NFB) of Canada. Also considers the cultural implications of the Canadian Cooperation Project in the 1940s, the MasseyLevesque (Royal Commission on National Development in the Arts, Letters and Sciences) report in 1951, the formation of the Canadian Film Development Corporation in 1969, the 1974 restructuring of the Capital Cost Allowance mechanism of tax depreciation with regard to feature film investment, the report of the Applebaum-Hebert (Federal Cultural Policy Review Committee) report in 1982, and the state's response to this review in the National Film and Video Policy published in May 1984. Concludes that the concept of a national culture can only be specified as a manifestation of particular relations of social domination, and that the social contradictions of culture are issues related to social struggle. 1236 Film Commissions: Canada. Millimeter 13 no 4 (April 1985) 192-193. En. Compares services offered by the provincial film commission offices across Canada. 1237 Bergman, Michael. Collecting on wooden nickels. Cinema Canada no 117 (April 1985) 30. En. Examines the legal avenues open to filmmakers who have not received payment for services rendered. Outlines possible actions in a variety of circumstances, including bankruptcy, and court action and its alternatives. 1238 Allison, Kathryn. The legitimization of culture. Reel West 1 no 1 (April-May 1985) 6,9-10.1 ill, En. 1239 Trois leviers economiques. Quifait quoi? 2 no 4 (mai 1985) 18-19. fr.

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1240 Tadros, Jean-Pierre; Dorland, Michael. For the good of the system: The quiet counter-revolution of Marcel Masse. Cinema Canada no 118 (May 1985) 6-10. 5 ill, En. An interview with minister of Communications Marcel Masse, who discusses the effect of federal government policy decisions on Canadian cultural industries. Masse views the promotion of the Canadian identity through the medium of film as a combination of artistic expression and the consumption of product, and contends Canadian film industry must become more commercially viable in order to justify the expense of government subsidies to the taxpayer. Though Masse does not clearly explicate the direction the federal government will take in promoting Canadian film, he personally expresses his support for giving more control over the funding and content of films to the provinces. Regarding the issue of free trade, Masse argues that the influx of American films is not a hindrance to Canada's film industry, but rather large audience consumption of American product reflects public demand. Also includes an addendum entitled "The policy so far," that provides a summary of recent policy proposals currently under consideration by Communications Canada. 1241 Cultural Initiatives becomes permanent program. Cinema Canada no 119 (June 1985) 34. En. On 15 May 1985 federal minister of Communications Marcel Masse announced the permanent establishment of the Cultural Initiatives Program, that will provide financial assistance to Canadian non-profit cultural organizations. 1242 Canadians, seeking more screen time in U.S., hint trade quotas. Variety 319 (19 June 1985) 3 (2). En. 1243 Masse in L.A. sends message to Majors. Cinema Canada no 120-121 (July-August 1985) 43. En. Federal minister of Communications Marcel Masse delivered a speech in Los Angeles, California, on 17 June 1985 which was aimed at major Amercian film studios. Masse expressed concerns over inadequate commercial distribution of Canadian films and stressed that the Canadian government may take a more active role in regulating and protecting the Canadian film market. 1244 Reactions to minister's speech. Cinema Canada no 120-121 (July-August 1985) 43, 53. En. Reports on the mixed reactions of film industry related organizations in Canada to federal minister of Communications Marcel Masse's 17 June 1985 speech to American film studio representatives in Los Angeles, California, regarding distribution of Canadian films in the United States. 1245 Film, TV projects given $43m. Winnipeg Free Press (29 August 1985) 36. En. 1246 Bergman, Michael. Towards a new film policy for Canada. Cinema Canada no 122 (September 1985) 22-23. En. Argues, in light of the federal government's re-evaluation of its broadcast policy, that a similar re-evalution of the federal film policy is necessary. Suggests, emphasizing the need for increased investment in the film industry by the private sector, that the government shift its focus from the

financing of the single film budgets of established production companies to providing incentives to encourage private sector investment. Such incentives may be achieved through tax-sheltering investment money paid directly into the treasury of a company in return for common or preferred shares, increasing research and development funding for production companies, and increasing funding for a production company's promotional and marketing strategies. Also outlines policy changes that would benefit new and non-commercial film producers. 1247 Producers' associations present views to Broadcast Task Force. Cinema Canada no 122 (September 1985) 50. En. The Canadian Film and Television Association and the Association of Canadian Film and Television Producers presented briefs to the Caplan-Sauvageau Task Force on Broadcasting Policy, which addressed the future of Canadian broadcasting and the role of the private sector in the film and television industry. Outlines some of the issues raised in the briefs. 1248 Porteous' reported ouster gives director chance to state case. Cinema Canada no 122 (September 1985) 54,70. En. Reprints the text of Canada Council director Timothy Porteous's statement to the press on 2 July 1985 in which he announced that he is to be fired by the federal government and that the policy of arm's length arts funding in Canada is threatened. Includes recommendations to the government and arts community for maintaining a profound cultural industry in Canada. 1249 Bergman, Michael. Contract advice to avoid trouble. Cinema Canada no 122 (September 1985) 56. En. Outlines points often overlooked in form contracts and deal memos signed between members of the film community and film producers. 1250 CRTC applauds Canadian content. Cinema Canada no 122 (September 1985) 68. En. Discusses recent Canadian Radio-television and Telecommunications Commission licencing decisions that reveal private sector support for the advancement of Canadian culture and talent. 1251 NDP announces arts and culture policy. Cinema Canada no 122 (September 1985) 70. En. The federal New Democratic Party has produced a new policy for arts and culture in Canada. The policy was adopted at the party's national convention during the weekend of 1 July 1985. Outlines the key points of the policy. 1252 Task force on movies deployed by Masse. Toronto Star (5 September 1985) Cl. En. 1253 Task force on film distribution being set up. Globe and Mail (5 September 1985) E6. En. 1254 Film industry study group's subject. Halifax ChronicleHerald (6 September 1985) 50. En. 1255 Film study group appointed. Montreal Gazette (6 September 1985) Cl. En.

Canada 1256 Task force to eye current film policy. Calgary Herald (6 September 1985) Fl. En. 1257 Canadian film industry to be studied. Vancouver Sun (7 September 1985) D12. En. 1258 Adilman, Sid. Masse forms film task force to rejuvenate Canadian production: Urges Majors to ease their grip. Variety 320 (11 September 1985) 3 (2). En. 1259 Fox urges Quebec to defend film rules. Winnipeg Free Press (16 September 1985) 13. En. 1260 Hollywood studios told to share wealth or face legislation. Toronto Star (19 September 1985) H3. ill, En. 1261 Cadrin-Rossignol, lolande. Memoire presente a la commission Sauvageau-Caplan, le 5 septembre 1985, par 1'Association des realisateurs et des realisatrices de films du Quebec. Quifait quoi? 2 no 9 (octobre 1985) 14-15.1 ill, fr. Extrait du memoire de 1'Association des realisateurs et realisatrices de films du Quebec depose lors des audiences publiques du Groupe de travail Caplan-Sauvageau sur la politique de la telediffusion, tenues a Montreal (Quebec) le 5 septembre 1985. Le memoire de 1'Association definit sa position quant a la conception du ministere des Communications du Canada sur la cinematographic nationale. 1262 DOC integrates in reorganization. Cinema Canada no 123 (October 1985) 66. En. Marcel Masse, the federal minister of Communications, has announced a reorganization of the structure of the Department of Communications in order to improve the integration of departmental activities and to consolidate the provision of advice to the minister concerning such crown corporations as Telefilm Canada, the Canadian Radio-television and Telecommunications Commission, and the Canadian Broadcasting Corporation (CBC). 1263 Bergman, Michael. Legal Eye. Cinema Canada no 145 (October 1985) 70-71. En. Discusses the increasing usage of arbitration in the settlement of legal disputes including those occurring in the film industry. The advantages of this process and its manner of implementation as well as enforcement are briefly detailed. 1264 French production cheap. Cinema Canada no 124 (November 1985) 33-34. En. Analyses Telefilm Canada's financial document, After Two Years, discovering a disparity in funding between French and English language projects. Looks at various sectors of the filmmaking industry and finds higher grants per project to English language productions. Notes the attempt by the National Film Board (NFB) of Canada to balance the situation by becoming more actively involved in French language dramatic production. 1265 Bouchard holding own at DOC. Cinema Canada no 124 (November 1985) 38. En. Secretary of State Benoit Bouchard will act as interim min-

149

ister of Communications following Marcel Masse's resignation from that position. Former minister of Communications Masse is currently under investigation by the Royal Canadian Mounted Police for alleged illegalities in campaign spending. 1266 Feature film task force results Nov. 1. Cinema Canada no 124 (November 1985) 39. En. The Canadian cinema industry task force will submit recommendations to the minister of Communications on 1 November 1985 regarding the future direction of the Canadian film industry. Lists the members of the task force. 1267 Bergman, Michael. Foreigners on Canadian shoots. Cinema Canada no 124 (November 1985) 48. En. Considers various legal aspects associated with foreigners participating in Canadian film production, focussing on the effects of the Canadian immigration policy and Canadian Content regulations on film producers hiring foreigners for Canadian productions. 1268 Bergman, Michael. The impact of free-trade on Canadian cultural industries. Cinema Canada no 124 (November 1985) 8-9. En. Argues that the dynamics of economic integration that would result from a free trade agreement would prevent the continued protection of Canadian cultural industries. States that Canada is still addressing the issues of national unity and cultural identity, which cannot be separated from the economic aspects of a free trade agreement. Predicts that a free trade agreement will result in American cultural hegemony in North America, and concludes that Canadian cultural industries must lobby the federal government to ensure their protection in free trade negotiations. 1269 Government indicates film, books to be part of trade talks with US. Globe and Mail (6 November 1985) Al-2. En. 1270 Chartier, Jean. L'Office national du film et Telefilm Canada s'acheminent vers le meme budget en 1986: les coupures budgetaires. Le Devoir (8 novembre 1985) 11. fr. 1271 A cross-Canada overview: Briefs to the CaplanSauvageau Task Force. Cinema Canada no 125 (December 1985) 18-22. En, fr. Provides excerpts from briefs sent to the CaplanSauvageau Task Force on Broadcasting Policy by the Canadian Film and Television Association, the Association of Television Producers and Directors, writer, filmmaker, and critic Wyndham Paul Wise, the Association des realisateurs et realisatrices de films du Quebec, the Association of Canadian Film and Television Producers, the ACTRA (Alliance of Canadian Cinema, Television and Radio Artists), the Association des producteurs de films et de video du Quebec, and the Association of Canadian Film and Television Producers. The briefs offer suggestions and and recommendations as to the present and future of the Canadian broadcasting industry. Extraits de dossiers envoyes au groupe de travail CaplanSauvageau sur la radiodiffusion. Ces dossiers ont ete pre-

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pares par : 1'Association canadienne de cinema-television, 1'Association of Television Producers and Directors, Wyndham Paul Wise, critique, ecrivain et realisateur, 1'Association des realisateurs et realisatrices de films du Quebec, 1'Association of Canadian Film and Television Producers, 1'ACTRA (Alliance of Canadian Cinema, Television and Radio Artists), 1'Association des producteurs de films et de video du Quebec et par 1'Association of Canadian Film and Television Producers. Les dossiers offrent des suggestions et des recommendations quant a la situation presente et future de 1'industrie canadienne de radiodiffusion.

1281 Fight expected break US grip film probe urges. Vancouver Sun (10 December 1985) Al. En.

1272 CRTC's Bureau warns of free trade. Cinema Canada no 125 (December 1985) 39. En. Reports on the tough speech to the Canadian Broadcasters Assocation on 22 October 1985 by Canadian Radio-television and Telecommunications Commission chair Andre Bureau. Bureau warned about the ramifications of free trade with the United States which he feels would challenge the broadcasting industry and Canadian cultural sovereignty. Includes a reponse from Canadian Cable Television Association president, Michael Hind-Smith.

1285 Urges Canadian distribution for films. Globe and Mail (11 December 1985) Al. En.

1273 CRTC toys with Canadian content. Cinema Canada no 125 (December 1985) 41. En. Outlines new proposals by the Canadian Radio-television and Telecommunications Commission to amend television broadcasting regulations relating to Canadian content. 1274 Feature task force to report. Cinema Canada no 125 (December 1985) 43. En. The final draft of a report to the minister of Communications by the Film Industry Task Force has been delayed. Task force chair Stephen J. Roth explains that there have been some problems in the translation of the report, and previews some of the report's conclusions. 1275 "Starmaker" panelist Deutsch wrote book on talent flow to States. Cinema Canada no 125 (December 1985) 52, 53. En. Focuses on immigration lawyer Howard Deutsch and his address at the Starmaker! seminar 26-27 October in Toronto, Ontario. Discusses Deutsch's background and experience in helping Canadian entertainers and film industry professionals enter the United States.

1282 Ottawa urged to invest $60m in movies. Toronto Star (10 December 1985) Al. En. 1283 Film task force urges tough nationalist film policy. Calgary Herald (10 December 1985) F3. En. 1284 US film domination assailed. Winnipeg Free Press (11 December 1985) 45. En.

1286 Probe urges Canadian distribution for films. Globe and Mail (11 December 1985) Al-2. En. 1287 Patriate film, video distribution report. Chronicle-Herald (11 December 1985) E2. En.

Halifax

1288 Petrowski, Nathalie. Les provinces ont besoin d'une intervention d'Ottawa: Loi du cinema. Le Devoir (12 decembre 1985) 5. fr. 1289 Furor erupts over Quebec's backing down over film law. Globe and Mail (12 December 1985) Dl. En. 1290 Task force ideas come under fire. Globe and Mail (12 December 1985) D5. En. 1291 Scepticism blunts reaction to film report. Calgary Herald (12 December 1985) El. En. 1292 Hollywood rejects Canadian task force's script. Toronto Star (17 December 1985) Bl, 3. En. 1293 Adilman, Sid. Canadian task force hits Majors hard : States case for home-owned biz. Variety 321 (18 December 1985) 5 (2). En. 1294 Advisers named. Calgary Herald (18 December 1985) E3. En. 1295 Cohen, Andrew. Film industry awaits bold action on report. Financial Post 79 no 51 (21 December 1985) 6. En.

1276 Le rapport sur le cinema sera remis a Masse mardi. Le Devoir (6 decembre 1985) 2. fr.

1296 Film plan out of focus. Globe and Mail (23 December 1985) A6. En.

1277 Task force expected to urge film fund, less US control. Winnipeg Free Press (6 December 1985) 33. En.

1297 Non-Theatrical Film Industry Working Group / Groupe de travail sur 1'industrie du film non destine aux salles de cinema. The Other Film Industry: Report of the Non-Theatrical Film Industry Task Force / L'Autre Industrie du film: rapport du Groupe de travail sur 1'industrie du film non destine aux salles de cinema. Report submitted to The Honourable Flora MacDonald by Merit Jensen and Francois N. Macerola. Ottawa, Ont: Government of Canada, 1986. iv, 38; vi, 41 p, bibl, En, fr. This report, based on meetings with producers, distributors, users, and government officials across Canada in 1986, points out the economic and cultural impediments

1278 Task force may call for Canadian control of film network. Globe and Mail (6 December 1985) D8. En. 1279 Federal film boost urged. Vancouver Sun (6 December 1985) F4. En. 1280 US movie curbs urged, report says. Winnipeg Free Press (10 December 1985) 16. En.

Canada of the nontheatrical film and video industry. Notes that nontheatrical film is prevalent throughout Canada but production is undermined by inconsistent financing, distribution, and places of exhibition. Defines nontheatrical as curriculum oriented, training and public relations, commercial, and personal or experimental. Describes the influence of nontheatrical film on production companies and the educational sector and its distribution market, financial concerns with the expense of video, and prevalent abuse of copyright laws. Studies the contributions of private and public sector investment and concludes that the National Film Board (NFB) of Canada provides the most significant support. Recommendations deal with such issues as equalizing the support between private and public investment, making more bilingual films, increasing the international market, and drawing the attention of government agencies to the financial needs of the nontheatrical industry. On identifie dans ce rapport les obstacles majeurs a la sante economique et culturelle de 1'industrie canadienne de films et de videos non destines aux salles de cinema. On note que la production de ce genre de films et de videos est importante au Canada, mais qu'elle est constamment mise en peril par des lacunes au niveau du financement, de la distribution et des possibilites de visionnement. L'industrie de films et de videos non destines aux salles de cinema se concentre dans la production d'outils de formation, d'education et de relations publiques, que ce soit dans les domaines commercial, experimental ou personnel. On note que malgre son influence sur les compagnies de production ou sur le secteur de 1'education, cette Industrie est particulierement preoccupee par 1'aspect financier de 1'expansion de la video et par les infractions constantes aux droits d'auteur. Grace a 1'etude des investissements prives et publics, on remarque que c'est 1'Office national du film (ONF) du Canada qui represente la principale source de soutien de cette Industrie. Les auteurs recommandent diverses solutions : rationaliser 1'appui financier provenant du milieu public et du milieu prive, produire plus de films bilingues, accroitre la part de marche de cette Industrie a 1'exterieur du pays et amener les gouvernements a considerer davantage les besoins financiers de ce secteur. 1298 Bergman, Michael. A charter of rights for creators: An analysis of the Subcommittee on the Revision of the Copyright Report. Cinema Canada no 126 (January 1986) 2223. En. Discusses highlights of the House of Commons Standing Committee on Communications and Culture's Sub-Committee report on the revision of copyright, outlining the reports recommendations regarding the copyright protection of creators and creations and the means by which creators may protect their creations. Examines in detail the reports two key points : the assurance that a creator will be rewarded economically for a creation, and the moral guarantee prohibiting undue alteration to a given creation. 1299 Caplan-Sauvageau report running date. Cinema Canada no 126 (January 1986) 39. En. Reports that the federal Caplan-Sauvageau Task Force on Broadcasting Policy will not be meeting its original January 15 deadline.

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1300 Feature task force wants Canadian distribution, funds. Cinema Canada no 126 (January 1986) 39, 66. En. Announces the release of Canadian Cinema : A Solid Base: Report of the Film Industry Task Force, and its recommendations. The task force requested that the elected government unilaterally establish a firm policy, aimed at gaining access to Canada's film market rather than improving Canadian access to foreign markets. 1301 Reactions to Clark's cultural confab. Cinema Canada no 126 (January 1986) 44. En. Reports on the reaction towards free trade with the United States among Canadian cultural leaders, a mixture of fear and skepticism, despite meetings between Canadian industry members and various levels of government and the return of Marcel Masse as minister of Communications. 1302 Bergman, Michael. Marked. Cinema Canada no 126 (January 1986) 45. En. Discusses the use of trademarks and the laws surrounding the application for, as well as use of, distinctive names or logos. Examines the safeguards and rights of filmmakers when dealing with a trademark. 1303 Movie task force lobs ball neatly to Masse's court. Media Magazine 5 no 1 (January 1986) 6. En. 1304 Davis, Irene. Free trade : The cultural issue. Performing Arts in Canada 22 no 4 (January 1986) 8-10. 3 ill, En. A discussion regarding the dominating influence on Canada of American films and television programs, that may be increased by the Free Trade Agreement. Cites the missions and mandates of the Canadian Broadcasting Corporation (CBC), the Canadian Radio-television and Telecommunications Commission, and Telefilm Canada as being the only methods by which the federal government protects the Canadian film industry and encourages Canadian productions. Robert Lantos of RSL Entertainment mentions the lobbying power of the Motion Picture Export Association of America as an important factor in Canada's lack of protective legislation. Lantos believes that the American film industry has a monopoly that makes free trade an impossibility. Masse also feels that Canada has not profitted by its past trade with the American film industry. Larry Goldhar, president of the Characters Talent Agency, believes free trade would be an advantage to those Canadian performers who are able to compete in the United States, while Curtis Barlow, executive director of the Professional Association of Canadian Theatres states that free trade should not remove protection from Canadian cultural industries because they are essential to establish a Canadian identity. Barlow sees Quebec's language barrier as an aid to the cultural expression of Quebec's residents. Concludes that more laws must be enacted to protect the sovereignty of the Canadian arts and culture industries, but warns against a possible American backlash to such measures. 1305 Canada "better off" without free trade in film industry. Halifax Chronicle-Herald (4 January 1986) 36. En. 1306

Majors' lobby needs to do "homework" to answer

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report of feature film task force. Cinema Canada no 127 (February 1986) 30. En. Reports that the Canadian Motion Picture Distributors Association has no plan of action yet in response to the Film Industry Task Force report, which was released four months earlier.

1315 ACTRA urges government to support task force recommendations for Canadian film industry. Broadcaster 45 no 3 (March 1986) 9. En.

1307 Bergman, Michael. Taking Roth and Raymond to task. Cinema Canada no 127 (February 1986) 31-33. En. Analyses the 1986 film task force report, Canadian Cinema : A Solid Base, which discusses the problem of financing Canadian feature films. The report's three recommendations on how to Canadianize the film distribution system are criticized for their vague descriptions and their lack of statistics. Notes that increased government participation in Canada's film industry would threaten the need for private sector funding.

1317 Ottawa and provinces to aid book, film industries. Montreal Gazette (5 March 1986) A5. ill, En.

1308 Masse may challenge dominance of US films. Calgary Herald (25 February 1986) A3. En. 1309 Adilman, Sid. Masse endorses film task force's nationalism. Toronto Star (25 February 1986) Gl. En. 1310 Masse heads cultural offensive. Cinema Canada no 128 (March 1986) 32. En. Discusses the proposed cultural offensive which minister of Communications Marcel Masse plans to direct towards cabinet ministers in an attempt to legislate protection for the Canadian domestic cultural market in publishing, film, and video in view of the upcoming free trade talks. 1311 Film industry gathers to support report. Cinema Canada no 128 (March 1986) 34. En. Discusses the symposium organized under the umbrella of the conference of producers of Canadian distributors that attempted to inform participants about the recent Film Industry Task Force report and gather support for its recommendations. 1312 Masse addresses structural problem. Cinema Canada no 128 (March 1986) 36-37. En. Recounts a speech given by minister of Communications Marcel Masse, in which he reiterated his support for the recommendations tabled by the Raymond-Roth Task Force on the Film Industry (Canadian Cinema : A Solid Base) report and called for restructuring of the Canadian film distribution system to provide Canadians access to their own products. ' 1313 Bergman, Michael. Caution to the Talebearer. Cinema Canada no 128 (March 1986) 48. En. A legal interpretation of defamation, separated into two categories, libel and slander by English Canada and considered under one heading by the French community, is offered. Possible defences and repercussions if charged with defamation are discussed. Some scenarios that could be faced in the filmmaking industry are mentioned. 1314 Masse "hopes" to establish production fund. Broadcaster 45 no 3 (March 1986) 66. En.

1316 Budget film funds generate criticism. Winnipeg Free Press (2 March 1986) 15. En.

1318 Wallace, Bruce; Treen, Joseph; Enright, Robert. A campaign in support of entertainment. Maclean's 99 no 11 (17 March 1986) 77. 2 ill, En. Lists steps taken by the minister of Communications Marcel Masse to curb American domination of the Canadian film and publishing industries. Masse organized a meeting of the provincial ministers of Culture to persuade them to restrict the power of foreign film distributors. He has gained additional funding from the 1986 federal budget for feature film production, the Canada Council, the music video industry, and the creation of a royalty fund for authors whose books are borrowed from public libraries. 1319 Homel, David. Squabbles in background at ministers' meeting. Quill and Quire 52 no 4 (April 1986) 17. En. Reports from the press conference following the joint meeting of federal and provincial ministers of Culture on 4 March 1986 in Montreal, Quebec. Notes that the ministers had gathered to confer about the book publishing and filmmaking industries. Announces the federal government's decision to allocate an additional $75 million for culture. 1320 Bergman, Michael. Legal Eye. Cinema Canada no 129 (April 1986) 46-48. En. Discusses the hypocrisy of government actions concerning the protection of Canadian cultural sovereignty and posits this as a deliberate negotiating tactic. Contrasts articles on the topic including Jack Valenti's argument for the American film industry to have unrestricted access to foreign markets, Marcel Masse's response to Valenti focussing on Canada's cultural objectives, the glamorization of American influence by the magazine Maclean's, and the assumption that Canada will have to sacrifice culture to compete economically by the magazine The Economist. 1321 Nicol, Dave. Legal Notes: Multivision Films Inc. v. McConnell Advertising Co. Ltd. Reel West 1 no 6 (AprilMay 1986) 7.1 ill, En. 1322 Globerman, Steven; Vining, Aidan. Canadian culture under free trade. Canadian Business Review 13 no 2 (Summer 1986) 18-22. 2 ill, bibl, En. Discusses the potential impact of free trade, on Canada's cultural industries. Examines current laws restricting foreign cultural products, the desire of the United States to have those laws abolished, and the likelihood that a redistribution of skills and talents will take place among the cultural industries with free trade. Notes the impact of communication technology in lessening the cost of distributing cultural production and the expected continued expansion of the cultural industries with the standardiza-

Canada tion brought by free trade. Concludes that in the performing arts, creative writing, visual arts, and some forms of filmmaking, economic activity on both sides of the border will remain relatively unchanged. 1323 Nicol, Dave. Legal Notes: Right to be appreciated protected by the law. Reel West 2 no 1 (June-July 1986) 19. 1 ill, En. 1324 DOC study on distribution urges protective measures. Cinema Canada no 131 (June 1986) 35. En. Discusses the report, Canadian Independent Film Distribution and Exhibition : The State of Things by Dr. Brian Lewis (Ottawa : Department of Communications, 1986). 1325 Film / Video Grants from the Canada Council. Cinema Canada no 131 Qune 1986) 56. En. Reports that film and video organizations across Canada benefited from $403,300 of grant funds during the winter of 1985. 1326 Bergman, Michael. Legal Eye. Cinema Canada no 131 (June 1986) 58-59. En. Discusses the need to redefine the profit-sharing structure of motion picture contracts so that creative people, such as the director and writer, receive a fair financial return for their efforts. 1327 Canada Council fuels most no 1 filmmakers. Winnipeg Free Press (3 June 1986) 33. En. 1328 Canadian government mulling new bill with detailed pornography definition. Variety 323 (18 June 1986) 1 (2). En. 1329 Bergman, Michael. Legal Eye. Cinema Canada no 132 (July-August 1986) 46-47. En. A detailed account of the rights of creditors in the film industry, specifically in Ontario and Manitoba, where they have implemented personal property security legislation. Provides examples to illustrate the effect of such legislation, which provides special rules as to the means by which a creditor may take advantage of their right over the security of the debtor. 1330 MacDonald's debut: $33m for film business. Globe and Mail (18 July 1986) Dll. En. 1331 Shields, Roy. A minister's premiere. Maclean's 99 no 30 (28 July 1986) 51.1 ill, En. Looks at policy commitments made by the newly appointed federal minister of Communications, Flora MacDonald, at a reception organized by the Canadian Film and Television Association. Discusses financial support for the National Film Board (NFB) of Canada, the new Feature Film Fund, and a commitment to improve dubbing techniques so that Quebecois and English Canadian films can become accessible to all Canadians. MacDonald's announcement that Telefilm Canada will only fund films distributed by Canadian distributors is seen as something that will upset the vertically integrated film corporations of Hollywood that control Canadian distribution.

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1332 Tax changes endanger shoots. Cinema Canada no 133 (September 1986) 49. En. Mentions the decision to change tax laws and their effect on American film companies wanting to work in Canada. Notes the Ontario Film Development Corporation's reservations about the changes, including the possibility that American companies would be deterred from working in Canada. 1333 Bergman, Michael. Legal Eye. Cinema Canada no 133 (September 1986) 61-62. En. Review of Marcel Masse's career as minister of Communications and the issues he is leaving for the new minister, Flora MacDonald. During his tenure, Masse came to be viewed as a cultural nationalist because of his aggressive interest in cultural matters such as initiating numerous task forces ; however because his record of achievement is small in comparison to his enthusiasm he leaves a lot of beginnings which MacDonald may follow through on or ignore. 1334 Tadros, Connie. Strongly pro, Canada's new minister of Communications. Cinema Canada no 133 (September 1986) 7-10. 6 ill, En. An interview with newly appointed federal minister of Communications Flora MacDonald, who discusses her background in politics, her experiences as a woman in the political arena, and her new portfolio. MacDonald also discusses the importance of the field of communications to education, her interest in promoting regional diversity in Canada's cultural industries, and her belief in the ability of the Canadian film industry to compete internationally. 1335 Petrowski, Nathalie. Le commissaire de 1'ONF loue le Courage culturel du rapport Sauvageau-Caplan. Le Devoir (26 septembre 1986) 3. fr. 1336 Ottawa. Cinema Canada no 134 (October 1986) 52. En. Notes that the Canadian Conference of the Arts is preparing to respond to the Film Industry Task Force on funding of the arts. 1337 Non-theatrical film needs new subsidies, federal report says. Globe and Mail (7 October 1986) Cll. En. 1338 Free trade gets thumbs down at fest. Cinema Canada no 135 (November 1986) 52. En. Describes the debate before an audience at the 1986 Festival of Festivals in Toronto, Ontario, which focussed on resolution that free trade will be beneficial to the Canadian film industry. Those for the resolution saw the competition as healthy, and those against predicted the already strong American market would sabotage Canada's incipient film industry. 1339 Bergman, Michael. Legal Eye. Cinema Canada no 135 (November 1986) 56. En. In response to recommendations listed in a report by task force on the status of artists, raises concerns that the 37 economic and social concessions promote a false sense of security for artists, and also ignore development of cultural and artistic production.

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1340 Maule, Christopher J. Trade and culture in Canada. Journal of World Trade Law 20 no 6 (November-December 1986) 615-623.1 ill, bibl, En. Examines the relationship between cultural and national sovereignty, and Canada's reasons for and methods of promoting domestic culture, in light of free trade negotiations between the United States and Canada. Outlines Canadian content policies pertaining to film and television production, focussing on the content regulations put forth by the Canadian Radio-television and Telecommunications Commission and the Canadian Film and Videotape Certification Office, and demonstrates how these regulations allow for a variety of interpretations. Examines how the Canadian government reacts to the threat of de facto cultural annexation by the United States by treating culture as a series of industries which must be subsidized in order to maintain Canadian cultural sovereignty, and notes that this approach could be problematic in international trade negotiations with countries that interpret culture in strictly economic terms. Concludes that Canada's treatment of culture as a special case in trade negotiations, in order to ensure the survival of an indigenous culture, has much to offer by way of example. 1341 Caplan-Sauvageau needs cost analysis. Cinema Canada News Update no 1 (10 November 1986) 5. En. Jim Edwards, chair of the Standing Committee on Communications and Culture comments on the resently released report of the Caplan-Sauvageau Task Force on Broadcasting noting its ambivalence to financial and consumer concerns, and minister of Communications, Flora MacDonald expresses her interest in the report. 1342 Bergman, Michael. Legal Eye. Cinema Canada no 136 (December 1986) 42-43. En. The piracy of film and video is discussed in terms of its legal, cultural, and trade implications at both the international and domestic levels. 1343 Movie jobs risked if money returned agency complains. Toronto Star (29 December 1986) Dl. En. 1344 Globerman, Steven. Culture, Governments and Markets : Public Policy and the Culture Industries. Preface by Michael Walker. Vancouver, BC : Fraser Institute, 1987. xi, 52 p, 4 ill, bibl, En. Steven Globerman, critical of how the federal government oversees the cultural policy and institutions of Canada, argues that the public sector is fiscally poor and culturally weak in promoting arts and culture. "An Overview of Cultural Intervention," outlines the instruments of government intervention in building a cultural market, including government studies, moral persuasion, funding, expenditures, taxation, public ownership, regulation, legislation, and loans and guarantees. "Arguments for Government Intervention," studies government expenditures and taxation and advocates turning federally controlled areas such as film distribution and production over to the private sector. Emphasizes that government intervention into cultural markets is less a question of economics and more a means of encouraging a national cultural identity. "The Effects of Government Intervention," criticizes federal policies that regulate and control the film industry. Concludes that government rules should be

relaxed, the private sector should establish a self-governing apparatus that sets its own policy based on economic results, and culture should evolve as a vital response to the market rather than depend on public funding. 1345 Bergman, Michael. Controversy in color. Cinema Canada no 137 (January 1987) 45. En. Barrister and solicitor Michael Bergman discusses the problem of commercial exploitation of art, relating specifically to the colourization of old black and white films currently being done at a rapid rate in the United States. Suggests several methods by which this could be avoided including the establishment of a government body to protect artistic integrity and a statement that protects the filmmakers' product included in the contract between the filmmaker and the producer. 1346 MacDonald says wants control over imports. Reel West 2 no 4 (February-March 1987) 20. En. 1347 Bergman, Michael. Legal Eye. Cinema Canada no 138 (February 1987) 46. En. Notes that many Canadian filmmakers are entering into limited partnerships to purchase units of a feature film for tax shelter purposes. Explains the legal concept of a partnership, why a film limited partnership is so attractive to investors, and why ongoing feature film corporations do not benefit from this form of financing. 1348 Feds to legislate distribution. Cinema Canada no 139 (March 1987) 35. En. Discusses the minister of Communications Flora MacDonald's announcement, which was made at a press conference in Toronto, Ontario, in which she stated her intention to stem the importation of films and video by foreign owned distributors by developing a system to licence this activity. Explains that this impending legislation will allow producers to reinvest in Canadian production which, according to MacDonald, will strengthen the production, distribution, and exhibition of Canadian films. 1349 MacDonald defends distribution legislation. Cinema Canada no 139 (March 1987) 36. En. Minister of Communications Flora MacDonald discusses the proposed federal legislation of film distribution, explaining that it will allow Canadian film distributors to manage a larger share of the local market and that it will result in an increase in the amount of money invested in domestic productions. MacDonald also states that she does not feel that the new legislation will affect free trade negotiations between Canada and the United States. 1350 Cohen, Andrew. Film policy stirs trade fears. Financial Post 81 no 9 (2 March 1987) 10. ill, En. 1351 Bergman, Michael. Legal Eye. Cinema Canada no 140 (April 1987) 60. En. Analyses the effects of the February 1987 federal budget and upcoming tax reform on the Canadian film industry. Notes cost increases in the areas of production, employee fees, and equipment.

Canada 1352 Back off import license proposal, US film lobbyist urges Canada. Globe and Mail (22 April 1987) A5. En. 1353 Hollywood fights film policy. Mediascene 6 no 5 (May 1987) 1-2. En. 1354 Regions encouraged by Telefilm and CBC. Cinema Canada no 141 (May 1987) 39,52. En. Reports on the "Independent Production and Broadcasting : The Next Five Years" conference where independent film and television producers met and discussed regional production. 1355 Provinces beef up film support. Mediascene 6 no 5 (May 1987) 6. En. 1356 US presses Canada to shelve film policy. Globe and Mail (8 May 1987) Al, 11. En. 1357 Licence plan on film distribution hasn't been shelved, PM states. Globe and Mail (13 May 1987) A4. En. 1358 Bertles, Stacey. Uncertainty breeds pessimism. Cinema Canada no 142 (June 1987) 43,45. En. Reports on the unrest between the Canadian Department of Communications and the Motion Picture Association of America concerning the federal government's stance on the licencing of film distributors. 1359 Bergman, Michael. Legal Eye. Cinema Canada no 142 (June 1987) 50-51. En. Discusses the debilitating repercussions of the Free Trade Agreement with the United States on the Canadian film industry. 1360 US warns film curb could scuttle free trade. Globe and Mail (6 June 1987) All. En. 1361 Government fails to table film distribution bill. Mediascene 6 no 7 0uly 1987) 2. En. 1362 Eerie optimism on distribution legislation. Cinema Canada no 143 (July-August 1987) 31,42. En. Reports on the support the proposed Canadian film distribution bill has received from politicians and outlines the bill's strengths and weaknesses. 1363 Bergman, Michael N. Legal Eye. Cinema Canada no 143 Quly-August 1987) 40-41. En. Michael Bergman argues against two government initiatives he feels will hurt the Canadian film industry. Bergman contends that the proposed bill to amend the Copyright Act is not inclusive enough and fails to take into account areas such as royalties on actors' performances, cable retransmissions, and satellite broadcasting. Bergman also criticizes the federal government's unresponsiveness to the Standing Committee on Communications and Culture's suggestion that a provision be made in the Income Tax Act to clearly define the term "professional artist." 1364 Bergman, Michael. Bye bye tax shelter. Cinema Canada no 143 Quly-August 1987) 6-7. En.

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Michael Bergman discusses the potential effects of proposed changes in taxation on private investment in Canadian films. Bergman focuses on the reduction of the Capital Cost Allowance from 100 per cent to 30 per cent, and on the "buyback" tax, which involves the taxation of film profits when investment units are sold back to producers Bergman concludes that the proposed tax reforms will stifle private investment in Canadian projects, forcing production companys to seek American investment and thus increase American influence over Canadian content. 1365 Film processing tariff on free-trade agenda for U.S.Canada talks. Variety 328 (29 July 1987) 1 (2). En. 1366 Copyright law changes coming. Reel West 2 no 6 (August-September 1987) 34. En. 1367 Film reps think they're winning in struggle over distribution bill. Mediascene 6 no 8 (August 1987) 5. En. 1368 Council backs distribution law. Cinema Canada no 144 (September 1987) 47. En. Discusses the Canada Council backing to the minister of Communications Flora MacDonald's proposed licencing system for film and video imports. 1369 Porn bill to die of disinterest? Cinema Canada no 144 (September 1987) 50. En. Reports on the possibility that Bill C-54, anti-pornography legislation, may not be passed and gives the content and predecessors of the bill. 1370 Bergman, Michael. Legal Eye. Cinema Canada no 144 (September 1987) 51. En. In light of director John Landis's acquittal on criminal charges relating to the deaths of three actors during the filming of The Twilight Zone, lawyer Michael Bergman assesses the Canadian film industry's need to review its safety measures while filming on location. He cautions strict adherence to safety measures at all times, concluding that failure to do so could result in unnecessary casualties, loss in confidence in the Canadian film industry, and civil litigation. 1371 Porn legislation may be dropped before Parliament acts. Cinema Canada no 144 (September 1987) 56. En. Discussion of Bill C-54, the anti-pornography legislation which is under consideration. 1372 Film distributors keep wary watch on trade debate. Financial Post 81 no 38 (21 September 1987) 5. En. 1373 Free trade limbo. Reel West 3 no 1 (October-November 1987) 46. En. 1374 Defense of Freedom of Expression committee on go. Cinema Canada no 145 (October 1987) 64. En. Discusses the reasons behind the objection of the Committee for the Defense of Freedom of Expression to the federal government's Bill C-54 anti-pornography legislation. Focuses on the issue that anyone accused under the legis-

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lation would have to prove the artistic merit of the offending material, something that implies a guilty until proven innocent facet within the law. 1375 MacDonald reaffirms Canada's commitment to controlling market. Variety 329 (28 October 1987) 1 (2). En. 1376 US pressure causes delay in film rules. Globe and Mail (16 November 1987) Al-2. En. 1377 MacDonald denies report on film policy. Globe and Mail (17 November 1987) A10. En. 1378 Canada vows to pass legislation curbing power of U.S. distributors despite bilateral free trade pact. Variety 329 (25 November 1987) 43 (2). En. 1379 Liberal MP leaks delayed film legislation. Globe and Mail (26 November 1987) A9. En. 1380 House of Commons of Canada. Distribution now! Cinema Canada no 147 (December 1987) 24-25. En. Provides a copy of the federal government's Film Products Importation Act, referred to as the Distribution Bill, which articulates federal film distribution legislation as it stands at present. The act is divided into sections that address the legislation's application and interpretation, proposals regarding the importation, distribution, and exhibition of films, licences, regulations, and the ultimate enforcement of the legislation. 1381 Timmins, John. Curtains for act? Cinema Canada no 147 (December 1987) 25,46-47. En. Outlines the events leading up to the October 1987 introduction of the federal minister of Communications Flora MacDonald's Film Products Importation Act, referred to as the Distribution Act. Also discusses the probable demise of the act as a result of American pressure, as articulated by Jack Valenti of the Motion Picture Export Association of America, against the restricted entry of their product into Canada, and the pending Free Trade Agreement. 1382 Distribution bill still hot. Cinema Canada no 147 (December 1987) 45. En. Discusses the fate of the new distribution bill, which calls for the establishment of a licencing system that would open up the distribution of some foreign movies to Canadian companies, announced by the minister of Communications Flora MacDonald in February 1987. Cites comments from Sheila Finestone and Millard Roth. 1383 Magder, Ted. The Political Economy of Canadian Cultural Policy: The Canadian State and Feature Films, 1917-84. Ph.D. dissertation, Political Science. Toronto, Ont: York University, 1988. viii, 481 p, ill, bibl, En. This thesis, concentrating on the relationship between the federal government and the production, distribution, and exhibition of feature films in Canada from 1917 to 1984, attempts to determine how the government has dealt with Canada's cultural dependency on the American feature film industry. The argument is based upon two theoretical premises : first, that cultural dependency is reproduced, challenged, and renegotiated by domestic social relations,

and second, that social, political, and economic conditions effect the state's policy and limitations. Analyses Canada's feature film production, the ineffectiveness of the Canadian Government Motion Picture Bureau from 1917 to 1934, the influences of the National Film Board (NFB) of Canada, the Canadian Cooperation Project, the Massey Report (Royal Commission on National Development in the Arts, Letters and Sciences), and limited government support from 1955 to 1967. Studies the impact of the policies of the Canadian Film Development Corporation (CFDC) from 1968 to 1989, its efforts to develop both a cultural and profit oriented film industry and the shift of CFDC (now Telefilm Canada) towards encouraging commercially viable big budget American style films. Concludes that Canada's cultural dependency on the American industry is not perpetrated by American control but by Canadian government policies and actions. 1384 Day of action for Canadian drama. Cinema Canada no 148 Ganuary 1988) 31. En. Jack Gray, former president of the ACTRA (Alliance of Canadian Cinema, Television and Radio Artists), discusses the purpose of the day of action rally held November 1987 in Ottawa, Ontario. Notes the rally included participation from major arts organizations as a call for more production and public funding of fully Canadian cinema, television, and radio programming. 1385 MacDonald vows arts aid secure: Minister won't reveal date of film program. Winnipeg Free Press (13 January 1988) 34. ill, En. 1386 Gotlieb won't say if Ottawa will push film bill. Montreal Gazette (15 January 1988) B16. En. 1387 U.S.-Canada free trade pact needs changes quick, says politician. Variety 329 (20 January 1988) 6. En. 1388 Bergman, Michael. Trick-or-treaty? Cinema Canada no 149 (February 1988) 14-15. En. Describes the recently released Free Trade Agreement, as a series of half measures that will not allow Canada to reach its cultural potential or cause the complete cultural failure of Canada, but will result instead in frustrated cultural relations between Canada and the United States. Examines the agreement in terms of its ambiguous definition of cultural sovereignty, its implications for cultural industries, its recommendations regarding retaliation should one country effect measures for cultural industries inconsistent with the agreement, and its recommedations for the procedure of the Canada-United States Trade Commission which will consider the effect of measures taken by one country that are inconsistent with the agreement. Concludes that the current language of the agreement leaves the cultural industries of Canada vulnerable, and that the protection of cultural industries can only be assured through their complete inclusion in or complete exclusion from the agreement. 1389 Sally Warren part-time CRTC commissioner. Reel West 3 no 3 (February-March 1988) 5. En. 1390 Film policy may scuttle pact: Free trade called fair deal. Halifax Chronicle-Herald (10 February 1988) 1. En.

Canada 1391 US senators urge retaliation for film-rights bill. Montreal Gazette (17 February 1988) Bl. En. 1392 Film law to go ahead despite US protests Ottawa declares. Toronto Star (18 February 1988) A4. En. 1393 Senators want action on Canadian film bill. Calgary Herald (18 February 1988) D6. En. 1394 Film uproar called political manoeuvre. Winnipeg Free Press (27 February 1988) 23. ill, En. 1395 Macdonald denies film bill stalled. Toronto Star (27 February 1988) A14. En. 1396 Grugeau, Gerard. Cachez ce sexe... projet de loi C-54. 24 Images no 37 (printemps 1988) 28-29. 4 ill, fr. Description de 1'impact du projet de loi federate C-54 sur la pornographie. Tout en relevant des definitions de la pornographic et de 1'erotisme telles que donnees par ce projet de loi, Gerard Grugeau met en garde centre une intervention de 1'Etat dans le domaine de 1'art qui serait facilitee par cette loi. II parle du role de 1'artiste qui devra fournir des preuves quant a la valeur de son art et critique ce projet de loi qui, selon lui, met en peril la liberte d'expression artistique. 1397 Political protest in the works in Quebec. Cinema Canada no 150 (March 1988) 60-61. En. Outlines the concerns of the Quebec wing of the National Ad Hoc Screen Industries Committee over the federal government's failure to redress what it sees as inadequate support for the film industry in its February 1988 budget. 1398 Rocky, dangerous road mapped out in free trade. Cinema Canada no 150 (March 1988) 68-69. En. Examines opposing views within the sectoral advisory group on international trade relating to arts and culture and the effects of the Free Trade Agreement on the Canadian film industry. Notes the syntactic subtleties of the legislation, referring to Section 2005 of the agreement, the principal section dealing with cultural industries. 1399 Congressmen urge trade-deal changes. Montreal Gazette (5 March 1988) A2. En. 1400 US senators talking tough on film policy. Globe and Mail (24 March 1988) A10. En. 1401 Austen, Ian. Arguments with muscle. Maclean's 101 no 14 (28 March 1988) 24.1 ill, En. Observes opposition from the Motion Picture Association of America to minister of Communications, Flora MacDonald's plan to increase control of domestic film distribution and production. The success of the American film industry's lobbying efforts could jeopardize the entire Free Trade Agreement, which awaits American congressional ratification. 1402 Bill "a dead duck." Mediascene 7 no 4 (April 1988) 3. En.

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1403 Little progress in dubbing. Cinema Canada no 151 (April 1988) 48. En. Reports on a meeting held between the governments of France and Canada, along with representatives from unions and the private sectors of both countries, 10-11 March 1988 in Paris, France. Notes the Canada-France film and television co-production treaty was discussed, including issues regarding international film financing, the possibility of twinning arrangements, and film, television, and animation projects. States that minimal progress was made on the issues of dubbing and union jurisdictions in co-productions. 1404 Film policy talks make no headway. Vancouver Sun (11 April 1988) Fl. En. 1405 Film policy called threat to investment. Winnipeg Free Press (27 April 1988) 35. En. 1406 US cranks up the pressure over film distribution policy. Vancouver Sun (27 April 1988) C6. En. 1407 Sabre rattled over film-distribution curbs. Calgary Herald (27 April 1988) D3. En. 1408 Valenti, Jack. The domino game : Canadian distribution as a global threat to the American way of life. Cinema Canada no 152 (May 1988) 19-21.1 ill, En. A copy of the congressional brief sent to the Canadian Independent Film Caucus by Jack Valenti, president of the Motion Picture Export Association of America, in response to the February 1987 proposal of Flora MacDonald to bolster Canadian film distribution through legislation. The brief outlines what the Motion Picture Export Association of America believes to be the American film industry's trade crisis in Canada which is a result of the federal government's proposed legislation, the banishment of cultural industries from the Free Trade Agreement, and the Canadian demand for a system for licencing films and television programs. The brief also documents the trade asset value of the American film industry, and outlines the dangers of submitting to Canadian demands. Includes two addenda: one, entitled "Annexes to the brief," outlines Valenti's suggestions to MacDonald regarding Canadian film distribution and his proposed amendments to the Omnibus Trade Bill, while the other, entitled "Film distribution: As explained to Congress by the MPPA," describes the means by which American film companies obtain the rights to distribute the films of other companies and explains the potential damage Canadian distribution restrictions would inflict on the American film industry. 1409 Roth, Millard. Fifth column on the march: Roth leads forces to battle legislation. Cinema Canada no 152 (May 1988) 22. En. Millard Roth, executive director of the Canadian Motion Picture Distributors Association outlines the Canadian government's proposed legislation on film distribution and states what he believes will be the negative implications of such legislation in a memorandum to his own association and to his patrons at the Motion Picture Export Association of America dated 8 April 1988.

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1410 MacDonald retains difficult ministry. Cinema Canada no 152 (May 1988) 36. En. Reports that Flora MacDonald has retained the position of minister of Communications after Prime Minister Brian Mulroney's April 1988 cabinet shuffle. 1411 Bacal, Norman. Not just another sequel: The Canadian motion picture industry after tax reform. Canadian Tax Journal / Revue fiscale canadienne 36 no 3 (May-June 1988) 547577. bibl, En, sommaire franc.ais. An update of an earlier paper on the evolution of film as a tax-sheltered investment, presented by Norman Bacal and Richard Lewin at the 1986 annual conference of the Canadian Tax Foundation. Discusses the concepts and income tax aspects of distribution based financing, which has been adapted to Canadian income tax rules and allows Canadian investors to participate in distribution as well as ownership. Previous rules allowed a certified production to deduct 100 per cent of the cost of the film as Capital Cost Allowance (CCA), subject to the one-half year rule. New tax reforms limit CCA deductions to only 30 per cent, also subject to the one-half year rule. The new rules are expected to discourage private sector investment in Canadian made films and to slow Canadian production down. Notes reasons for mixed industry reaction to the tax reform. The most significant change in tax reforms concerns an additional deduction for certain qualifying films, allowing producers and investors to have a more efficient deferral of tax on their income. The new rules do not encourage past film investors to reinvest their revenues in new certified productions. Transitional rules allow for projects begun before the end of 1987 to be exempt from the new rules. Defines several terms of the reform such as "principle photography" and "acquisition of a film or tape" which have debatable legal definitions. Describes the revised allocation of deductions, the one-half year rule and how it is applied, and regulations concerning partnership syndications. In Quebec, a film certified by the Societe generate des industries culturelles Quebec as a "Quebec film" qualifies for CCA at 100 per cent with the one-half year rule being applied. An existing additional 50 per cent allowance was eliminated except in cases of substantially advanced projects. Outlines new rules concerning revenue guarantees, the "put-in-use" rule, an alternative minimum tax, considerations relating to the "at-risk" rules, and rules applicable to dispositions of partnership interests. 1412 Distribution policy. Reel West 3 no 4 (May-June 1988) 7. En. 1413 Film distribution deal may disappoint. Calgary Herald (2 May 1988) A4. En. 1414 Ottawa weakening film bill to suit US secret memo says. Toronto Star (3 May 1988) Al-2. En. 1415 Minister denies bill diluted. Winnipeg Free Press (4 May 1988) 18. En. 1416 Ottawa ready to sacrifice film bill under pressure from US MPs say. Toronto Star (4 May 1988) A3. En. 1417 Secret memo says bill watered down. Calgary Herald (4 May 1988) D12. En.

1418 We haven't weakened on film bill, says MacDonald. Vancouver Sun (4 May 1988) F6. En. 1419 Producers wince over Ottawa's red tape. Globe and Mail (5 May 1988) C4. En. 1420 We're not bowing: Minister. Calgary Herald (5 May 1988) E2. En. 1421 Bill stands up to Hollywood, says MacDonald. Halifax Chronicle-Herald (5 May 1988) O5. En. 1422 Ottawa backs down on film distribution vow. Financial Post 1 no 56 (6 May 1988) 3. En. 1423 New film distribution policy denounced. Chronicle-Herald (6 May 1988) 4. En.

Halifax

1424 MacDonald to introduce weakened film bill. Globe and Mail (6 May 1988) Al, 4. ill, En. 1425 Tough rules in film bill watered down by Ottawa. Toronto Star (6 May 1988) Al-2. En. 1426 Film policy is just the ticket for Canada. Montreal Gazette (6 May 1988) B3. En. 1427 Distributors generally favor new movie bill. Toronto Star (6 May 1988) D20. En. 1428 Film legislation welcomed on both sides of border. Halifax Chronicle-Herald (7 May 1988) 30. ill, En. 1429 Distributors welcome film policy. Montreal Gazette (7 May 1988) A13. En. 1430 MacDonald's film distribution policy wins nod of appoval. Calgary Herald (7 May 1988) E8. En. 1431 Toned-down film policy still facing US resistance. Financial Post 82 no 18 (9 May 1988) 4. En. 1432 Adilman, Sid. Canada softens on picture sovereignty. Variety 331 (11 May 1988) 5 (2). En. 1433 Gordon, Sheldon. How Flora MacDonald lost one to the gipper on films (editorial). Financial Times 76 no 48 (16 May 1988) 54. En. 1434 Young, Pamela. Old wine, new bottles. Maclean's 101 no 21 (16 May 1988) 56.1 ill, En. Describes the terms of the federal government's new film distribution policy, the first of its kind in Canada. Many in the Canadian film community feel that the federal government's proposals are not advantageous to the Canadian film industry, and may prove detrimental to small Canadian distribution companies. Also refers to the appointment of Edmund Bovey as chair of Telefilm Canada. 1435 Bergman, Michael. The distribution gag: An analysis of the proposed federal film distribution legislation. Cinema Canada no 153 Qune 1988) 10-11. En.

Canada An analysis of the proposed federal film distribution legislation outlines how the federal government will allocate a proposed $200 million over five years guaranteed to the Canadian film industry, and discusses the new investment policy on foreign investment in Canadian film distribution, through which Canadian distributors will be forced to negotiate Canadian distribution rights for a given film in separate negotiations and in a separate contract for the Canadian market. Argues that the legislation will not create a separate Canadian distribution market, but rather will further marginalize Canadian distributors by decreasing the number of fruitful joint ventures between Canadian and foreign distibutors. 1436 Reaction to policy lukewarm in Quebec. Cinema Canada no 153 Qune 1988) 31. En. Discusses the lukewarm reaction of Quebec film distributors to the Canadian Film Products Importation Act that will ensure that Canadian companies distribute independently produced international films in Canada, citing specifically the views of Association quebecoise des distributeurs et exportateurs de films et de video president Andre Link and Rose Films president Marie-Jose Raymond. 1437 Distribution legislation watered down. Cinema Canada no 153 (June 1988) 31. En. Interviews Daniel Weinzweig of Norstar Releasing and Ron McCluskey of Creative Exposure about the effect on small Canadian distributors of the Canadian government's new film distribution bill which will ensure that Canadian companies distribute independently produced international films in Canada. 1438 MacDonald admits upset over film bill. Winnipeg Free Press (4 June 1988) 22. En. 1439 Film bill delay nearly cost PM a minister. Toronto Star (4 June 1988) A16. En. 1440 MacDonald denies threatening to resign over delay of film bill. Globe and Mail (4 June 1988) A6. En. 1441 Minister defends action on films. Globe and Mail (4 June 1988) C9. ill, En. 1442 MacDonald tables film distribution legislation. Financial Post 1 no 75 (9 June 1988) 5. En. 1443 Controversial film distribution bill finally introduced by MacDonald. Toronto Star (9 June 1988) A16. En. 1444 MacDonald tables "stronger" film bill: NDP charges sellout. Globe and Mail (9 June 1988) A5. En. 1445 Much-delayed film bill introduced. Montreal Gazette (9 June 1988) B12. ill, En. 1446 MacDonald tables bill finally. Calgary Herald (9 June 1988) D2. En. 1447 Green, Earl. Revised version Canadian film bill to House of Commons. Variety 331 (15 June 1988) 20. En.

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1448 Mixed reaction to film legislation. Cinema Canada no 154 (July-August 1988) 39. En. Discusses the mixed reactions to the proposed Film Products Importation Act, the new film distribution policy, which minister of Communications Flora MacDonald says will strengthen the Canadian film industry. 1449 Reisman reassures CFTA on free trade deal. Cinema Canada no 154 0uly-August 1988) 53. En. Simon Reisman, negotiator of the Free Trade Agreement, tells the Canadian Film and Television Association that there is no basis for the fear that Canadian cultural industries have been hurt by the agreement. 1450 US may quit movie pact. Globe and Mail (29 July 1988) C3. En. 1451 Acheson, Keith; Maule, Christopher. The carrot and the stick: A review of Canadian broadcasting policy. Cinema Canada no 155 (September 1988) 17-19.1 ill, En. Posits that the electronic media, in contrast to print, is controlled by a complex set of regulations that are intended to protect Canadian culture. Appraises the 1988 broadcasting committee report, A Broadcasting Policy for Canada, which aims to extend regulations even further. Evaluates the recommendations of the committee that include the suggestion to fund an alternative programming service to view films and documentaries from the National Film Board (NFB) of Canada, French language productions subtitled in English, and original dramas reflecting Canada's multicultural mosaic and regional diversity. 1452 Ayscough, Suzan. All Canada to play by Quebec's rules : U.S. bigs exempt from distribution law. Variety 332 (28 September 1988) 3. En. 1453 Importation Bill: Manna for foreign sellers? Cinema Canada no 156 (October 1988) 66. En. Notes that Andre Link, president of the Association quebecoise des distributeurs et exportateurs de films et de video, believes that the Film Products Importation Act will strengthen the Canadian distribution market and not necessarily hinder production of Canadian film as others contend. 1454 Bergman, Michael. The real cost of the federal distribution bill. Cinema Canada no 157 (November 1988) 19-22. En. Evaluates the proposed Film Products Importation Act introduced for first reading in Parliament in June 1988. Argues that such a restrictive law would have a major negative impact on civil liberties and prompt the decline of the Canadian film industry. Includes excerpts from Section 9 of the bill. 1455 Chartrand, Alain. Le droit d'auteur. Lumieres no 16 (novembre-decembre 1988) 3. fr. Editorial sur la question du droit d'auteur. L'auteur propose qu'on reconnaisse, comme auteur, le realisateur et qu'il regoive, au meme titre que le scenariste et le producteur, les benefices engendres par 1'oeuvre.

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1456 Arcand, Denys; Carle, Gilles; Chartrand, Alain; Lanctot, Micheline. Le realisateur d'un film est-il un auteur? : une bataille pour le respect de 1'auteur du film et de ses droits. Lumieres no 16 (novembre-decembre 1988) 4-7. 2 ill, fr. Quatre realisateurs quebecois, Denys Arcand, Gilles Carle, Alain Chartrand et Micheline Lanctot, discutent des droits d'auteur des realisateurs et soulignent 1'inexistence de regies pour delimiter les liens legaux avec les producteurs. 1457 Cailhier, Dianne. Les auteurs d'oeuvres audiovisuelles: relations entre le scenariste et la realisateur: entretien avec Marcel Beaulieu et Jean-Claude Lord. Lumieres no 16 (novembre-decembre 1988) 8-10.1 ill, fr. Entretien avec le scenariste Marcel Beaulieu et le realisateur Jean-Claude Lord. Chacun expose son point de vue sur les relations qui existent entre le scenariste et le realisateur. Us parlent aussi de 1'importance du droit d'auteur qui appartient autant au realisateur qu'au scenariste, et commentent le role et I'importance d'un bon producteur. 1458 Flora gracious in defeat. Cinema Canada no 158 (December 1988) 34. En. Outlines the contributions to the Canadian film industry of former cabinet minister Flora MacDonald who was defeated in the 1988 general election. 1459 Kirke, Gordon I., ed. Entertainment and Sports Law : Entertainment Law. With the assistance of David Zitzerman. 2 volumes. North York, Ont: Osgoode Hall Law School, York University, 1989.1196 p, En. This selection of mimeographed materials for a law course on sports and entertainment laws deals primarily with motion pictures and television. The first section discusses copyright, including excerpts and revisions of current legislation, and sample court cases focussing on copyright disputes. The second section provides an overview of the production process of film and television, and describes the acquisition of rights in the option agreement, the literary purchase agreement, the screenwriter's agreement, the inducement letter, and the ACTRA (Alliance of Canadian Cinema, Television and Radio Artists) writer's agreement. The legal aspects of film and television financing are then reviewed in relation to private and government financing. The assessment of private financing is covered in the licence agreement and in excerpts from government acts, a private offering memorandum, and a prospectus. The assessment of government financing includes the regulations and policies of the Canadian Film Development Corporation, Telefilm Canada, and the Ontario Film Development Corporation. Details of personal services contracts and distribution are also described in detail. Sections three through six deal with the music recording industry, the book publishing industry, and the theatre industry, concluding with excerpts and commentaries on the Free Trade Agreement. 1460 Harcourt, Peter. A moving target: Federal film policy within a global culture. Transactions of the Royal Society of Canada 5 no 4 (1989) 169-179. bibl, En. Retraces the history of Canadian film policy with reference to changing paradigms from the Age of Enlighten-

ment to the present. Asks if Marshall McLuhan's "global village" might lead us to re-invent a national cinema through global alternative broadcasting funded through the television marketplace. 1461 Murray appointed interim communications minister. Cinema Canada no 159 (January 1989) 44. En. Announces the appointment of senator Lowell Murray as the interim minister of Communications. 1462 Praise for Bureau. Cinema Canada no 160 (FebruaryMarch 1989) 45. En. Announces the resignation of Andre Bureau from the position of chair of the Canadian Radio-television and Telecommunications Commission effective 1 March 1989. 1463 Marcel Masse: Communications minister. Reel West 4 no 2 (February-March 1989) 9. En. 1464 Masse tries on a new role. Globe and Mail (25 February 1989) C7. ill, En. 1465 Masse to move ahead with film importation bill. Cinema Canada no 161 (March-April 1989) 43. En. Notes the intention of Marcel Masse, federal minister of Communications, to reintroduce the Film Products Importation Act in the House of Commons. The bill would prevent major American film distribution companies from buying blanket North American distribution rights to independent films and enable Canadian distributors to compete for those films in Canada. 1466 Bureau joins Trudeau and Johnston. Cinema Canada no 161 (March-April 1989) 7. En. Announces that Andre Bureau, formerly chair of the Canadian Radio-television and Telecommunications Commission, has joined the law firm of Heenan Blaikie based in Montreal, Quebec. 1467 Flap over film funding: Government cancels $40,000 program. Vancouver Sun (3 May 1989) B6. En. 1468 McHarg, Nancy. Financial support from governments slow in coming, producers complain. This Week in Business 2 no 19 (27 May 1989) 1-2. ill, En. 1469 Masse defends federal budget. Cinema Canada no 164 (June-July 1989) 23. En. Provides excerpts from Marcel Masse, the federal minister of Communications' defence of the 1989-90 budget of the Department of Communications, presented 10 May 1989 to the Standing Committee on Culture and Communications. Masse discusses plans to converge Canada's cultural industries and telecommunications infrastructure, and announces a bill to regulate the rights and distribution of film products in Canada, to be supported by a budget of $200 million over five years. 1470 Poulette, Michel. Refonte de la loi C-60: M. Masse, ou est le droit d'auteur du realisateur? Lumieres no 19 (ete 1989) 61. 3 ill, fr. L'Association des realisateurs et realisatrices de films du

Canada Quebec interroge le ministre des Communications, Marcel Masse, sur la question de droit d'auteur des realisateurs en relation avec le projet de loi C-60. 1471 Spicer named CRTC chairman. Reel West 4 no 5 (August-September 1989) 36. En. 1472 Paquet, Andre. Quand 1'Etat fait son cinema ou un art etroitement surveille. Lumieres no 20 (automne 1989) 612. 6 ill, fr. Compte rendu du dossier portant sur les rapports entre les realisateurs et 1'Etat. Debutant par un survol historique des recommandations des realisateurs face aux politiques gouvernemetales touchant le cinema, 1'auteur denonce la recession culturelle du cinema quebecois que les institutions etatiques soutiennent plutot que de la contrer. II estime ainsi que le cinema, qui a perdu son identite, est maintenant une « Industrie culturelle » puisque 1'Etat, qui controle les productions, choisit plutot les films a petits risques financiers. Dans le meme ordre d'idees, il denonce cette « normalisation de 1'imaginaire » et cette « standardisation des formes ». 1473 Spicer called to head CRTC. Cinema Canada no 166 (September 1989) 8. En. Announces that Keith Spicer has been appointed chair of the Canadian Radio-television and Telecommunications Commission. 1474 Masse promises changes in film, but industry people expected more. Globe and Mail (12 September 1989) B28. En. 1475 Canadian government to address long-talked bill declaring distribution sovereignty. Variety 336 (13 September 1989) 1 (2). En. 1476 GST and its impact on the industry. Cinema Canada no 167 (October 1989) 32. En. Examines the possible effects of the proposed Goods and Services Tax on the film and television industry. 1477 CRTC releases annual report. Cinema Canada no 167 (October 1989) 42. En. Describes the activities of the Canadian Radio-television and Telecommunications Commission (CRTC) as reported by former CRTC acting chair. 1478 NFB, OFDC can't agree on wording of contracts. Cinema Canada no 167 (October 1989) 45. En. Describes an impasse between the National Film Board (NFB) of Canada and the Ontario Film Development Corporation regarding the terms of an agreement in which a $25 million fund created by the Department of Communications was to be administered by the NFB for the development and production of film projects initiated by the private sector. 1479 New film bill will test Tory pledge on culture. Toronto Star (11 October 1989) A25. En. 1480 Canadians keen on film legislation. Calgary Herald (19 October 1989) H4. En.

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1481 US will fight film controls, Valenti warns. Toronto Star (20 October 1989) Cl. En. 1482 Ottawa told to back off by Hollywood lobbyist. Montreal Gazette (21 October 1989) H12. En. 1483 Keith Spicer takes over CRTC. Cinema Canada no 168 (November 1989) 5. En. Keith Spicer assumed his job as chair of the Canadian Radio-television and Telecommunications Commission on 1 September 1989. Spicer took over from Andre Bureau who stepped down in March 1989. 1484 Masse set to penalize pirates. Reel West 5 no 1 (December 1989-January 1990) 23. En.

Canadian Broadcasting Corporation / Societe Radio-Canada 1485 Houle, Gisele. « Images en tete » : 1'equipe du film dramatique. Sequences no 24 (fevrier 1961) 31.1 ill, fr. Description de 1'experience de sept jeunes cinephiles lors de la realisation d'un court metrage dramatique pour la television de la Societe Radio-Canada. 1486 Forget, Louis. « Images en tete » : 1'equipe du documentaire. Sequences no 25 (avril 1961) 31-33.1 ill, fr. Description de 1'experience de six jeunes etudiants: Madeleine Martel, Sylvie Gelinas, Raymonde Thivierge, Yves Lafresniere, Serge Grenier et Louis Forget a la realisation d'un film documentaire pour la television de la Societe Radio-Canada. 1487 "Document." Canadian Cinematography no 28 (MayJune 1966) 20. En. Reflects on the cancellation of the Canadian Broadcasting Corporation (CBC) series Document (1963-1966). Mentions films screened in the series including Allan King's Bjorn's Inferno (1964), and Running Away Backwards (1964) and Beryl Fox's One More River (with Douglas Leiterman, 1964) and Mills of the Gods: Viet Nam (1964). Notes the contributions of producer Leiterman. 1488 Ballentine, Richard. Yes, Virginia, there really was a CBC. Take One 1 no 7 (1967) 14-15. En. Describes subtle changes in the mandate of the Canadian Broadcasting Corporation (CBC) that have undermined its services as a production unit and made it more dependent upon productions imported from the United States. Argues that the CBC no longer encourages the documentation of controversial or anti-establishment issues, and that its over bureaucratization has rendered it stagnant. 1489 Phyllistine opened the door to film makers. Canadian Cinematography no 30 (January-February 1967) 8-9,19. 2 ill, En. Discusses the Canadian Broadcasting Corporation (CBC) series Caribou Country (1959-1967) produced in Vancouver, British Columbia. Notes the series was written by Paul St-Pierre and produced and directed by Philip Keatley. The series includes the award-winning films The Edu-

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cation of Phyllistine (1963) and How to Break a Quarter Horse (1966). 1490 McPhedran, Phil. CBC / NABET. Cinema Canada no 2 (May-June 1972) 14-16.1 ill, En. Examines the current strike between the Canadian Broadcasting Corporation (CBC) and the NABET (National Association of Broadcast Employees and Technicians), that is centred around the CBC's desire to take advantage of advanced broadcasting technology and the NABET's fears that such technology will undermine job security. The NABET is demanding some guarantees of job security from the CBC, as well as some input as to how technological changes will be implemented. Argues that neither the CBC nor the NABET have shown sincere interest in the welfare of the viewing public and discusses possible explanations for the public's lack of interest in the dispute. Also discusses possible effects of the strike on other entertainment industry organizations such as the Directors Guild of Canada and the ACTRA (Association of Canadian Television and Radio Artists). Includes an addendum entitled "Communication Gap" that describes how far the CBC and the NABET are from reaching an agreement. 1491 Cox, Kirwan. An open letter to the powers that be at CBC. Cinema Canada no 4 (October-November 1972) 58. En. An open letter by Kirwan Cox, director of the Canadian Filmmakers Distribution Centre in Toronto, Ontario, to the editor of Cinema Canada, that criticizes the Canadian Broadcasting Corporation's (CBC) English language network for its bureaucratic cowardice and censorship and its failure to act as an adequate domestic exhibitory forum for a burgeoning Canadian feature film industry. 1492 Canadian content up on CBC-TV. Cinema Canada no 7 (April-May 1973) 13. En. The Canadian Broadcasting Corporation (CBC) reports that it came close to achieving 70 per cent Canadian content in programming during the 1971-72 fiscal year, and that they are committed to maintaining that quota, to improving the quality of productions, and to remaining a major employer of Canadian talent. 1493 Profile: Hirsch heads CBC drama. That's Showbusiness 2 no 26 (12 December 1973) 6. En. Biographical information on John Hirsch, head of the Canadian Broadcasting Corporation's (CBC) drama department. 1494 Caouette, Marie. Radio-Canada et les producteurs prives : ?a va, mais ga pourrait aller mieux. Le Soleil (28 septembre 1974) D2. ill, fr. 1495 Chesley, Stephen. CBC preview. Cinema Canada no 16 (October-November 1974) 10-11. En. A look forward to the upcoming 1974 fall season on the Canadian Broadcasting Corporation (CBC) network, that will feature an expanded role for the National Film Board (NFB) of Canada and the Canadian Film Development Corporation. States that the CBC plans an increase in current affairs and documentary programming, and that Canadian content will represent 70 per cent of total pro-

gramming, with 95 per cent of that total represented by news and public affairs programs. The appointment of John Hirsch as CBC drama head has resulted in the hiring of many Canadian filmmakers, despite CBC budget cutbacks. 1496 Chesley, Stephen. CBC: Training for "The Peep Show." Cinema Canada no 24 (December 1975-January 1976) 40. En. Discusses the production shake-up by John Hirsch in the Drama Department of the Canadian Broadcasting Corporation (CBC). Hirsch has divided television drama production into two distinct formats, video and film, and has brought in fresh talent, such as directors David Cronenberg, Morley Markson, and Dennis Zahoruk to make experimental dramas. This production decision, regarded as a forum that will allow new directors, writers, and actors to demonstrate their talents, has resulted in the creation of a new series of productions. 1497 Chesley, Stephen. CBC-NFB distribution. Cinema Canada no 24 (December 1975-January 1976) 8. En. Secretary of State Hugh Faulkner announced that the Canadian Broadcasting Corporation (CBC) and the National Film Board (NFB) of Canada will combine resources to distribute CBC TV programs. Under the arrangement, the NFB will transfer video to film so that CBC productions can be circulated through the same outlets as NFB films. 1498 Chesley, Stephen. CBC. Cinema Canada no 24 (December 1975-January 1976) 8. En. Notes the November 1975 completion by the Canadian Broadcasting Corporation (CBC) of The Man Inside (1975), directed by Gerald (Gerry) Mayer, and the CBC filming of The Hecklers (Ian McLaren, 1975), a one-hour documentary on political cartooning in Canada. 1499 Chesley, Stephen. Major Developments. Cinema Canada no 26 (March 1976) 6. En. The budget of the Canadian Broadcasting Corporation (CBC) has been cut by $15 million. Most of the cuts will be accomplished by postponing hardware build-up but over $2 million will come out of programming. 1500 Klady, Len. Manitoba: CBC Winnipeg. Cinema Canada no 28 (May 1976) 14. En. Notes that the Winnipeg, Manitoba affiliate of the Canadian Broadcasting Corporation (CBC) recently telecast the first in a series of locally produced dramas. 1501 Chesley, Stephen. Production. Cinema Canada no 28 (May 1976) 8. En. Notes recent Canadian Broadcasting Corporation (CBC) productions including Beaverbrook (released as Beaverbrook: The Life and Times of Max Aitken, John McGreevy, 1976). 1502 Chesley, Stephen. Odds and ends from the CBC: Farrah Fawcett-Majors in Toronto? Cinema Canada no 37 (April-May 1977) 18. En. Outlines productions plans for a feature film planned by

Canada the Canadian Broadcasting Corporation (CBC). Notes that actor Farrah Fawcett-Majors has expressed interest in the production. 1503 Gray, Jack. The cultural climate: Glacial movements. Cinema Canada no 38-39 Qune-July 1977) 36-37.1 ill, En. Using weather as a metaphor, the cultural climate is assessed in terms of the government's commitment to the arts. Pointing out some of the problems faced by the Canadian Broadcasting Corporation (CBC), it is suggested that if the government intervenes by helping the CBC reevaluate its position and rectify some of the problems, then the government will have affirmed its commitment to the cultural industries. If the government does not take positive action, it is suggested that the future of all the interdependent cultural industries will be at risk. 1504 Chesley, Stephen. CBC presents. Cinema Canada no 41 (October 1977) 9.1 ill, En. Discusses film projects being exhibited or currently under production by the Canadian Broadcasting Corporation (CBC). 1505 Pearson, Peter. Another bias to explore. Cinema Canada no 44 (February 1978) 35-36. En. Peter Pearson comments on the preoccupation with Quebec and francophone Canada in the television programming of Societe Radio-Canada (SRC) and notes that the rest of Canada, which trails culturally behind Quebec by five to ten years, has only recently understood that the Canadian Broadcasting Corporation (CBC) must promote Canadian unity and identity. Warns that in English Canada the CBC must promote Canadian dialogue since the Canadian Film Development Corporation, pursuing a policy of international co-productions, has diluted the definition of Canadian film and destroyed the Canadian film industry as a supplier of Canadian products. 1506 Pratley, Gerald. The whores and the hucksters. Cinema Canada no 44 (February 1978) 36. En. Gerald Pratley contends that the Canadian Broadcasting Corporation (CBC) does not promote Canadian filmmaking on television or radio, seldom mentions Canadian films, and until recently ignored the Canadian Film Awards. A recent CBC program misrepresented the Canadian film industry by concentrating on the co-production Outrageous! (Richard Benner, 1977), emphasizing the American actors starring in Canadian films, and ignoring Montreal, Quebec, as a film production centre. 1507 David, Raymond. Action reaction: b) Radio-Canada n'est pas un mecene. Cinema Quebec 6 no 8 (septembre-octobre 1978) 35. fr. Lettre dans laquelle Raymond David, vice-president et directeur general de la radiodiffusion a la Societe RadioCanada (SRC), repond au cineaste Francois Brault qui 1'accuse d'ignorer les productions quebecoises. David apporte des exemples qui contredisent les propos de Brault. 1508 Surprise a 1'ONF : Lamy quitte pour Radio-Canada. Cinema Quebec 6 no 8 (septembre-octobre 1978) 5.1 ill, fr. Annonce de la demission d'Andre Lamy, commissaire du gouvernement a la cinematographic et president de

163

1'Office national du film (ONF) du Canada, pour un poste de vice-president aux relations avec 1'auditoire a la Societe Radio-Canada (SRC). On parle des consequences de son geste sur 1'avenir de 1'ONF. 1509 Tadros, Jean-Pierre. Andre Lamy quitte 1'ONF pour passer a Radio-Canada. Le Devoir (26 septembre 1978) 12. fr. 1510 Tadros, Jean-Pierre. In nervous Canada, Lamy changes hat (resigns from Film Board). Variety 292 (27 September 1978) 3 (2). En. 1511

Cut-backs severe. Cinemag no 11 (October 1978) 3. En.

1512 C.F.T.A. takes on C.B.C. Cinemag no 12 (November 1978) 2. En. 1513 Robin Spry: CBC cheap with directors. Cinemag 14 (February 1979) 11. En. 1514 Cox, Kirwan. Rearranging the deck chairs on the Titanic : CBC-CRTC. Cinema Canada no 53 (March 1979) 1820. 2 ill, En. 1515 En.

Exports up to 50% : CBC. Cinemag 15 (March 1979) 8.

1516 O'Neil, Pierre. Feu 1'objectivite a Radio-Canada. Le Devoir (28 avril 1979) 2. ill, fr. 1517 Clyne Report: Renewed support to CBC, Pay TV by program soon. Cinemag 17 (1 May 1979) 30. En. 1518 Mercier, Johanne. Silence: Yvan Provencher visionne. Perspectives 21 no 29 (21 juillet 1979) 11-12. fr. Regards sur la carriere d'evaluateur de films a la Societe Radio-Canada poursuivie depuis plus de 20 ans par ce diplome en theologie et en philosophic. 1519 "First step is communicating to all staff the seriousness of our intent" : CBC President. Media Report to Women 7 (1 September 1979) 6. En. 1520 Johnson: CBC needs help now. Cinemag 21 (1 September 1979) 8+. En. 1521 Television: 8% up as CBC programs Canadian. Cinemag 24 (15 October 1979) 6. En. 1522 CBC's top brass receptive to indies ideas. Cinemag 29 (24 December 1979) 8. En. 1523 An actor complains about lies Canadian casting directors tell, the logistics of bit parts, the monopoly of staff actors at the Canadian Broadcasting Co. Variety 301 (14 January 1981) 12. En. 1524 Harrison, John Kent. Inside CBC drama. Cinema Canada no 75 (July 1981) 16-18. 3 ill, En. A series of interviews with several key personalities involved with the Canadian Broadcasting Corporation's (CBC) Drama Department in Toronto, Ontario, including

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department head John Kennedy, and producers Sam Levene, Larry Mirkin, and Robert Sherrin. The interviews address such issues as production decisions, script development, the screening of unsolicited submissions, the split between issue oriented and entertainment oriented producers, television as a producer's medium, the role of the producer within the context of other contributors to a particular project, and the audience response to Canadian television drama. 1525 "Recycled" CBC products sell well overseas. Marketing 86 (3 August 1981) 14-15. ill, En. 1526 Filmmakers criticize CBC for lack of regional support. Halifax Chronicle-Herald (25 August 1981) El. ill, En. 1527 China docu sells well. Cinema Canada no 77 (September 1981) 9. En. Announces that the Canadian Broadcasting Corporation (CBC) has obtained the rights to a Canadian documentary on China to be aired in February or March 1981. Notes that deals for the rights to the film are being developed with other distribution companies. 1528 CBC to stay active in Canadian film market. Marketing 86 (28 September 1981) 34. En. 1529 CBC makes up for lost time, screens independent features in fall. Cinema Canada no 78 (October 1981) 21. En. Lists the nine Canadian films that will be screened by the Canadian Broadcasting Corporation (CBC) in the fall of 1981 and specifies the date each one will be broadcast. Films include Daryl Duke's The Silent Partner (1978), Martyn Burke's State of Shock (1979), Peter Carter's Klondike Fever (1980), Jules Dassin's Circle of Two (1983), Eric Till's Wild Horse Hank (1981), Bob Clark's Murder By Decree (1979), John Guillermin's Mr. Patman (1981), producer Rob Iveson's Title Shot (Les Rose, 1981), and Robin Spry's Suzanne (1980). 1530 CBC Enterprises launched to tap growing audio and video markets. Marketing 86 (9 November 1981) 22. En. 1531 CBC eyes Asian market. Marketing 87 (11 January 1982) 13. En. 1532 Petrowski, Nathalie. «Empire Inc» ou la haute finance anglo-montrealaise: premiere corealisation de CBC et R-C. Le Devoir (20 Janvier 1982) 6.1 ill, fr. 1533 Writers settle dispute with the CBC. Cinema Canada no 82 (March 1982) 10. En. An agreement has been reached regarding a dispute between the Canadian Broadcasting Corporation (CBC) and writers represented by the ACTRA (Association of Canadian Television and Radio Artists). The dispute concerned a clause that allowed the revision of scripts by someone other than the original writer, at the corporation's option. 1534 Dorland, Michael. "Empire Inc." : Telling an anglo tale. Cinema Canada no 83 (April 1982) 46.1 ill, En. An in progress view of Empire Inc. (1982-1983), a multi-

million dollar dramatic television series being produced by the Canadian Broadcasting Corporation (CBC) and directed by Denys Arcand, Mark Blanford, and Doug Jackson. Discusses the focus of the series, a view of the anglophone financial establishment in Quebec, and supplies comments by Arcand and Blanford. Also addressed are the financial state of the film community in general and the organizaton of the shooting. 1535 Hargrave, R. The 1981 Progress Report: Canada. SMPTE Journal 91 no 5 (May 1982) 468-470. 2 ill, En. Outlines technical advancements at the Canadian Broadcasting Corporation (CBC). 1536 CBC makes sales in the south. Marketing 87 (3 May 1982) 3. En. 1537 CBC breaks into video market. Cinema Canada no 9091 (November-December 1982) 7. En. Announces the Canadian Broadcasting Corporation's (CBC) decision to release its dramas on video cassette beginning December 1982. 1538 Adilman, Sid. Canada showbiz report suggests major overhaul. Variety 309 (10 November 1982) 1 (2). En. 1539 Adilman, Sid. Canadian report seeks showbiz revamp : Eyes fatter CFDC, lashes CBC-TV. Variety 309 (17 November 1982) 7 (2). En. 1540 "Empire Inc." to screen. Cinema Canada no 92 (January 1983) 6. En. Announces that the Canadian Broadcasting Corporation (CBC) will telecast the six-part miniseries Empire Inc. (1982-1983). 1541 C Channel / CBC into co-productions. Cinema Canada no 93 (February 1983) 10. En. A deal has been signed between the Canadian Broadcasting Corporation (CBC) and C Channel, the national arts Pay-TV service, to licence programming made for both networks by independent producers. 1542 Lamon, Georges. « Empire Inc » : Ambition, passion, fortune et pouvoir. Tele-Presse (5 fevrier 1983) 5. fr. 1543 CBC responds to women's concerns with 2 major studies and adoption of new policies. Media Report to Women 11 (March-April 1983) 1+ (3p). En. 1544 No more hybrid, CBC producers want Canadianization of net. Cinema Canada no 93 (March 1983) 8. En. A group of Canadian Broadcasting Corporation (CBC) television producers have made public a report prepared for them by a task force of members for the Association of Television Producers and Directors and the Canadian Television Producers and Directors Association. Outlines their concerns and recommendations for the transformation of the CBC into a strong, independent enterprise. 1545 Film-makers urge CBC regional content policy. Winnipeg Free Press (14 March 1983) 18. En.

Canada 1546 CBC faces obscenity trial for airing acclaimed film. Winnipeg Free Press (25 March 1983) 26. En. 1547 CBC relents on anti-nuclear film. Calgary Herald (13 April 1983) E19. En. 1548 Harbury, Martin. The godmother of Canadian independents : An interview with Rena Krawagna. Cinema Canada no 100 (October 1983) 10-12. 3 ill, En. An interview with Rena Krawagna, who has been the program purchasing representative for the Canadian Broadcasting Corporation (CBC) since 1965. Krawagna discusses her methodology for selecting films for the Canadian Reflections program. Having earned a reputation as a risk taker, Krawagna explains why she supports young, independent filmmakers through her work at the CBC and more recently, as a juror on the Ontario Arts Council. Intermixed with the interview are quotes from filmmakers she has helped, including David Cronenberg, Pen Densham, Don Haig, Mark Irwin, Roman Melnyk, Larry Moore, and Paul Saltzman. 1549 CBC to build distinctive programming. Cinema Canada no 102 (December 1983) 31. En. Minister of Communications Francis Fox tabled the policy framework of the Canadian Broadcasting Corporation (CBC) in the House of Commons on 24 October 1983. Entitled "Building for the Future: Towards a Distinctive CBC" its objectives are to encourage the development of a distinctive and predominantly Canadian CBC, strengthen the CBC as a vehicle of Canadian cultural expression, and promote greater efficiency and accountability within the CBC. 1550 Culture agencies' revolving doors. Cinema Canada no 102 (December 1983) 41. En. Announces that Dennis Harvey has been named vicepresident of the English language division at the Canadian Broadcasting Corporation (CBC). 1551 Green, Patricia. Canadians ponder ways to suppress sex taboos on TV. Variety 313 (7 December 1983) 60. En. 1552 Richard, Jules. La grande aventure des marathoniens du super-8 : La Course autour du monde a Radio-Canada. Le Devoir (8 decembre 1983) 13. ill, fr. 1553 CBC prepared to bankroll the independent filmmaker. Toronto Star (3 February 1984) C3. En. 1554 CBC commits $23 M to finance Broadcast Fund productions. Cinema Canada no 105 (March 1984) 26. En. The Canadian Broadcasting Corporation (CBC) announced that it will commit $23 million to independent television productions through the Broadcast Program Development Fund. 1555 34 French language projects ready to go as Juneau announces. Cinema Canada no 105 (March 1984) 27. En. Pierre Juneau announced the Canadian Broadcasting Corporation's (CBC) commitment of $23 million to independent television productions through the Broadcast Program Development Fund. It will mean $9 million in

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support of French language productions, including two finished feature films : Claude Jutra's Le Silence (released under the title La Dame en coulenrs, 1985) produced by Pierre Lamy, and Lea Pool's La Femme de I'hotel (1984) produced by Bernadette Payeur. 1556 Viewers get another look at Ken Welsh and "Empire Inc.." Cinema Canada no 105 (March 1984) 49. En. The Canadian Broadcasting Corporation (CBC) plans to rerun its popular miniseries Empire Inc., (1982-1983). Notes current activities of its star, Ken Welsh. 1557 CBC film cleared of obscenity. Winnipeg Free Press (17 May 1984) 48. En. 1558 CBC acquitted of obscenity charges. Halifax ChronicleHerald (17 May 1984) E2. En. 1559 CBC-TV to screen Nova Scotia-produced film. Halifax Chronicle-Herald (16 June 1984) 41. En. 1560 Rudi Carter to indy post at CBC. Cinema Canada no 110 (September 1984) 51. En. Rudi Carter has been appointed director of independent production for the Canadian Broadcasting Corporation (CBC). 1561 Harcourt to indy production. Cinema Canada no 111 (October 1984) 5.1 ill, En. Nada Harcourt, area head of children's television at the Canadian Broadcasting Corporation (CBC), has been appointed executive in charge of independent production in the CBC's drama department. 1562 CBC-TV showcasing Atlantic filmmakers. Halifax Chronicle-Herald (18 October 1984) E3. En. 1563 CBC programs bring home awards. Globe and Mail (8 November 1984) E3. En. 1564 CBC cuts make indy producers anxious. Cinema Canada no 113 (December 1984) 37. En. The Canadian film and television industry reacts to the $75 million cut-backs at the Canadian Broadcasting Corporation (CBC) and the continued silence of the minister of Communications about film and culture policy. Independent producers are worried the cuts may affect access to the Broadcast Program Development Fund and cause other financial uncertainties, while CBC employees comment that due to such cuts, the future of public broadcasting in Canada is at risk. 1565 Unions join to denounce CBC cuts. Cinema Canada no 113 (December 1984) 40. En. Eight broadcasting unions and guilds representing 15,700 Canadian Broadcasting Corporation (CBC) employees banded together at a press conference on 22 November 1984 to denounce the recently announced CBC budget cuts. 1566 Briefs for postponed CBC hearings. Cinema Canada no 113 (December 1984) 47. En.

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An overview of the briefs submitted to the Canadian Radio-television and Telecommunications Commission (CRTC) by several producer associations on the subject of increased privatization of the Canadian Broadcasting Corporation (CBC), for an upcoming CRTC hearing. The hearing was subsequently postponed to allow the CBC to adjust to its recent budget cuts. 1567 Juneau, Pierre. An Address by Pierre Juneau, President of the CBC, to the Annual Meeting of the Canadian Film and Television Association / Allocution de Pierre Juneau president de la SRC, lors de 1'assemblee generate de 1'Association canadienne de cinema-television. Toronto, Ont: Canadian Broadcasting Corporation, 1985. 13; 15 p, En, fr. Canadian Broadcasting Corporation (CBC) president Pierre Juneau, at the 12 April 1985 annual meeting of the Canadian Film and Television Association, discusses the relationship between the CBC, private filmmakers, and television producers, and emphasizes the necessity to provide Canadian content in French and English programming. Gives a comprehensive line-up of projects underway, including two feature films in English, Jean-Claude Lord's Toby McTeague (1986) and Wendy Wacko's production of Striker's Mountain (Alan Simmonds, 1985), and two French features, line journee en taxi (1982) by Robert Menard and The Dog Who Stopped the War (1984) by Andre Melanc.on. States that CBC commitments to English and French independent producers should result in a cash payment of $15 million. Calls for a united front between private and public producers to provide Canadians with quality and quantity in programming. Lors de 1'assemblee generale de 1'Association canadienne de cinema-television, tenue le 12 avril 1985, M. Pierre Juneau, president de la Societe Radio-Canada (SRC), discute de la relation entre la SRC et les producteurs prives de film et de television, ainsi que de la necessite d'une programmation franchise et anglaise plus canadienne. II enumere quelques-uns des projets en marche du cote de la branche anglophone de la SRC, entre autres, Toby McTeague (1986) de Jean-Claude Lord et Striker's Mountain (1985) d'Alan Simmonds. II parle aussi de 1'effort deploye par la section francophone, illustre par line journee en taxi (1982) de Robert Menard et La Guerre des tuques (1984) d'Andre Melangon. Juneau avance meme des chiffres. Ainsi, la SRC devrait verser quelque 15 millions de dollars aux producteurs prives, et ce, pour 1'annee en cours. Enfin, il convie les producteurs des secteurs prive et public a une union qui permettrait d'offrir aux Canadiens une programmation qui saurait allier la qualite a la quantite. 1568 CBC cutbacks cripple Canadian film industry. Vancouver Sun (2 February 1985) B15. En. 1569 TV policy stresses domestic production: CBC will not receive more money. Globe and Mail (16 March 1985) M4. En. 1570 Henley, Gail. On the record : "For The Record"'s 10 distinctive years. Cinema Canada no 117 (April 1985) 18-21.6 ill, En. An overview of the first ten years of the Canadian Broadcasting Corporation's (CBC) For the Record (1976-1985), a prime time series of dramatic films dealing with social

and political issues including wife abuse, sexual harassment, native peoples' rights, unemployment, and euthanasia. Examines how the series producers have balanced the forms of drama and documentary in For the Record programs, analyses the problems that arose when one form was favoured over the other, and describes the evolution of the series and the changes it has undergone. Includes three addendums : one provides a For the Record filmography; one documents the series' foreign sales; and one lists the awards garnered by For the Record films. 1571 CBC crucial partner in Telefilm productions. Cinema Canada no 117 (April 1985) 35. En. Minister of Communications, Marcel Masse reveals the importance of the production partnership between the Canadian Broadcasting Corporation (CBC) and Telefilm Canada, as stated during his 15 March 1985 announcement of changes to the mandate of Telefilm Canada. 1572 Shuebridge, Tom. In their own words : An interview with Bill Gough and Anna Sandor. Cinema Canada no 119 (June 1985) 8-10. En. An interview with writer Anna Sandor and producer Bill Gough, which focuses on their most recent project, the Canadian Broadcasting Corporation (CBC) production of the critically acclaimed Charlie Grants War (1984). Sandor and Gough discuss the overwhelming success of Charlie Grants War in Canada, the difficulties they experienced while attempting to interest the CBC in the project, their past television projects, and the working dynamic they share as a husband and wife production team. Sandor and Gough discuss the possibility of working in the feature film industry. 1573 Two CBC films win top prize. Vancouver Sun (12 June 1985) C18. En. 1574 Shields, Roy. CBC gets down to business. Financial Post 79 (31 August 1985) 14. ill, En. 1575 CBC/various unions headed for conflict. Cinema Canada no 122 (September 1985) 43. En. The Canadian Broadcasting Corporation (CBC) is facing labour disputes as it enters contract negotiations with its major bargaining units. Examines in depth, the current negotiations between the CBC and the NABET (National Association of Broadcast Employees and Technicians). 1576 Producers object to CBC building. Cinema Canada no 123 (October 1985) 59. En. The Canadian Film and Television Association has expressed its concern over the Canadian Broadcasting Corporation's (CBC) plans for the Broadcast Centre Development, stating that the centre's focus on production will present serious competition to private sector production and post-production companies. 1577 Chartier, Jean. N'ont pas 1'ampleur vecue a RadioCanada. Le Devoir (8 novembre 1985) 11. fr. 1578 CBC gathers prizes in NY. Cinema Canada no 126 Qanuary 1986) 58. En. Reports that the Canadian Broadcasting Corporation

Canada (CBC) walked away with eight medals from the International Film and TV Festival in New York City, New York. 1579 CBC (B.C.) honours young filmmakers. Reel West 1 no 5 (February 1986) 4. En. 1580 Let's read it! Reel West 1 no 5 (February 1986) 6. En. 1581 CBC Telefest judges entries from film/video students in Ontario. Cinema Canada no 131 (June 1986) 62. En. Reports on the winners of the Canadian Broadcasting Corporation's (CBC) Telefest '86, where students from 21 Ontario colleges and universites were recognized for their work in animation, video, and radio. Winners are listed for each category. 1582 CBC crew on the waterfront: TV movie about drug deals, biker gangs and the mafia combines fact and fiction. Toronto Star (1 November 1986) G3. En. 1583 Alioff, Maurie; Levine, Susan. Catherine Richards and the images without light. Cinema Canada no 136 (December 1986) 11-12. 2 ill, En. Discusses a new system of creating cameraless, computer generated images, described by project director and senior consultant on new imaging systems of the Canadian Broadcasting Corporation (CBC) Strategic Engineering Department Catherine Richards, as the formation of images without light. Richards discusses the scientific inception of this system, its current and widespread usage, and the future possibilities. 1584 Regional drama boost. Reel West 2 no 5 (May-June 1987) 27, 39. En. 1585 Regional commitment in 1/2 h dramas. Cinema Canada News Update no 5 (1 June 1987) 5. En. The Canadian Broadcasting Corporation (CBC) will invest $1.8 million into the production of 26 one-half hour dramas by regional independent producers across Canada in 1988-89. Independent filmmaker, Stephen Onda, a member of the Alliance of Canadian Regional Motion Picture Industry Associations, which lobbied for the funds, evaluates the CBC's regional objectives. 1586 Clarke, Greg. The designer behind the art of "The King Chronicle." Cinema Canada no 149 Qanuary 1988) 2022. En. Reprinted in Cinema Canada no 149 (February 1988) 22-24. An interview with Canadian Broadcasting Corporation (CBC) veteran art director Robert Hackborn. Hackborn discusses his pioneering matte work, his experiments in perspective, the craft of set design, and his work as art director for Donald Brittain's three-part film series The King Chronicle (1988), which was co-produced by the CBC and the National Film Board (NFB) of Canada. 1587 Fecan casts Armstrong at CBC. Cinema Canada no 150 (March 1988) 56.1 ill, En. Announces that casting director Maria Armstrong will join the Canadian Broadcasting Corporation (CBC) as head of talent.

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1588 Krawagna, the godmother, gets due promotion. Cinema Canada no 154 (July-August 1988) 40.1 ill, En. Announces the promotion of Rena Krawagna to program adviser in the Canadian Broadcasting Corporation (CBC) independent productions office. 1589 Producers with sponsors wanted. Reel West 4 no 4 (June-July 1989) 22. En.

Canadian Film Development Corporation / Societe de developpement de 1'industrie cinematographique canadienne 1590 Moving the mountain. Canadian Cinematography no 24 (September-October 1965) 6. En. Announces that after a 14-month wait, the government plans to assist the Canadian feature film industry through a proposal that will establish a crown corporation with a $10 million investment. 1591 LaMarsh, Judy. Close-Up on Bill C-204. Take One I no 1 (September-October 1966) 4-5. En. 1592 Canadian Film Development Corporation. Annual Report. Ottawa, Ont: Canadian Film Development Corporation, 1967. En. Excerpts reprinted in Documents in Canadian Film, edited by Douglas Fetherling, 127-134. Peterborough, Ont: Broadview Press, 1988. The first annual report in 1967 of the Canadian Film Development Corporation (CFDC) surveys the conditions responsible for an inactive feature film industry in Canada, government investigation and legislation from 1964 to 1967, and the formal birth of the CFDC in 1968. Lists the objects and powers of the CFDC, mandated to foster and promote the feature film industry in Canada. Notes that its primary roles are to create an interactive community of directors, producers, and distributors, invest or make loans for film projects, and provide producers with access to legal and administrative information. 1593 Bonneville, Leo. $10,000,000. Sequences no 49 (avril 1967) 2-3. fr. Reactions et commentaires face a 1'adoption du projet de loi C-204 par le gouvernement federal qui institue une « Societe de developpement de 1'industrie cinematographique canadienne de films de long metrage». Cette societe possedera une enveloppe budgetaire de dix millions de dollars qui sera versee sous forme de prets, de subventions ou de placements octroyes a des productions ou il y aura une majorite de Canadiens. 1594 The hand that needs an iron glove. Cinema Canada no 33 (November-December 1967) 3. En. Questions the decision makers involved with the Canadian Broadcasting Corporation (CBC) and National Film Board (NFB) of Canada co-productions The Ernie Game (Don Owen, 1967), Waiting for Caroline (Ron Kelly, 1967), and The Paper People (David Gardner, 1967). Hopes that the Canadian Film Development Corporation will learn from the failure of these films.

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1595 The film makers are waiting, waiting... Cinema Canada no 33 (November-December 1967) 3. En. Comments on the delay in establishing the Canadian Film Development Corporation (CFDC). Notes the delay has been attributed to an inability to find adequate people to run the CFDC since anyone currently involved with the feature film industry are ineligible. Mentions some of the decisions the CFDC will have to make when it is finally formed. 1596 Canadian Film Development Corporation / Societe de developpement de 1'industrie cinematographique canadienne. Annual Report / Rapport annuel. 1969 / 19701982 / 1983. Annual. Continued by Telefilm Canada. Annual Report / Telefilm Canada. Rapport annuel. Montreal, Quebec : Canadian Film Development Corporation / Societe de developpement de 1'industrie cinematographique canadienne, 1969-1983. ill, En, fr. The Canadian Film Develpment Corporation (CFDC) report of its annual expenditures for the fiscal years April 1969 to April 1983 is introduced each year with remarks by the chair. Issues discussed include : the international feature film market, the limitations and successes of the Canadian industry, pre-production, production, distribution, and exhibition activities and funding, co-production agreements, successful films that received grants, changes to the administration, totals for English and French language productions, and objectives and strategies for promoting co-production, private investments, and new program assistance. Each annual report includes tables noting funding for exhibition, distribution, and feature film production, statements of operating expenses and changes in financial positions, and a listing of films produced with CFDC assistance. The 1969-70 and 1970-71 reports reprint the objects and powers of the corporation as defined in Section 10 of the CFDC Act. Rapports annuels de la Societe de developpement de 1'industrie cinematographique canadienne (SDICC) couvrant la periode d'avril 1969 a avril 1983. Chacun de ces rapports comporte un mot du president de la SDICC sur la situation de 1'industrie cinematographique canadienne, ainsi qu'un bilan de 1'industrie Internationale du long metrage precisant la place de la production canadienne et les perspectives d'avenir pour celle-ci. On trouve la liste des activites au niveau de la pre-production, de la production, de la distribution et de 1'exploitation. On enumere les changements administratifs et les nominations a la tete des differents comites. Les auteurs font la liste des maisons de production et des longs metrages, tant francais qu'anglais, qui ont recu des subventions de la SDICC, des films primes qui ont recu 1'appui de cette societe, des ententes realisees dans le cadre des coproductions et, enfin, des objectifs et des strategies pour promouvoir les coproductions, les investissements prives et les nouveaux programmes d'aide a la production. Dans ces rapports, on trouve des tableaux ou 1'on note les differents fonds octroyes pour 1'exploitation, la distribution et la production de longs metrages. D'autres tableaux illustrent 1'etat des finances annuelles de cette societe. Les rapports de 1969-1970 et de 1970-1971 publient les objets et pouvoirs de la SDICC selon 1'article 10 de la Loi sur la Societe de developpement de 1'industrie cinematographique canadienne.

1597 Pratley, Gerald. In and Out of Cinema. Cinema Canada no 37 (January-February 1969) 5-6. En. Looks at the issue surrounding the failure of the Canadian Film Development Corporation (CFDC) despite a $10 million loan from the government of Canada. Outlines the recommendations made in a brief to the Commons Committee on Broadcasting, Films and Assistance to the Arts that calls for removal of Georges-Emile Lapalme and Michael Spencer from the corporation. Also sums up the general condition of the Canadian film industry placing part of the blame for the problems on Judy LaMarsh and criticizes comments by Gerard Pelletier for wanting to export Canadian talent when they are increasingly moving abroad. Outlines government spending estimates for the 1969-70 fiscal year of the CFDC and questions CFDC activities. Announces that a special public relations officer is about to be appointed to the National Film Board (NFB) of Canada. 1598 Cameron, William. You helped finance the creation of a big, dumb Frankenstein. Maclean's 83 no 6 (June 1970) 79-80. 3 ill, En. Explains how the Canadian Film Development Corporation (CFDC) provides financing for Canadian filmmakers in order to stimulate domestic film production. Compares the CFDC with the Canadian Radio-television Commission (CRTC) which regulates broadcasting licences. Notes that the CRTC will only consider a filmmaker's application once a distributor has committed to the project, thus raising alarm over continued American control in the Canadian film industry because most Canadian distribution houses are tied to American parent bodies. Praises the CFDC's decision to support David Cronenberg's Stereo (1969) and Morley Markson's Zero the Fool (released under the title The Tragic Diary of Zero, the Fool, 1970), yet questions the wisdom behind the participation in producer William Marshall and filmmaker Gilbert Taylor's Flick (1970). 1599 La SDICC et... le cinema : Jacques Godbout. Cinema Quebec 1 no 4 (octobre 1971) 8-9. fr. Entrevue avec le cineaste Jacques Godbout qui donne son point de vue sur la Societe de developpement de 1'industrie cinematographique canadienne (SDICC). II explique egalement les relations entre la SDICC et d'autres organismes cinematographiques comme 1'Office national du film (ONF) du Canada et le Conseil des Arts du Canada. 1600 La Societe de developpement de 1'industrie cinematographique canadienne. Cinema Quebec 1 no 7 (janvierfevrier 1972) 14-15. fr. Bilan de la Societe de developpement de 1'industrie cinematographique canadienne depuis sa creation en 1967 alors que 1'on voulait favoriser la creation et le developpement du long metrage canadien. On souligne que cette societe a investi dans plus de 70 longs metrages en tant que societe d'aide, qu'elle a provoque, en quatre ans, un investissement global d'environ 27 millions de dollars dans 1'industrie du long metrage au Canada et on decrit son apport dans la distribution et 1'exploitation des films canadiens et dans le domaine de la coproduction. 1601 CFDC Grants. Cinema Canada no 1 (March 1972) 5. En.

Canada States that the Canadian Film Development Corporation (CFDC) has announced a competition for grants to assist aspiring feature filmmakers in English Canada. Describes the criteria for the selection of the CFDC grant recipients. 1602 Exchange of letters within the CSC concerning the CFDC. Cinema Canada no 2 (May-June 1972) 35. En. Reprints letters exchanged between Robert H. (Bob) Brooks and Wally Gentleman, both of whom are members of the Canadian Society of Cinematographers and both of whom were at one time members of an advisory group to the Canadian Film Development Corporation (CFDC). These letters reveal Brooks and Gentleman's opposing views on the usefulness of the CFDC. 1603 Gathercole, Sandra. We're asking the wrong question. Cinema Canada no 2 (May-June 1972) 36-39,48. En. States that of all the film producing nations in the world, only Canada and the United States are without a quota system or a means of controlling the number of foreign film exhibited on domestic screens. Maintains that while the Canadian Film Development Corporation (CFDC) has sparked an increase in the number of Canadian films being produced, the key issue of the modes of distribution of those films has been neglected. In 1969, for example, of the 669 films exhibited in commercial Canadian cinemas, only ten were Canadian produced. Two major theatre chains, the foreign owned and controlled Famous Players and Odeon Theatres, monopolize the distribution system. The CFDC has contributed to the problem by focussing on film distribution through television, rather than theatrical release, thereby condemning Canadian films to commercial failure. Describes the broadly based coalition consisting of members of the Canadian film community, and the coalition's endorsement of a set of proposals for a new Canadian film policy developed by the Toronto, Ontario based Toronto Filmmakers Co-op and presented to the Department of the Secretary of State. The proposed Canadian film policy calls for greater government involvement and support of the Canadian film industry. 1604 Canadian Film Development Corporation. Cinema Canada no 2 (May-June 1972) 5. En. States that the Canadian Film Development Corporation recently announced the winners of its competition for grants to assist in the completion of films currently in production and provides a list of the grant recipients. 1605 Canadian Film Development Corporation. Cinema Canada no 3 (July-August 1972) 8. En. Describes how the Canadian Film Development Corporation has recently tightened up the availability of its financial backing by rejecting most applications for funding and subjecting those productions awarded funds to budgetary and script changes. 1606 New Toronto head for CFDC. Cinema Canada no 3 (July-August 1972) 9. En. Announces that Ted Rouse, formerly of Robert Lawrence Productions and RABKO, has been appointed head of the Toronto, Ontario office of the Canadian Film Development Corporation.

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1607 CFDC gives green light to some, not many. That's Showbusiness I no 17 (21 July 1972) 1,5. En. Results of the June 1972 meeting of the Canadian Film Development Corporation at which most applicants for grants were refused. Notes the accepted proposals. 1608 New CFDC fund to help low-budget feature films. Cinema Canada no 4 (October-November 1972) 6. En. Discusses the implementation of a fund of $600,000 per annum by the Canadian Film Development Corporation for the production of low budget feature films and describes the fund's application criteria. 1609 Koller, George Csaba. West coast CFDC grants still available. Cinema Canada no 5 (December 1972-January 1973) 6. En. Announces the winners of the Canadian Film Development Corporation West Coast feature film grant competition. Peter Bryant, Zale R. Dalen, Bix Milanich, and Richard Patton were awarded grant money. 1610 Koller, George Csaba. CFDC investing in four lowbudget features. Cinema Canada no 5 (December 1972-January 1973) 6. En. Announces that the Canadian Film Development Corporation has established an annual fund of $600,000 for films with budgets of under $100,000. Don Owen's Rosedale Lady (1972), Jack Cunningham's Peep (1973), Jean-Guy Noel's Tu brides... tu brides... (1973), and Andre Forcier's Bar Salon (1975) will receive production grants from the new fund. 1611 La SDICC. Cinema Quebec 2 no 9 (1973) 29-30.1 ill, fr. Bilan des activites de la Societe de developpement de 1'industrie cinematographique entre 1967 et 1973. On rappelle 1'origine de sa creation avant d'analyser sa contribution a 1'investissement, a la production, a la distribution et a 1'exploitation dans 1'industrie cinematographique canadienne. 1612 Expose des politiques de la SDICC en matiere d'investissements. Cinema Quebec 2 no 9 (1973) 31.1 ill, fr. Description des politiques de la Societe de developpement de 1'industrie cinematographique canadienne en matiere d'investissements. On explique les deux categories de longs metrages qui sont prises en consideration par la Societe et, pour chaque categoric, on enumere les criteres d'acceptation. 1613 CFDC annual report tabled in Commons. Canadian Film Digest (January 1973) 1. En. Synopsis of the 1972-73 Canadian Film Development Corporation's annual report. 1614 Germain, Georges-Hebert. La Societe de developpement de 1'industrie cinematographique canadienne. La Presse (6 Janvier 1973) Cll. fr. 1615 Tadros, Jean-Pierre. C'est avec un optimisme mesure que la Societe de developpement de 1'industrie cinematographique canadienne (SDICC) voit 1'avenir de

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1'industrie du long metrage de fiction au Canada. Le Devoir (31 Janvier 1973) 13. fr. 1616 Gelinas, Gratien. C.F.D.C. Annual Report. Cinema Canada no 6 (February-March 1973) 36, 72. En. A transcript of the Canadian Film Development Corporation (CFDC) chair's report to the Department of the Secretary of State, submitted along with the CFDC's annual report for 1971-72. The chair's report summarizes the results of the year's activities, citing an increase in investment by both the CFDC and private investors, a decrease in investment in Canadian productions by foreign investors, an increase in the number and variety of facilities for the distribution and exhibition of films, and the sum total of production grant monies allocated for feature and low budget films. The report concedes that most financial assistance went to larger cities such as Montreal, Quebec, Toronto, Ontario, and Vancouver, British Columbia, where the film industry is more developed, and concludes with the suggestion that government assistance should concentrate on the production of feature drama for television in order to access the widest possible audience. 1617 Koller, George Csaba. CFDC announces investment in six new low-budget feature films. Cinema Canada no 6 (February-March 1973) 6.1 ill, En. The Canadian Film Development Corporation announces that it will invest in the following low budget features: Paul Lynch's The Hard Part Begins (1974), Robbie Malenfant's Moss Tarts (1973), Morley Markson's Kitting Time (released as Monkeys in the Attic, 1975), Michel Bouchard's Blanc noel (released as Noel et Juliette, 1973), Jean Cousineau's L'lle jaune (1975), and Jean Pierre Lefebvre's On n'engraisse pas les cochons a I'eau claire (1975). 1618 Koller, George Csaba. Canadian Film Development Corporation's annual report. Cinema Canada no 6 (FebruaryMarch 1973) 6-7. En. Discusses the Canadian Film Development Corporation's annual report that revealed discrepancies with regards to statistics on feature funding and audience decline, but reported an increase in employment opportunities. 1619 CFDC funds final three shorts in West Coast grant competition. Cinema Canada no 7 (April-May 1973) 6. 2 ill, En. Lists winners of the West Coast grant competition for the production of short films sponsored by the Canadian Film Development Corporation. 1620 CFDC accepts only one out of thirty-three low budget projects. Cinema Canada no 8 (June-July 1973) 6.1 ill, En. States that the Canadian Film Development Corporation has accepted only one feature film project, Jack Darcus's Wolfpen Principle (1974) under its special investment program for low budget feature films. 1621 CFDC is having a good year... Cinema Canada no 9 (August-September 1973) 6. En. States that the three feature film projects presently assured of Canadian Film Development Corporation (CFDC) financing are Ted Kotcheff's The Apprenticeship of Duddy Kravitz (1974), Jean-Claude Lord's Bingo (1974),

and Andre Brassard's // etait unefois dans I'Est (1974). Also states that the CFDC is encouraged by the returns on its previous investments, particularly from those films produced in Quebec. 1622 Koller, George Csaba. Another long winter before CFDC funding. Cinema Canada no 10-11 (October 1973-January 1974) 8. En. Discussion with Ted Rouse, Toronto director of the Canadian Film Development Corporation (CFDC), about the CFDC's allocation of funding in its $100,000 low budget category, which so far has been responsible for funding ten films. None have been distributed to date because of post-production work or their 35mm format. CFDC policy requires that productions be shot in 16 mm and be distributed on non-commercial circuits. Also notes protests by Richard Leiterman, representing the Council of Canadian Filmmakers, against the CFDC's proposed plan to fund movies for television, which the council feels will harm filmmaking in Canada. 1623 Low-budget grants. That's Showbusiness 3 no 1-2 (16 January 1974) 3. En. Announcement of new requirements for Canadian Film Development Corporation financed low budget features. 1624 Koller, George Csaba. CFDC annual report optimistic but cautious. Cinema Canada no 12 (February-March 1974) 6-7.1 ill, En. An overview of the 1972-73 Canadian Film Development Corporation (CFDC) annual report. States that the report reflects the CFDC's optimism, despite the fact that, when chartered banks began to invest in large budget feature films in 1972 and 1973, the CFDC dropped the distribution requirement for its low budget feature category resulting in many undistributed films which will likely never recoup their costs. The CFDC also announced that it will take into account a producer's ability to stay under budget when allocating funds, and maintains that Quebec films have shown the greatest chance of recouping their investment on the domestic market, while the success of Canadian films at international festivals has been encouraged by the federal government's creation of an office responsible for film festivals in 1972. Questions the CFDC's plans to support made for television movies, arguing that there is less concern for artistry and quality in the television medium, and cites the success of Quebec films in Quebec to argue that film production in English Canada could generate more revenues for the CFDC than television distribution. 1625 Gelinas, Gratien. Congres de 1'APFQ: les fridolinades de papa Ottawa. Cinema Quebec 3 no 6-7 (avril-mai 1974) 20-25. fr. Allocution de Gratien Gelinas, president de la Societe de developpement de 1'industrie cinematographique canadienne, au congres annuel de 1'Association des producteurs de films du Quebec en avril 1974. 1626 Koller, George Csaba. CFDC going ahead with lowbudget programme. Cinema Canada no 13 (April-May 1974) 6-7. 2 ill, En. Briefly discusses low budget feature film productions that

Canada have recently received funding from the Canadian Film Development Corporation (CFDC). As part of the CFDC's low budget program, projects receive 60 per cent of the production costs with total expenses not to exceed $115, 000. States that only two major, high budget features are presently receiving funding from the CFDC. 1627 Koller, George Csaba. Productions : Recent / current / imminent. Cinema Canada no 14 (June-July 1974) 7-10. 1 ill, En. Reports the recent decrease in the number of projects accepted by the Canadian Film Development Corporation (CFDC) for funding, and questions the criteria set by the CFDC as to what constitutes a good Canadian film. Criticizes the private sector for its greedy actions, which often results in the formation of temporary production companies that cease operations after only one production. Reports on various high and low budget feature films recently completed or in various stages of production. Harold Greenberg, head of Astral Bellevue Pathe has announced plans for five new projects which will be coproduced with American interests. 1628 La SDICC, plus genereuse mais aussi plus selective. Le Devoir (16 septembre 1974) 10. fr. 1629 CFDC ups low-budget. That's Shoivbusiness 3 no 21 (9 October 1974) 1,7. En. The Canadian Film Development Corporation announces it has increased the maximum cost of entries in its low budget feature film category to $125,000 1630 Daigneault, Claude. Le rapport de la SDICC: un enthousiasme bien «Canadian». Le Soleil (21 decembre 1974) D3. fr. 1631 Spencer, Michael D. The Canadian Film Development Corporation. Journal of the University Film Association 27 no 3 (1975) 64-66. En. Discusses the issue of government financing in the feature film industry, focussing on the Canadian Film Development Corporation (CFDC) as Canada's solution to the need for government involvement in establishing an indigenous film industry. Describes the formation of the CFDC and its mandate, arguing that while Canadian distributors and exhibitors, particularly those in Quebec, have benefited from CFDC investments, talented producers and directors funded by the CFDC have not been able to make more than one film because their first films did not garner adequate financial return. Examines how the CFDC makes funding decisions and how the corporation implements its investments, and stresses that the real basis for government aid to the film industry should be in its control of the box office. States that the CFDC faces the problem of a diminishing market for Canadian films, and that it will require greater flexibility if it is to help the national film industry face future challenges. Predicts that the Canadian film industry will have to distribute foreign films as a way of acquiring capital to produce the occasional Canadian feature film. 1632 CFDC to sub four features. That's Showbusiness 4 no 15 (30 July 1975)1. En.

171

1633 CFDC funds on ice till film policy. That's Showbusiness 4 no 17 (27 August 1975) 1,7. En. 1634 Link, Andre. Delaney's dreary denegration. Cinema Canada no 22 (October 1975) 24. En. Andre Link of the production company Cinepix responds to an article by Marshall Delaney in the September 1975 issue of Saturday Night magazine, in which Delaney berates the Canadian Film Development Corporation (CFDC) for funding David Cronenberg's The Parasite Murders (1975). Link expresses his concerns over continual criticisms of the CFDC by the Canadian intellectual community, a practise he finds potentially harmful to the development of the Canadian film industry, and describes Delaney's article a misrepresentation of the facts, as showing questionable judgement, and as vile, vicious, and opportunistic. 1635 Chesley, Stephen. Major Developments. Cinema Canada no 23 (November 1975) 8. En. Reports on a meeting of the Canadian Film Development Corporation Advisory Committee which was held to reassure the film community that the new federal film policy, as recently announced by secretary of State Hugh Faulkner, is in the best interest of Canadian film industry. Also discusses the implications for the film industry of the departure of nationalist Pierre Juneau from the Department of Communications. 1636 Chesley, Stephen. CFDC. Cinema Canada no 24 (December 1975-January 1976) 8. En. Announces that the Canadian Film Development Corporation (CFDC) received an interim financing package worth $5 million from the Department of the Secretary of State on 10 November 1975, to last until March 1977. Several unanswered questions remain on the issue of the CFDC mandate and where the budget allocation will be spent. 1637 Lister, Ardele. Canadian Film Development Corporation. Criteria 2 no 1 (February 1976) 5-6, 8. En. An interview with Michael Spencer, executive director of the Canadian Film Development Corporation (CFDC). Provides a brief history of the CFDC, describes how its representatives are chosen, and discusses the CFDC's mandate as indicated by the CFDC Act, the corporation's policy regarding the categorization of commercial and artistic projects, and the CFDC funding policy. Also discusses the CFDC's development of a distribution policy, the role of quotas and levies in Canadian film culture, the possibility for the CFDC to fund short films, Quebec film culture, and what constitutes an essentially Canadian film. Refers specifically to Peter Pearson's Paperback Hero (1973), Michel Brault's Les Ordres (1974), Claude Jutra's Kamouraska (1973), and to the work of Don (Donald) Shebib and Gilles Carle. 1638 Annual CFDC report. Cinema Canada no 33 (December 1976-January 1977) 10. En. Highlights the Canadian Film Development Corporation (CFDC) annual report for national investment in both English and French productions between 1975 and 1976. While investing more money in production, fewer films

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were actually made. This drop in production was suffered almost entirely by French films, with only a small decrease in the number of English film productions. While CFDC revenues dropped in this time period, main sources of revenue came from foreign sales of Kamouraska (Claude Jutra, 1973), Death Weekend (William Fruet, 1976), Black Christmas (Bob Clark, 1974) and The Apprenticeship of Duddy Kravitz (Ted Kotcheff, 1974). The total amount invested by the CFDC was $5.9 million, a decrease of $2.2 million from the previous year. 1639 Chesley, Stephen. CFDC invests in first pic made on foreign soil. Cinema Canada no 33 (December 1976-January 1977) 11.1 ill, En. Brief information on the Canadian Film Development Corporation's first investment in a feature film outside of Canada (working title Where the Wind Blows, released under the title Fidl Circle, Richard Loncraine, 1978). 1640 Canadian Film Development Corporation in 1976. Canadian Film Digest (December 1976) 61-64. En. 1641 Tadros, Jean-Pierre. La SDICC survivra malgre une importante reduction de budget. Le Devoir (15 decembre 1976) 15. fr. 1642 CFDC 76-77: Alternatives tried. Trade News North 1 (1977) 8. En. 1643 Chesley, Stephen. CFDC carries on. Cinema Canada no 34-35 (February 1977) 11. En. Outlines the temporarily undefined financial relationship between the federal government and the Canadian Film Development Corporation (CFDC). Notes the CFDC's preferance for, and pursuit of, foreign co-productions. 1644 Canadian cinema, how does the CFDC decide who qualifies. Vancouver Sun (11 March 1977) 27. En. 1645 Ottawa Bab's movie record "disastrous." Toronto Star (14 April 1977) F7. En. 1646 CFDC moves to tighten policy on investments. Boxoffice 111 (13 June 1977) E4. En. 1647 Filmmakers demand new minister for CFDC post. Vancouver Sun (23 August 1977) 29. En.

ments, including the implementation of co-production agreements, comprehensive definitions of Canadian film, and tax advantages for investments in Canadian film. Includes excerpts from telegrams that reflect the reaction of the Canadian filmmaking community to the Department of the Secretary of State's replacement of Spencer with Michael McCabe. 1651 Gelinas looks back on ten years as CFDC head with satisfaction. Boxojfice 113 (10 April 1978) Kl. En. 1652 Extra $1M to CFDC film aid plan revealed. Montreal Star (12 April 1978) B12. En. 1653 En.

New CFDC boss. Trade News North 6 (May 1978) 4.

1654 Dzeguze, Kaspars. New proof that nice guys finish last. Maclean's 91 no 10 (15 May 1978) 86-87.1 ill, En. Criticizes secretary of State John Roberts's decision to replace the executive director of the Canadian Film Development Corporation, Michael Spencer, with Michael McCabe, a politician with no experience in film. Defends Spencer's abilities, and argues that McCabe will not be able to improve upon Spencer's record until government assistance is provided for distribution of Canadian films. 1655 Changes needed in Cannes set-up. Trade News North 7 0une 1978) 15. En. 1656 CFDC TV study urges access and quality. Trade News North 8 (July 1978) 6. En. 1657 CFDC director tells fimmakers "shape up." Boxoffice 113 (31 July 1978) K6. En. 1658 Lazarus, Charles. Canadian Film Development Corporation unveils new tack of bankrolling features with international box office impact. Variety 292 (30 August 1978) 7+ (2). En. 1659 Agnew, J. W. New financing hypes Canadian production. Boxojfice 113 (25 September 1978) K8. En. 1660 McCabe explains CFDC's cash policy. Cinemag 12 (November 1978) 3. En.

1648 CFDC future to be laid on line. Vancouver Sun (4 October 1977) C3. En.

1661 New policies of CFDC are assisting growth of feature film production. Boxojfice 114 (27 November 1978) K4. En.

1649 Film-makers pan CFDC plan. Montreal Star (6 March 1978) A10. En.

1662 Profiles on CFDC appointees. Cinemag 13 (December 1978) 7. En.

1650 Pearson, Peter. Michael Spencer: A vote of thanks. Cinema Canada no 46 (April-May 1978) 38-41.1 ill, En. Summarizes the contributions of Michael Spencer to the Canadian film industry during his ten years as executive director of the Canadian Film Development Corporation (CFDC) in light of his retirement from the CFDC in May 1978. Notes the Canadian filmmaking community's ambivalent view of his activities and cites his accomplish-

1663 McCabe wins kudos for the economic recovery of Canadian film industry. Boxojfice 114 (11 December 1978) K4. En. 1664 Fragile Canadian films still need finances. Boxojfice 114 (1 January 1979) K2-3. En. 1665 Director of Film Development Corp. is aiming for world movie markets. Boxojfice 114 (15 January 1979) Kl. En.

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1666 Annual report closes C.ED.C. decade. Cinemag 14 (February 1979) 6. En.

1684 CFDC says film production could double previous year's. Boxoffice 115 (17 September 1979) 7. En.

1667 Perreault, Luc. Le defi de Michel Vennat: creer une Industrie viable. La Presse (3 fevrier 1979) E14. ill, fr.

1685 Adilman, Sid. In Canada's Eden, some rotten apples. Variety 296 (24 October 1979) 5 (2). En.

1668 Visit to H'wood by Vennat and McCabe raises awareness of Canadian film. Boxoffice 114 (12 February 1979) K1+. En.

1686 Lazarus, Charles. McCabe a hero, but not perfect. Variety 296 (24 October 1979) 5 (2). En.

1669 La SDICC participe a 23 projets quebecois. Le Devoir (28 fevrier 1979) 8. fr. 1670 "Canada did" for producers and feds. Cinemag 15 (March 1979) 3+ (2). En. 1671 Vennat rebuked and defended for stress on "internationalism" and away from "provincialism." Variety 294 (21 March 1979) 4. En. 1672 Expenditures double as feds aim at Cannes face-lift. Cinemag no 17 (1 May 1979) 20+ (2). En. 1673 Canada's 1978 film boom may echo in '79 : McCabe. Variety 294 (2 May 1979) 3 (2). En. 1674 $6.3 million invested by CFDC. Victoria Times (4 May 1979) 10. En. 1675 Adilman, Sid. Canadian government sez Cannes-do to pix biz. Variety 295 (9 May 1979) 449. En. 1676 Boom in Canadian film production spurs optimism from CFDC head. Boxoffice 115 (21 May 1979) K3. En. 1677 Green, Earl. Conservatives' objective: People-topeople "dialog" instead of government "monolog." Variety 295 (6 June 1979) 6 (2). En. 1678

Sales top 20 million. Cinemag 19 0uly 1979) 2. En.

1679 CFDC to recoup second for some French productions. Cinemag no 19 (July 1979) 4. En. 1680 Adilman, Sid. Canada not hiding star-light anymore. Variety 295 (11 July 1979) 5. En. 1681 Producers respond to CFDC policy. Cinemag 20 (August 1979) 13. En. 1682 Newman, Peter C. The lively roadrunner in a safari jacket: Mike McCabe hustles his cinematic creed. Maclean's 92 no 33 (13 August 1979) 3. En. Michael McCabe, executive director of the Canadian Film Development Corporation, is credited with increasing Canadian film production to a highly competitive level, believing that the only way to compete in the domestic market is to utilize international co-production and high profile stars. 1683 Film Development Corporation names new deputy director. Boxoffice 115 (27 August 1979) 8. En.

1687 Vennat, prods woo Latins. Cinemag 26 (12 November 1979) 7+ (2). En. 1688 Adilman, Sid. Canada sets a pic production mark: $150-mil in '79. Variety 297 (21 November 1979) 1 (2). En. 1689 Financial report missing from testimony. Cinemag 27 (26 November 1979) 3+. En. 1690 Miller, Robert Edwin. The Canadian Film Development Corporation Promoting the Feature Film Industry in Canada. Ph.D. dissertation. Los Angeles, Calif: University of Southern California, 1980. 321 p, bibl, En. This thesis studies the conditions of the Canadian feature film industry using documents from government legislation and the Canadian Film Development Corporation (CFDC), historical data, and interviews. Chapter 1 outlines the purpose, significance, and methodology for documenting the forces inhibiting the growth of film production in Canada, describes the creation and evolution of CFDC policies, and evaluates the current state and future potential of Canadian feature film production. Chapter 2 documents the history of Hollywood's control over Canada's film production, distribution, and exhibition from 1894 to 1960, drawing attention to the fact that Canadian artists migrated to the United States for employment. Chapter 3 traces government action, research, and legislation, as well as influences by the National Film Board (NFB) of Canada and the Canadian Broadcasting Corporation (CBC), which led to the birth of the CFDC in 1967. Chapter 4 describes the development of CFDC programs and the CFDC's impressive impact on the film industry, having invested in 220 films as of 1979. Chapter 5 evaluates Canada's film industry by studying government legislation, and CFDC plans for financing distribution, promotion, and exhibition. Chapter 6 concludes with recommendations to foster directors, screenwriters, performers and producers, ensure the local and international exhibition of films, and encourage filmmakers to seek out Canadian myths and stories for both a Canadian and broadly international audience. 1691 McCabe leaves CFDC after two years. Cinemag no 37-38 (1980) 1+ (2). En. 1692 McCabe finds Lamy "good choice" for CFDC. Cinemag no 44 (1980) 1-2. En. 1693 Indy distribs set record straight re : Briefs. Cinemag no 37-38 (1980) 52+ (2). En. 1694 Le temps des « mini-majors » quebecois? Cinemag no 37-38 (1980) 80. fr.

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1695 Robbins, J. An inner view. Boxoffice 116 (21 January 1980) 15. En. 1696 Robbins, J. CFDC hitting its full stride. Boxoffice 116 (21 January 1980) 15. En. 1697 Year end report shows strong CFDC. Cinemag no 31 (4 February 1980) 16. En. 1698 Tadros, Jean-Pierre. Pour la rentabilite d'un cinema canadien-anglais. Le Devoir (16 fevrier 1980) 32. ill, fr. 1699 Mallet, Gina. A film industry in its infancy. Chatelaine 53 no 3 (March 1980) 8.1 ill, En. Considers the effect of tax incentives offered through the Canadian Film Development Corporation, concluding they encourage projects that undermine what is essentially Canadian about Canadian films.

that the CFDC will continue its policy of maintaining a second recoupment position for French feature films to attract private sector investors. 1712 Short CFDC list to Fox decision waits till fall? Cinemag no 42 (21 July 1980) 3. En. 1713 Independent firm to get sales figures for CFDC. Cinemag no 42 (21 July 1980) 3. En. 1714 Admin, head leaves CFDC: Staff shorter. Cinemag no 42 (21 July 1980) 7. En. 1715 A. Lamy to head CFDC. Cinemag no 43 (4 August 1980) 1-2. En. 1716 CFDC director Lamy backs agency's record in films. Globe and Mail (7 August 1980) 15. En.

1700 Cin Cin goes to CFDC at Cannes. Cinemag no 34 (17 March 1980) 3. En.

1717 Staff choices to beef up CFDC management. Cinemag no 45 (1 September 1980) 26. En.

1701 CFDC to tighten rules on Canadian film investment. Montreal Gazette (31 March 1980) 31. En.

1718 The CFDC - the next stage? Cinemag no 46 (15 September 1980) 11. En.

1702 Canadian filmmakers face tough new CFDC rules. Winnipeg Free Press (2 April 1980) 32. En.

1719 Young, Jordan R.; Vinebert, Robert S. Financing films outside the U.S.: The Canadian perspective. Millimeter 8 no 10 (October 1980) 182,184-186. En. Explains how the Canadian Film Develpment Corporation (CFDC) acts as an interim financier for Canadian production companies. Also outlines how the CFDC assists in the distribution of films. Compares and contrasts the CFDC with other sources of interim financing, such as banks and private investors.

1703 Adilman, Sid. Canada: Films must meet "competition." Variety 298 (2 April 1980) 7 (2). En. 1704 La SDICC veut promouvoir 1'industrie du film canadien. Le Devoir (8 avril 1980) 18. fr. 1705 CFDC guidelines protect producers, Cda content. Cinemag no 36 (14 April 1980) 1-2. En. 1706 Adilman, Sid. CFDC's McCabe resigns May 31, but still heads festival group: Has a central role in development. Variety 298 (30 April 1980) 5 (2). En. 1707 Robbins, J. McCabe resigns as CFDC head: Plans uncertain. Boxoffice 116 (5 May 1980) 4. En. 1708 CFDC shifting its bucks into project development. Variety 299 (7 May 1980) 549 (2). En. 1709 Linck, D. Bold Canada plan may end filmmaking boom. Boxoffice 116 (26 May 1980) 3-4+. En. 1710 Adilman, Sid. Outgoing CFDC head McCabe upbeat on Canadian Cannes sales. Variety 299 (28 May 1980) 7 (2). En. 1711 State site-lines : Canada. Millimeter 8 no 6 (June 1980) 180. En. Outlines new priorities in the policy of the Canadian Film Development Corporation (CFDC), as announced by CFDC chair Michael Vennant. Reports that Vennant's policy is designed to improve the quality of feature films made in Canada, and to encourage the consolidation of production companies into larger production units. Notes

1720 CFDC encouraged by recent performances. Cinemag no 50 (10 November 1980) 1-2. En. 1721 Adilman, Sid. Future of Canadian film development : Andre Lamy on "creativity." Variety 301 (26 November 1980) 33 (2). En. 1722 Werba, Hank. Lamy party plans Canadian "invasion" of Italian market. Variety 301 (26 November 1980) 34 (2). En. 1723 Stiles, Mark. Former executive director of the Canadian Film Development Corporation. Cinema Papers no 30 (December 1980-January 1981) 438-440. 9 ill, En. An interview with former Canadian Film Development Corporation (CFDC) director Michael McCabe, who explains in detail the mechanisms of the amendment to the 1977 Income Tax Act, which allows an investor in a Canadian feature film to write off 100 per cent of their investment in the year in which the investment was made. McCabe also discusses the CFDC's methods of film financing and the corporation's mandate, and examines what exactly constitutes a Canadian production. 1724 Levine, Michael A. Complex finances for Canada's pics. Variety 301 (14 January 1981) 20 (2). En.

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1725 Vennat, Michel. CFDC's new angle: Distribution intensification and lower budgets. Variety 301 (14 January 1981) 25 (2). En.

its ceiling on loans from $250,000 to $500,000 per project. Notes, however, that producers must provide "guaranteed collateral" in order to qualify for the $500,000 loans.

1726 Film boss Lamy optimistic despite sales shortfall. Winnipeg Free Press (31 January 1981) 27. ill, En.

1735 CFDC moves cautiously as it plans for $4 M. interim fund use. Cinema Canada no 76 (August 1981) 4. En. Andre Lamy of the Canadian Film Development Corporation (CFDC) explains that his agency will exercise great caution in the expenditure of the $4 million awarded to the CFDC by minister of Communications Francis Fox in addition to its $4.1 million budget. Notes the CFDC's production plans and projects.

1727 Flak... it goes with Lamy's job. Vancouver Sun (4 February 1981) El. ill, En. 1728 Electronic culture the new wealth, Juneau gets Canada plugged in. Globe and Mail (7 February 1981) E3. En. 1729 Vennat on Canada's predicament: Fumbled film funding, '77 to '79. Variety 302 (22 April 1981) 14. En. 1730 Outlook at the CFDC : A cautious year. Cinema Canada no 74 (May-June 1981) 6. En. Outlines of the distribution of the Canadian Film Development Corporation's (CFDC) 1981 budget, noting its desire to support equitable films. Andre Lamy of the CFDC denies the suggestion that his corporation will lobby for more money, but states the minister of Communications Francis Fox is expected to attend the annual Association des producteurs de films du Quebec meeting on 6 June 1981 where he may deliver a speech on film policy. 1731 Grigsby, Wayne. Growing pains in the film industry. Maclean's 94 no 18 (4 May 1981) 18, 20. ill, En. Interviews Andre Lamy, executive director of the Canadian Film Development Corporation (CFDC). Lamy discusses the 1980 decline of investments in Canadian films and attributes the problem to a poorly organized film industry. Lamy claims that the Canadian film industry will be stabilized and decentralized within a five-year period, but argues that government operated organizations such as the CFDC must take a more active role to ensure that the industry remains distinctly Canadian. 1732 Francis Fox to the APFQ : Points changes, a positive contribution from Pay-TV, says Fox. Cinema Canada no 75 (July 1981) 8-9. En. The article is a speech delivered by the minister of Communications Francis Fox at the annual convention of the Association des producteurs de films du Quebec which was held in June 1981. Outlines the new rules governing the application of the Capital Cost Allowance and notes the federal government's opinion on the results the introduction of Pay-TV will have on the Canadian filmmaking community. Fox also announces that he will award the Canadian Film Development Corporation an interim financing fund of $4 million. 1733 Art historian Silcox new CFDC head. Montreal Gazette (25 July 1981) 58. En. 1734 Producers on the line for $.5 M. Cinema Canada no 76 (August 1981) 4. En. Andre Lamy, executive director of the Canadian Film Development Corporation, announces that the additional $4 million granted to his agency by the minister of Communications Francis Fox has allowed the CFDC to expand

1736 CFDC backs guaranteed deals. Cinema Canada no 77 (September 1981) 13. En. Andre Lamy of the Canadian Film Development Corporation (CFDC) unofficially notes that a film is more likely to get support from the CFDC if it has guaranteed distribution and interested investors. 1737 David Silcox to prez of CFDC. Cinema Canada no 77 (September 1981) 3. En. Announces that David Silcox has been appointed chair of the Canadian Film Development Corporation. 1738 Adilman, Sid. Canada picks up, dusts off its film biz: David Silcox in development job. Variety 304 (2 September 1981) 5 (2). En. 1739 Film development chief Silcox expects Ottawa to double budget by '84. Winnipeg Free Press (24 October 1981) 38. En. 1740 New priorities at CFDC to help. Cinema Canada no 79 (November 1981) 7. En. Discusses the new priorities of the Canadian Film Development Corporation (CFDC) including facilitating the growth, of and increasing government investment in, the Canadian film industry, announced by CFDC chair David Silcox at the Trade Forum at the 1981 Festival of Festivals in Toronto, Ontario. Reviews discussions between CFDC members who support the policies and members of the film community who do not. Issues debated included aid to young filmmakers, the financing of low and high budget films, and the financing of script development. Cites comments from Andre Lamy, Ian McDougall, and producer Ralph L. Thomas. 1741 CFDC announces expenditures over $4 M. Cinema Canada no 80 (December 1981-January 1982) 5. En. Lists some of 80 films that the Canadian Film Development Corporation provided financial support to between 1 April and 31 October 1981. 1742 Silcox stresses "industry" aspect of filmmaking rather than quality. Winnipeg Free Press (22 January 1982) 25. En. 1743 Film Canada to rep image abroad. Cinema Canada no 82 (March 1982) 3. En. Some reaction from film producers to the Canadian Film Development Corporation's (CFDC) plan to create Film

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Canada, an umbrella organization that will represent Canadian films at the American Film Market in Los Angeles, California and the Cannes International Film Festival in Cannes, France. Producers express that the plan amounts to a power play by the CFDC and the federal government. 1744 Film Canada is CFDC in LA. Cinema Canada no 82 (March 1982) 8. En. The representation of ten Canadian films at the American Film Market in Los Angeles, California, in March 1982 will be handled by Film Canada, headed by Jocelyne PelchatJohnson of the Canadian Film Development Corporation. 1745 Private sector exercises control over Film Canada. Cinema Canada no 83 (April 1982) 5. En. Notes how the Producer's Council of Canada lobby through the Canadian Film Development Corporation to express their concerns over federal government involvement in the activities of the Film Canada marketing agency. 1746 CFDC gives statistics, plots financial course for next three years. Cinema Canada no 84 (May 1982) 5. En. Discusses the financial status of the Canadian Film Development Corporation (CFDC) and its inability to satisfy the demands of the film community. Presents five policies the CFDC hopes to implement over the next three years in order to relieve the financial situation. 1747 Tight money, meager help from CFDC in '82. Cinema Canada no 86 Quly 1982) 3. En. Discusses the Canadian Film Development Corporation's (CFDC) budget for 1982, and explains the CFDC's spending procedures. 1748 McDougall leaves. Cinema Canada no 86 (July 1982) 7. En. Announces the resignation of deputy director Ian McDougall from the Canadian Film Development Corporation. 1749 Linnell joins CFDC in Toronto. Cinema Canada no 87 (August 1982) 21. En. Bob (Robert) Linnell has been chosen to head up the Toronto, Ontario, office of the Canadian Film Development Corporation. 1750 CFDC goes to court to assure returns. Cinema Canada no 87 (August 1982) 3,19. En. The Canadian Film Development Corporation (CFDC) is suing several producers and distributors who have failed to pay back their loans including Saguenay Films, Intermirage, Filmaccord, Quadrant, and David and Renee Perlmutter. Notes that the CFDC's strict loan policy and high rates of interest are causing filmmakers to borrow money from other institutions. 1751 CFDC com'ttees. Cinema Canada no 87 (August 1982) 5. En. The Canadian Film Development Corporation will be establishing six consulting committees ; three to deal with the policies, finances, and application of programs for

English language productions and three to deal with those for French productions respectively. The committees, which will be located in Montreal, Quebec, and Toronto, Ontario, will become active in September 1992. 1752 It's official, Linnell to CFDC. Cinema Canada no 88 (September 1982) 7. En. Reports on Robert Linnell's official appointment to the position of deputy director and head of English language production of the Canadian Film Development Corporation, which was announced on 7 September 1982. Provides a short biographical history of Linnell's involvement in the Canadian film industry. 1753 CFDC staff on hold - no distrib head. Cinema Canada no 89 (October 1982) 3. En. Reflects on the decision taken by the board of directors of the Canadian Film Development Corporation (CFDC) to temporarily redistribute the tasks of Jocelyne PelchatJohnson, who resigned her post as director of Marketing and Distribution in September 1982, among the existing staff of the CFDC. Notes that the CFDC is currently revising its corporate organization and is getting ready for the changes that may be recommended by the Department of Communications and / or the Applebaum-Hebert (Federal Cultural Policy Review Committee) report. 1754 Bechade, Chantal de. Entretien avec Andre Lamy: entre les « majors » et la TV payante... La Revue du cinema : Image et Son no 377 (novembre 1982) 131-132.1 ill, fr. Entretien avec Andre Lamy, directeur executif de la Societe de developpement de 1'industrie cinematographique canadienne, a propos des coproductions et de la television payante, et les effets que celles-ci peuvent avoir sur 1'industrie cinematographique du Canada. 1755 Tadros, Connie. The CFDC view of Applebert [sic]: The film industry as a Strasbourg goose. Cinema Canada no 92 (January 1983) 33,35.2 ill, En. David Silcox, president of the Canadian Film Development Corporation, expresses his views regarding the recommendations made by the recently released Applebaum-Hebert (Federal Cultural Policy Review Committee) report. Silcox argues that the report fails to address the unique nature of public sector film production and, although he finds the report's desire to encourage the private sector to produce a good cultural product very appropriate, he feels that the report perceives the private sector erroneously as one solely interested in the production of commercial films. 1756 CFDC appointments to ladies. Cinema Canada no 92 (January 1983) 8,10. En. Anne Brown has been appointed as distribution coordinator and Muriel Sherrin has been appointed to the board of directors at the Canadian Film Development Corporation. Minister of Communications Francis Fox appointed six women to the boards of four cultural agencies. 1757 "Broadcasting" gives CFDC $36 M. Cinema Canada no 94 (March 1983) 3. En. The national broadcast policy, which contains a program production fund of $36 million to be administered by the

Canada Canadian Film Development Corporation, has been approved by the Cabinet. 1758 CFDC no-can-share in L.A. Cinema Canada no 94 (March 1983) 5. En. A delegation sent from the Canadian Film Development Corporation will represent Canada at the American Film Market on 3-11 March in Los Angeles, California. This year's market's new, stricter regulations do not allow the Canadian contingent to share an office with any nonaccredited industry members. 1759 Regs concerning TV fund crucial to producers. Cinema Canada no 95 (April 1983) 5,12. En. Producers are anxiously awaiting the Canadian Film Development Corporation's establishment of operating guidelines for the new Broadcast Program Development Fund. 1760 Adilman, Sid. Canada TV fund to fuel theatre pics : Playoff to tube must be quick. Variety 311 (4 May 1983) 459 (2). En. 1761 Broadcast Fund policies presented to producers for comment. Cinema Canada no 97 (June 1983) 3, 7. En. Outlines the Canadian Film Development Corporation's proposal on how to manage the $35 million Broadcast Program Development Fund. Notes reactions to the proposal from different regions of Canada. 1762 Prevost president of CFDC. Cinema Canada no 97 Qune 1983) 5. En. Announces that Ed Prevost, of the Brasserie O'Keefe, has been appointed as president of the Canadian Film Development Corporation. 1763 Chabot, Claude. Les 35 millions de la S.D.I.C.C.: quand la tele fait son cinema. 24 Images no 18 (automne 1983) 32-33.1 ill, fr. Entretien avec Andre Lamy, directeur de la Societe du developpement de 1'industrie cinematographique canadienne. II discute du nouveau budget de cet organisme gouvernemental evalue a 35 millions de dollars. 1764 CFDC announces 14 deals going forward. Cinema Canada no 101 (November 1983) 32. En. The Canadian Film Development Corporation has signed 14 agreements with independent producers to access funds from the Broadcast Program Development Fund, seven each for English and French language productions. Lists recipients. 1765 Cournoyer nets CFDC PR spot. Cinema Canada no 101 (November 1983) 5.1 ill, En. Announces that Armand Cournoyer has been appointed director of marketing, distribution, and public relations at the Canadian Film Development Corporation. 1766 Funds marked for TV. Montreal Gazette (19 December 1983) C4. En.

177

1767 CFDC broadcast fund adds five. Cinema Canada no 103 (January 1984) 43. En. Lists latest English and French productions funded by the Canadian Film Development Corporation's (CFDC) Broadcast Program Development Fund, including Daniel Petrie's The Bay Boy (1984), John Thompson's The Country Wife (1984), and Lea Pool's La Femme de 1'hdtel (1984). Notes the four classifications determined by the CFDC. 1768 CFDC expands funding, staff, space. Cinema Canada no 104 (February 1984) 28. En. Recent internal changes at the Canadian Film Development Corporation (CFDC) reflect its increase of production funding. CFDC director, Andre Lamy, notes that 1983 was a boom year for co-productions with France. 1769 Lawyer Nancy Morrison joins CFDC board. Cinema Canada no 104 (February 1984) 5.1 ill, En. Announces Nancy Morrison's appointment to the Canadian Film Development Corporation board of directors as the representative for the British Columbia region. Profiles her legal career. 1770 CFDC courts HBO, acts as matchmaker. Cinema Canada no 105 (March 1984) 47. En. Recounts a meeting between representatives of HBO (Home Box Office Entertainment), Canadian independent producers, and the Canadian Film Development Corporation (CFDC) to discuss possible future co-ventures. HBO's licencing of Canadian productions could allow independent Canadian producers to tap into the CFDC's Broadcast Program Development Fund for feature films. 1771 Dager, Nick. Canada moves to save its cultural identity. Millimeter 12 no 4 (April 1984) 188-189, 192, 194, 198, 200. En. Explains that the federal governement introduced a multimillion dollar broadcast fund in 1983 to stimulate the production of domestic, dramatic productions. States that the fund, administered by the Canadian Film Development Corporation, is guaranteed for five years, reaching yearly expenditures of $60 million by the fifth year. Discusses the difficulty in defining the fund's Canadian content regulations. Reports that 1984 has been a busy year in Toronto, Ontario, for filmmaking and television commercial production, while Calgary, Alberta, has been less successful in attracting producers. 1772 CFDC name change. Cinema Canada no 106 (April 1984) 24. En. The Canadian Film Development Corporation has been renamed Telefilm Canada, and Bill (William) Litwack has been made the new director of Policy and Planning, and two new jobs have been created to ensure new applications are in order before they are sent to be processed. 1773 CFDC reveals Broadcast Development Fund expenditures for first six month period. Cinema Canada no 107 (May 1984) 50-51. En. An itemization of the expenditures from the Broadcast Program Development Fund during its first six months is given. Outlays are broken down by categories as well as by language of production.

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National Film Board of Canada / Office national du film du Canada 1774 Grierson, John. Report on Canadian Government Film Activities. Unpaginated, June 1938. 40 p, En. French version : Rapport sur les activites cinematographiques du gouvernement canadien. This report drafted by John Grierson lays out the foundation and legislative basis of the National Film Board (NFB) of Canada. 1775 Mears, F. C. Canada pictures unlimited. Canadian Business 13 no 2 (February 1940) 30-32.1 ill, En. Examines the subject matter of National Film Board (NFB) of Canada films and outlines the general mandate of the NFB, noting the dual role of entertainment and education that films like Call to a Nation (1940), Heritage (]. Booth Scott, 1939), and The Case of Charlie Gordon (Stuart Legg, 1939) serve for Canadians. The Honourable W. D. Euler, minister of Trade and Commerce and chair of the NFB, describes the historical role of film as a medium for public information and international communication in Canada, and notes that the NFB was created during a time when a more complete and directive presentation of Canadian life was needed. John Grierson's role in recommending and subsequently setting up the NFB is discussed. In an interview, Grierson notes the various types of production at the NFB, saying that film can teach Canadians about their heritage and forge a stronger sense of identity in times of peace and war. 1776 Smith, Franklin. Canada's war effort is documented on film. Saturday Night 56 (9 November 1940) 5. 3 ill, En. Outlines the history of the National Film Board (NFB) of Canada and its film series Canada Carries On (1940-1959). States these short films will document Canada's war effort. Notes that the NFB also strove to capture the vernacular in a series of films on Canada's public attractions and community organizations. 1777 Buchanan, Donald. Canada on the world's screen. Canadian Geographical Journal 22 no 2 (February 1941) 70-81. 82 ill, En. The origins of the National Film Board (NFB) of Canada are described, beginning with the commission of John Grierson to make recommendations for the formation of a government film agency. The main objectives of the NFB are to inform and educate Canadians about the different parts of their country and, with the outbreak of the Second World War, the agency began the Canada Carries On (1940-1959) series which includes the films Home Front (Stanley Hawes, 1944), Wings of Youth (Raymond Spottiswoode, 1940), and Atlantic Patrol (Stuart Legg, 1940). These films and tourism films have been distributed internationally where millions are able to see them. The NFB also produces 16 mm films about Canada for circulation in its rural areas. The composition of the NFB and its decision making process are explained, including its allocation of funds, the types of films it feels should be produced, and the supervision and final approval by the commissioner. Mentions the apprenticeship program set up by the NFB to train filmmakers.

1778 Mclnnes, Graham. "Canada Carries On." Maclean's 54 (15 March 1941) 19, 26-27. 2 ill, En. Outlines the history of the Canada Carries On (1940-1959) series of short films documenting the war effort in Canada. States that the National Film Board (NFB) of Canada was created during the Second World War to produce films geared toward patriotic topics. Describes the process by which these documentaries were made. Notes that the NFB also produced shorts on Canada's peacetime activities, including Stuart Legg's The Case of Charlie Gordon (1939) and Irving Jacoby's Hot Ice (1940), but points out that they were intended for schools and service clubs rather than movie theatres. Explains how the Canada Carries On series was distributed. 1779 War movies. Canadian Business 14 no 5 (May 1941) 116,118. En. Describes the National Film Board (NFB) of Canada series of films Canada Carries On (1940-1959). Notes the series has a worldwide distribution. 1780 Buckman, Eduard. Nazis have fashioned backfiring propaganda. Saturday Night 57 (22 November 1941) 16. En. States that the library at the National Film Board (NFB) of Canada became the repository for contraband films from the British Commonwealth during the Second World War. Describes how Nazi propaganda films, seized as spoils of war, were valuable to the NFB for counter-propaganda purposes. 1781 Montagnes, James. Canada's war films. Canadian Business 15 no 2 (February 1942) 126,128,131. 3 ill, En. Suggests that the outbreak of World War II facilitated the formation of the National Film Board (NFB) of Canada. The NFB's mandate was to coordinate the production of governmental propaganda films, that were to reach theatre audiences in the form of public announcements with the dramatic appeal of feature films. John Grierson, dominion film commissioner, wanted to maintain a high level of entertainment to capture audience attention and to enable the NFB to rent its films to commercial theatres. The NFB produced movies about Canada's war effort including those of the Canada Carries On (1940-1959) series, and trailers and clips promoting government projects. Small film production studios in Montreal, Quebec, were modified for the war effort, and worked with the NFB. 1782 A film triumph. Saturday Night 57 (18 April 1942) 3. En. Announces that the National Film Board (NFB) of Canada is planning to produce more short films on Canadian artists. Following the precedent set by Frank Radford Crawley's film on A.Y. Jackson, Canadian Landscape (1941), the NFB plans to make films on Tom Thomson, David Milne, and Emily Carr. Notes that the NFB received official recognition for its achievements when Stuart Legg's documentary film Churchill's Island (1941) won an Academy Award. Suggests that the director of public information for the federal government should distribute more information about the NFB and how to access its 16 mm films. 1783 Buchanan, Donald W. Experiment in community education. Saturday Night 57 (30 May 1942) 21. En.

Canada Reports that the National Film Board (NFB) of Canada, in collaboration with the Office of Public Information, has organized a circulating film program to reach remote farming communities across the country. The project, which began in January 1942, screens 16 mm films devoted to Canada's war effort, national history, and diverse population. Explains that film is the best medium for public education because Canada's rural population speaks many different languages. 1784 Ross, Mary Lowrey. The day of the documentary. Saturday Night 57 (6 June 1942) 25. En. Criticizes the censorship of newsreel footage of the Second World War from Canadian movie going audiences. Appreciates the candour of documentaries by the National Film Board (NFB) of Canada, such as Stuart Legg's Food, Weapon of Conquest (1941) and Geopolitik (released under the full title Geopolitik: Hitler's Plan for Empire, 1942). 1785 Buchanan, Donald. Promoting democracy with the 16 mm film. Canadian Forum 22 (March 1943) 351-352. En. Explores film as a propaganda weapon by both Nazi Germany and the Allies, then introduces the positive uses of film as educational propaganda, for postwar Germany and Canada. Applauds the promotion of democracy by the National Film Board (NFB) of Canada with its rural distribution circuits through which the impact of NFB documentary films is brought to small rural centres, and the distribution and screening of films such as Heroes of the Atlantic Q.D. Davidson, 1941), Battle of the Harvests (Stanley Jackson, 1942), Inside Fighting Russia (Stuart Legg, 1942), and Women Are Warriors Qane Marsh, 1942). 1786 Black, R. Canada's war baby comes of age. National Home Monthly 44 (October 1943) 8-9, 22+. ill, En. 1787 Guilford, M. J. Canada's own films. Country Guide and Nor'West Farmer 62 (November 1943) 49. ill, En. 1788 Buchanan, Donald. Canadian movies promote citizenship. Canadian Geographical Journal 28 no 3 (March 1944) 120-129. 25 ill, En. Describes the National Film Board (NFB) of Canada's network of travelling movie projectionists. The films are shown in the rural areas of Canada to help promote a common national understanding. This free monthly movie service usually provides the only moving pictures available in these areas since there are no commercial theatres. Most of the films are about war or agricultural subjects and are often coordinated as part of larger social evenings. They are combined with a dance or a film forum where audience members are asked to express opinions about the movie after its screening. The projectionists are trained to record these comments for the NFB who, in turn, try to answer the needs of these remote areas with suitable films. Another use for these films is in schools where students are asked to write compositions about the movies they have seen. 1789 Fromer, Anne. Canada's rural movies building citizenship. Saturday Night 59 (11 March 1944) 19a. En. Reports that the National Film Board (NFB) of Canada has

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established a nationwide program to circulate and screen films in rural areas. Explains that the program will be more educational than entertaining, focussing on current affairs and children's films. 1790 McGibbon, D. W. New world of film: Film libraries. Echoes (December 1944) 9,19. En. 1791 National Film Board of Canada. The Arts in Canada and the Film. Ottawa, Ont: National Film Board of Canada, 1945.16 p, 16 ill, En. This 1945 National Film Board (NFB) of Canada publication describes its animated films, films on folk art, and films on painting. The section on animated films notes that since 1940, Canadian filmmakers have taken the technique of animation, while retaining its appeal for comedy, and have begun to use it for wider social purposes. Colour stills from five Norman McLaren shorts and one Guy Glover short are presented. The section on films on folk art discusses folk music and handicraft films, the different nations within Canada that are presented in film, and lists films produced by Laura Boulton. The section on films on painting presents stills with accompanying comments from the films Canadian Landscape (Frank Radford Crawley, 1941), West Wind (Graham Mclnnes, 1944), and Flight of the Dragon (1942). 1792 Hemming, A. E. Canada's National Film Board. Trades and Labor Congress Journal 24 (September 1945) 35-41. ill, En. 1793 Mclnnes, Graham. Canadian painting and sculpture. A Pocketful of Canada, edited by John D. Robins, 337-344. Toronto, Ont: Collins, 1946. En. A general overview of Canadian painting, sculpture, and other visual arts, which focuses largely on contemporary work. Refers briefly to a series of 16 mm films, co-produced by the National Film Board (NFB) of Canada and the National Gallery of Canada in Ottawa, Ontario, which feature a number of Canadian artists with examples of their works and artistic techniques. Also notes the work of Canadian artists within the animation department of the NFB, and attributes the artistic credibility of the NFB to the energy of its founder and former government film commissioner John Grierson. 1794 Murray, Edward. Canada tells the world. Canadian Business 19 no 1 Qanuary 1946) 22-23, 84, 86. 2 ill, En. Outlines steps taken by the federal government to stimulate international trade after the Second World War. Relates the expansion of the Trade Commissioner Service and the creation of the Trade Publicity Division and the Canadian Information Service, in an effort to raise Canada's international trade and commerce profile. Predicts that the National Film Board (NFB) of Canada will become increasingly effective in shaping foreign opinion about Canada, and that under the direction of Ross McLean, the NFB will project an image of Canada as a trustworthy, progressive trade partner. Notes that the Canadian Broadcasting Corporation (CBC) has a new antenna system that can be used to disseminate a positive Canadian image to an international audience. Concludes that there will be a close liaison between the Canadian Information Service, the NFB, and the CBC.

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1795 Leppman, W. Arthur. Canada is still an unknown country. Saturday Night 61 (27 July 1946) 6-7. En. Contends that the National Film Board (NFB) of Canada and the Canadian Information Service are the federal government's mouthpieces in nonofficial issues that form public perception of Canada in foreign countries. Regrets that the NFB's mandate restricts it from acting as an advertising agent for the country. 1796 Badgering the NFB. Canadian Film Weekly 12 (1947) 1-10. En. 1797 The Film Board. Canadian Forum 27 (September 1947) 123-124. En. Recent developments at the National Film Board (NFB) of Canada include budget cuts, the dispersal of filmmakers trained during the Second World War, and attacks by opposition political parties and other government departments. The NFB is presented as a valuable cultural bastion that must not disappear due to political interference or indifference. 1798 McLean, Ross. Correspondence. Canadian Forum 27 (November 1947) 187. En. Ross McLean, head of the National Film Board (NFB) of Canada, responds to an article published in Canadian Forum (27 (September 1947) : 123-124). McLean acknowledges that the budget of the NFB was cut, but rejects the notion that this has reduced film production to a detrimental level. 1799 Mclnnes, Graham. Canadian films on art appreciation. College Art Journal 7 no 2 (Winter 1947-1948) 127-129. En. Describes films made by the National Film Board (NFB) of Canada on art appreciation including Canadian Landscape (Frank Radford Craw ley, 1941), Third Dimension (Laurence Hyde, 1947), Painters of Quebec (Grant Crabtree, 1944), Primitive Painters of Charlevoix (Jean Palardy, 1947), West Wind (Graham Mclnnes, 1944), Klee Wyck (Grant Crabtree, 1947), and Flight of the Dragon (Leslie Thatcher, 1942). Also describes films dealing with arts and crafts including Habitant Arts and Crafts (1944), the French language series Chants populaires (1944) and the English language version Let's All Sing Together (1944-1945), Totems (Laura Boulton, 1944), People of the Potlatch (Laura Boulton, 1944), Eskimo Summer (Laura Boulton, 1944), and Eskimo Arts and Crafts (Laura Boulton, 1944). 1800 Canadian films abroad. External Affairs 1 no 7 (July 1949) 25-27. En. Describes the organization of the international distribution system of the National Film Board (NFB) of Canada following budget cuts in 1947. Defines the basic list as a representative selection of films outlining Canadian life and activities and the minimum amount of prints to be allocated to Canadian international posts. Lists the ten titles that comprise the basic list and notes the commercial potential of NFB films internationally. 1801 Film Board to rule industry? Movies, photographers study NFB brief. Financial Post 43 (29 October 1949) 1,3. En.

1802 Wilson, K. R.; Bassett, C. Film Board monopoly facing major test? Financial Post 43 (19 November 1949) 17, 28. ill, En. 1803 Montage. (1950-1952). Irregulier. Ottawa, Ont: Office national du film du Canada, 1950-1952. fr. Magazine pour les travailleurs de 1'Office national du film (ONF) du Canada qui comprenait des lettres ouvertes, des nouvelles d'Ottawa (Ontario), des nouvelles locales, des revues de presse et une section intitulee « Connaissezvous le terme exact? », sorte de dictionaire des termes du metier cinematographique. 1804 Focus on the Film Board. Canadian Forum 29 (January 1950) 219-220. En. 1805 Fight over films. Newsweek 35 (2 January 1950) 28. 1 ill, En. Discusses the future of the National Film Board (NFB) of Canada, amid rumours that it has become a haven for leftwing filmmakers. Notes that Ross McLean's contract as film commissioner will not be renewed and that Arthur Irwin, the editor of Maclean's magazine will be appointed to the position as of 9 January 1950. 1806 Eggleston, Wilfrid. A free press and the NFB. Saturday Night 65 (3 January 1950) 3.1 ill, En. Announces that J. Arthur Irwin, former editor of Maclean's magazine, has been selected as the new commissioner for the National Film Board (NFB) of Canada. Identifies similarities between editing a national magazine and acting as the commissioner, yet notes that Irwin will be under more restrictions regarding subject matter at the NFB. 1807 Wright, Basil. Documentary: Flesh, fowl, or...? Sight and Sound 19 (March 1950) 43+. En. Analyses the controversy surrounding the political sympathies of the National Film Board (NFB) of Canada. Defends the NFB against charges of Communist infiltration. Contends that Canadian commercial film companies were eager to lobby against the NFB on the grounds that it was a dangerous monopoly. The resulting governmental debate lead to the dismissal of NFB film commissioner Ross McLean, and the appointment of Art (J. Arthur) Irwin. Criticizes the federal government for not defending one of its most valuable agencies, and for the unfair manner in which McLean was dismissed. Fears for the creative future of the NFB. 1808 Film notes. External Affairs 2 no 4 (April 1950) 163164. En. Presents statistics on the number of screenings of National Film Board (NFB) of Canada films arranged by Canadian diplomatic posts internationally, and provides total audience numbers. Notes television bookings, the sale of prints, and the use of NFB films in India, the United States, Greece, France, Portugal, Japan, the United Kingdom, and the Philippines. 1809 How movie men would clip wings of NFB. Financial Post 44 (22 April 1950) 2. En.

Canada 1810 Parker, Gudrun. A comment on Canadian films. Canadian Art 8 no 1 (Fall 1950) 24-28. 6 ill, En. A discussion of film production technique as it is practised at the National Film Board (NFB) of Canada. It is hoped that a matured NFB will begin to focus on a more intimate style of presentation while maintaining its primary goal of being a functional cinema, that would result in a more revealing depiction of Canada. Suggests that Canadian filmmakers have learned to work in co-operative productions with specific budget demands, that is reflected in work which has gained international respect. 1811 Spottiswoode, Raymond. Film and Its Techniques. Berkeley and Los Angeles, California : University of California Press, 1951. 516 p, ill, bibl, index, En. Raymond Spottiswoode bases this introduction to the technical aspects of filmmaking on his experiences as producer and technical supervisor at the National Film Board (NFB) of Canada from 1940 to 1945. Chapter 1 introduces the sequence of filmmaking and characterizes the type of film to be discussed as relatively short, geared to a primary audience outside movie theatres, and with the principal aim of informing, educating, or influencing people, rather than simply entertaining them. Chapter 2 deals with the decision to make a film and the composition of the film unit necessary to make it; chapter 3 explains the camera and its functions; chapter 4 looks at the cutting room; and chapter 5 touches on film storage. Chapter 6 analyses filmic animation techniques; chapter 7 looks at the negative; and chapter 8 follows with a detailed analysis of the activities of a film laboratory. Chapter 9 looks at the production techniques involved in colour and 16 mm filmmaking; chapter 10 discusses recording sound and welding it to the image; and chapter 11 considers the completed soundtrack. Chapter 12 describes studio techniques; chapter 13 discusses the final adjustments to be made before the film can be delivered to a cinema ; and chapter 14 looks ahead to future innovations. Includes a glossary of film terms and an index of the films mentioned in the text, many of them by Norman McLaren. 1812 A Canadian film note from Japan. External Affairs 3 no 12 (December 1951) 412. En. Describes an outdoor screening of National Film Board (NFB) of Canada films in one of the poorer districts of Tokyo, Japan. 1813 Canadian films abroad. External Affairs 4 no 3 (March 1952) 106-110. 2 ill, En. Discusses the distribution of National Film Board (NFB) of Canada films to an international audience. Presents statistics on commercial, non-commercial, newsreel, and television distribution, and mentions the prizes won by NFB films in international competitions, including Norman McLaren's Begone Dull Care (with Evelyn Lambart, 1949). The success of NFB films in international education is noted, particularly the series of films dealing with mental health. Describes parliament's authorization of the NFB to develop a program designed to expand the influence of Canadian films internationally, and examines the program's four main areas of concentration : the extension of newsreel distribution; the development of commercial and non-commercial channels of distribution; the revision of existing films for Western European distribution;

181 and the planning and production of new films for Western European audiences.

1814 Beveridge, James. The living story : Crown and Canada. Sight and Sound (April-June 1952) 179. En. Outlines the historical connection between the National Film Board (NFB) of Canada and the documentary filmmaking industry in Great Britain. Claims that early NFB filmmakers learned their craft by observing British wartime documentary techniques. Praises the expansion of the NFB and its strong public support, but regrets that in the future new British documentaries will not readily be shown in Canada. 1815 Starr, Cecile. New ideas on film. Saturday Review 35 no 23 (7 June 1952) 36-37.1 ill, En. Considers the busy production schedule of the National Film Board (NFB) of Canada, emphasizing the high quality of its films. Though the number of productions and staff decreased at the end of the Second World War, it has had growing success internationally, aided by a good distribution network. Its wide catalogue of filmed subjects assure the NFB's importance in the history of motion pictures. 1816 Pratley, Gerald. A fresh approach by NFB. Saturday Night 68 (10 January 1953) 28. En. Discusses Julian Biggs's The Son (1952), Roger Blais's From Father to Son (1951), and Jean Palardy's L'Homme aux oiseaux (with Bernard Devlin, 1952), noting these three short films by the National Film Board (NFB) of Canada depart from the conventional documentary pattern. Illustrates how each film takes a humanitarian approach, rather than an investigative approach. 1817 Pratley, Gerald. Canada's National Film Board. Quarterly of Film, Radio and Television 8 no 1 (Fall 1953) 15-27. En. 1818 Canadian films honoured abroad. External Affairs 5 no 9 (September 1953) 278-281. 2 ill, En. Discusses the awards received by National Film Board (NFB) of Canada productions Neighbours (Norman McLaren, 1952), Royal Journey (David Bairstow, Gudrun Parker, and Roger Blais, 1951), and The Romance of Transportation in Canada (Colin Low, 1953), and questions whether these awards accurately reflect the communication potential of the films. Describes the techniques and themes of the three films and examines international distribution of the films and audience reaction. Presents statistics on NFB commercial and non-commercial international distribution. 1819 Will Montreal get Film Board? Financial Post 58 (16 January 1954) 1,3. En. 1820 Bodsworth, Fred. "You're" in the movie business. Maclean's 67 no 7 (1 April 1954) 16-17, 68-73. 8 ill, En. Acknowledges the possibility that television may drastically reduce the National Film Board (NFB) of Canada's audience. Speculates on whether the NFB, or the Canadian Broadcasting Corporation (CBC) will become the chief filmmaking institution. Differentiates between the function and jurisdiction of the NFB and the CBC, illus-

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trating how they co-exist. Provides opinions from critics of the NFB, such as those who resent its monopolistic control over an information service with propaganda possibilities. Discusses reactions to the NFB's new headquarters in Montreal, Quebec, and the NFB film Royal Journey (David Bairstow, Gudrun Parker, and Roger Blais, 1951). 1821 Cote, Guy L. Canada: un cinema pratique. Cahiers du Cinema 9 no 53 (decembre 1955) 2-10. 6 ill, fr. Aperc,u de 1'industrie cinematographique canadienne, notamment en ce qui a trait aux courts metrages et aux longs metrages. Cote souligne 1'importance de 1'Office national du film (ONF) du Canada dans la production canadienne et trace 1'historique de 1'organisme. 1822 Starr, Cecile. For Canada and the world. Saturday Review 39 no 45 (10 November 1956) 26-27. En. Reports the opening of the National Film Board (NFB) of Canada's permanent headquarters in Montreal, Quebec, and outlines the past history of the NFB. Lists several advantages a national film board can have for a nation and the influence the NFB has had outside Canada. Notes recent NFB films available in the United States. 1823 Ketchum, Carleton J. Canada's National Film Board. Monetary Times 125 (December 1957) 22-24.4 ill, En. A history of the National Film Board (NFB) of Canada. Outlines the NFB's mandate, and its distribution network. Praises the NFB for the breadth of its international distribution and the accessibility of its Still Photos Division. 1824 Ketchum, Carleton J. Canada's National Film Board. Monetary Times 126 (January 1958) 25-26,80. En. Second part of an article discussing the history of the National Film Board (NFB) of Canada. Outlines the NFB's mandate, and its distribution network. Praises the NFB for the breadth of its international distribution and the accessibility of its Still Photos Division. 1825 Walker, Dean. More film business to government as tax-backed Film Board expands : Canada's governmentowned National Film Board has an enviable record of achievement. Canadian Business 31 no 1 (January 1958) 56-58, 60, 62. 3 ill, En. Outlines the growth of the National Film Board (NFB) of Canada, explaining that the mandate of the NFB is to promote Canada at home and abroad. Notes the influential role of the film commissioner, Guy Roberge, in shaping filmmaking policy, and expresses concern over the NFB's inherent association with the current federal government. Explains that the NFB operates independently of the commercial filmmaking industry. Frank Radford Crawley, president of Crawley Films, complains that the NFB is able to attract the best personnel because it can offer higher wages on short-term contracts. States that private film companies resent the NFB's monopoly of government film projects and fears the widening jurisdiction of the board. Reports that the profit margin is small for private film companies, while the NFB's profit grows annually. Notes numerous achievements of the NFB, such as the successful distribution of promotional films about Canada throughout the world, and states that private filmmakers benefit from the nontheatrical film distribution system of the NFB. Concludes that the private film-

making industry does not want the NFB dismantled, but is concerned about its consistent expansion. 1826 Le Canada dans les films de 1'O.N.F. Sequences no 13 (avril 1958) 24-27.1 ill, fr. Pour analyser 1'image du Canada dans les films de 1'Office national du film (ONF) du Canada, 1'auteur commence par faire reference a son fondateur John Grierson dont la tache etait «d'interpreter le Canada aux Canadiens ». On discute ensuite de la variete du catalogue de I'ONF, de ses preoccupations, des buts poursuivis, des difficultes eprouvees, et enfin, de la presence de 1'homme et de la recherche de la spiritualite dans ses films. Pour terminer, 1'auteur explique la raison d'un grand ecart entre les criteres idealises d'education par le cinema et les realisations concretes des cineastes de I'ONF. 1827 Hill, Rowland. The National Film Board looks at Canadians. Canadian Labour /Le Travailleur canadien 4 no 1 (January 1959) 19-22. 3 ill, En. Rowland Hill of the Information and Promotion Division of the National Film Board (NFB) of Canada notes the rapid increase in the Canadian film industry since the establishment of the NFB in 1939, the main function of which is to make films that educate Canadians about their country and the nations which surround them. Points out the important use of films in the Canadian trade union movement and the increasing attraction of film as an educational tool for employees of various industries. Examples of films recently produced by the NFB are : New Nation in the West Indies (1958), a series of four films directed by Ian MacNeill that depict the emergence of the West Indies as an independent nation; The Nature of Work (1958), a series of six films by Allan Wargon, Hugh O'Connor, and Morten Parker, that discuss the work related problems facing both management and labour; and The Grievance (Morten Parker, 1954), that demonstrates how grievance procedures are handled in a union plant. Notes that films and film equipment can be borrowed through film libraries located across the country. Describes the methods by which the NFB and the Canadian Broadcasting Corporation (CBC) receive funding. 1828 Canadian films in Latin America. External Affairs 11 no 9 (September 1959) 288-295. En. Discusses the ignorance of Canadians and Latin Americans about other cultures and how the film medium could help to remedy the situation. Focuses on the international distribution of the films of the National Film Board (NFB) of Canada, noting that the costly process of dubbing cannot be done until a demand for films by a Spanish or Portuguese-speaking audience is established. Outlines factors to be considered in expanding NFB distribution in Latin America, including overcoming the reluctance of local theatrical distributors who book films for profit, the possibilities of television distribution, import restrictions, and the lack of local NFB representation. Suggests the appointment of a permanent NFB officer to Latin America. 1829 Citizenship - Films. Ontario Library Review 44 (May 1960) 108. En. Provides a list of films from the National Film Board (NFB) of Canada appropriate for programs pertaining to Citizenship Day or Dominion Day.

Canada 1830 L'Office national du film. Sequences no 22 (novembre 1960) 21-24. fr. Portrait de 1'Office national du film (ONF) du Canada. On relate ses origines et on mentionne, entre autres, la serie The World in Action (1941-1945) produite durant la Deuxieme Guerre mondiale. Puis, on parle de 1'apresguerre, marquee par le travail de Norman McLaren et la venue de la television. Enfin, on resume le statut et la situation actuelle de cet organisme federal dans 1'industrie cinematographique canadienne. 1831 Cote, Franchise. Les films de 1'ONF: plus d'etrangers que de Canadiens les voient. Le Maclean 1 (novembre 1961) 79. fr. Se referant au rapport annuel de 1960 de 1'Office national du film (ONF) du Canada, 1'auteur constate que la plupart des spectateurs de films canadiens se trouvent a 1'etranger et non pas au Canada. 1832 Gentleman, Wally. Special effects: One answer to production problems. Canadian Cinematography 1 no 2 (January-February 1962) 4.1 ill, En. Wally Gentleman discusses some of the film techniques used at the National Film Board (NFS) of Canada. 1833 Pratley, Gerald. National Film Board. Continuous Learning 1 Quly-August 1962) 196-199. En. 1834 Porter, McKenzie. Canada's sorry silver screen script. Financial Post 56 (20 October 1962) 57. En. 1835 Crick, Philip. The National Film Board of Canada. Film 34 (Winter 1962) 42-44. En. 1836 Leduc, Jacques. Les cameramen de 1'O.N.F. Sequences no 33 (mai 1963) 21-26. 3 ill, fr. Article sur le metier de cameraman. L'auteur explique deux methodes de travail chez les cameramen de 1'Office national du film (ONF) du Canada : ceux qui sont intuitifs et spontanes dont Michel Brault, Claude Jutra et Bernard Gosselin, et ceux qui preferent mesurer, calculer et reflechir comme Robert (Bob) Humble, Reginald H. Morris, John Gunn, Francois Seguillon, Georges Dufaux et John Spotton. 1837 Graham, G. G. 8mm today and tomorrow. Canadian Cinematography 2 no 5 (July-August 1963) 12-14.1 ill, En. Gerry (Gerald) Graham, director of technical operations at the National Film Board (NFB) of Canada, discusses the potential benefits and problems of 8mm film if a switch is made from the standard 16 mm. He states that the NFB will not use 8mm film for original productions because 16 mm is more feasible. As well the NFB has no intention of distributing 8mm sound film in the distribution area now concerned with 16 mm prints. The NFB is considering 8mm sound or silent film to supplement areas conventionally covered by 16 mm sound film libraries and for special application in fields which are either unique or presently covered by filmstrips or other audiovisual material. Concludes with an outline of the conditions that would have to be met in order for the NFB to consider the extensive conversions.

183

1838 Bamber, James. Retombees biculturelles sur 1'O.N.F. Le Maclean 4 (fevrier 1964) 46-47.1 ill, fr. L'auteur commente la possibilite que 1'Office national du film (ONF) du Canada produise des films pour la television. II constate que cela serait possible dans la mesure ou les anglophones et les francophones qui font partie de 1'ONF aient chacun une marge de manoeuvre. 1839 Leach, Paul. Shooting in Greece and Thailand. Canadian Cinematography 3 no 3 (March-April 1964) 3,17-18.1 ill, En. Cinematographer Paul Leach describes the location shooting for the National Film Board (NFB) of Canada series Comparisons (1959-1964). 1840 L'O.N.F. et le cinema quebecois. Parti-Pris no 7 (avril 1964) 2-24. fr. 1841 Gauthier, Guy. L'Office national du film canadien. La Revue du cinema : Image et Son no 173 (mai 1964) 20-22. fr. Informations sur 1'Office national du film (ONF) du Canada concernant la fondation, les productions, 1'organisation, la distribution et 1'attrait qu'il exerce sur les etr angers. 1842 Ruspoli, Mario. Une production originale. La Revue du cinema : Image et Son no 173 (mai 1964) 22-23. fr. Mario Ruspoli cite 1'Office national du film (ONF) du Canada en exemple. Celui-ci a permis 1'emergence de plusieurs cineastes talentueux qui ont grandement contribue a certaines revolutions techniques dans le domaine cinematographique. 1843 Lefebvre, Jean Pierre. Petit eloge des grandeurs et des miseres de la colonie francaise de 1'Office national du film. Objectifno 28 (aout-septembre 1964) 3-17. fr. Jean Pierre Lefebvre passe en revue le travail de quelques cineastes de 1'Office national du film (ONF) du Canada : Michel Brault, Gilles Carle, Jacques Godbout, Gilles Groulx, Claude Jutra, Arthur Lamothe, Pierre Patry et Clement Perron. Ces cineastes, selon lui, ne sont pas compatibles avec le systeme de 1'O.N.F. 1844 Taaffe, G. 25th anniversary at the National Film Board. Montrealer 38 (September 1964) 18-20. En. 1845 Harcourt, Peter. The innocent eye : An aspect of the work of the National Film Board of Canada. Sight and Sound 34 no 1 (Winter 1964-1965) 19-23. 6 ill, En. Reprinted in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 67-77. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. Explores the unique visual style of the films of the National Film Board (NFB) of Canada's Studio B, and notes the contribution of filmmakers Tom Daly, Wolf Koenig, Roman Kroitor, Colin Low, Marcel Carriere, Guy Cote, and Eldon Rathburn to the studio's product. Argues that although the films of Studio B are not characterized by personal urgency or autobiographical emotion, they are nonetheless true to a unique Canadian experience and reflect an abstract and slightly rhetorical air that is often interpreted outside Canada as innocence. Analyses The

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Living Machine (Roman Kroitor, 1962), Lonely Boy (Wolf Koenig and Roman Kroitor, 1961), Universe (Roman Kroitor and Colin Low, 1960), Corral (Colin Low, 1954), and City of Gold (Wolf Koenig and Colin Low, 1957) in this context. 1846 Junker, Howard. After a quarter century. Film Quarterly 18 no 2 (Winter 1964) 22-29. 3 ill, En. Describes the 25th anniversary celebrations of the National Film Board (NFB) of Canada, and provides a critical overview of its history. Discusses the commission of John Grierson, based on his work in England, to create a film board that would interpret Canada for Canadians and the world. Though the NFB has been successful in fulfilling its mandate, reflected through its worldwide distribution network and the many international awards it has won, it is criticized for its censorship of certain films, the narrow limits of subject matter and freedom allowed to filmmakers, and for exempting Norman McLaren from such limitations. Particularly addresses the frustrations Quebecois directors have experienced in the context of the NFB constraints including Michel Brault and Gilles Groulx. Examines the most successful NFB films, said to have been the result of a rebellion against NFB limits, including films by Roman Kroitor, Colin Low, Hugh O'Connor, and Terence Macartney-Filgate. Also discusses the possibility of a feature film industry beginning in Canada, with the aid of government support. 1847 Morris, Peter, ed. The National Film Board of Canada: The War Years: A Collection of Contemporary Articles and a Selected Index of Productions. (Canadian Film Archives. Canadian Filmography Series, no 3). Ottawa, Ont: Canadian Film Institute, 1965. 32 p, En. In an introduction to films made by the National Film Board (NFB) of Canada (NFB) during World War II, Peter Morris provides a short history of early government filmmaking leading to the establishment of the NFB in 1939 under the guidance of John Grierson, and Grierson's subsequent appointment as first government film commissioner Includes excerpts from texts by Grierson on documentary, Canadian identity, and reportage film. The essay by Roger Barlow, "Documentary in Canada" (reprinted from Documentary News Letter, February 1942), notes films in production including the Canada Carries On (1940-1959) series, a monthly release that presents phases of the Canadian war effort in each issue. An essay (reprinted from Business Screen, October 1942) entitled "Film Board of Canada" follows, describing efforts by the NFB, in association with the government, to document war activities in Canada Carries On and The World in Action (1941-1945), and to produce films for government departments, and films on school subjects, adult education, and wartime economics. Norman McLaren discusses his experiments and techniques in animation in "Animated film" (reprinted from Documentary News Letter, May 1948), and Donald W. Buchanan's, "The Projection of Canada," provides an overview of Canadian documentary production and exhibition (extracted from University of Toronto Quarterly, April 1944). Provides a list of NFB films made between 1939 and 1945 for The World in Action series, Chants populaires (1944) series, Let's All Sing Together (19441945) series, Canada Carries On series, and includes general films and films by McLaren.

1848 Marcorelles, Louis. Le cinema direct nord-americain. La Revue du cinema : Image et Son no 183 (avril 1965) 46-54. 3 ill, bibl, fr. Description du cinema direct, technique inventee par les cineastes de 1'Office national du film (ONF) du Canada a la fin des annees 1950. On donne des titres de films importants dans 1'histoire du cinema direct dont Blood and Fire (Terence Macartney-Filgate, 1958), Les Raquetteurs (Michel Brault et Gilles Groulx, 1958) et Pour la suite du monde (Michel Brault, Marcel Carriere et Pierre Perrault, 1964) 1849 Lauzon, A. L'ONF et le role du createur. Le Maclean 5 (avril 1965) 59. fr. 1850 Pratley, Gerald. In and Out of Cinema. Canadian Cinematography 4 no 4 (May-June 1965) 4,22. En. Discusses the role of the Information Department of the National Film Board (NFB) of Canada. Offers the opinion on a NFB release detailing a visit by individuals from South Africa who want to set up a similar government board. Notes the lack of information on films submitted to festivals including the 1965 Cannes International Film Festival in Cannes, France, and the International Short Film Festival of Oberhausen in Oberhausen, Germany. Proposes that a committee be set up to consider submissions and see how Canada should participate in festivals. Lists various Canadian films that have suffered delays in distribution to festivals due to the NFB. 1851 Pratley, Gerald. In and Out of Cinema. Canadian Cinematography no 23 (July-August 1965) 4. En. Comments on the use of humour in National Film Board (NFB) of Canada productions with particular interest in humour as it is used in documentary films. Discusses the NFB shorts Instant French (David Bairstow, 1964), The Voyageurs (Bernard Devlin, 1964), and Down Through the Years (Jacques Giraldeau, 1964). Announces that films are wanted as submissions for various festivals including the Cardiff Commonwealth Arts Festival in Cardiff, Wales, with John Grierson as patron and Harley Jones as director, the San Francisco International Film Festival, in San Francisco, California, and the Vancouver Film Festival in Vancouver, British Columbia, to be held 23 September-2 October 1965. Notes that the NFB sent 60 Cycles (Jean-Claude Labrecque, 1965) to the Moscow International Film Festival in Moscow, Russia, and The Railrodder (Gerald Potterton, 1965) and Amanita Pestilens (Rene Bonniere, 1962) were shown at the Berlin International Film Festival in Berlin, Germany. Quotes from a German review of Amanita Pestilens noting that Bonniere attended the Berlin Festival. 1852 Pratley, Gerald. In and Out of Cinema. Canadian Cinematography no 25 (November-December 1965) 4,6.1 ill, En. Discusses the National Film Board (NFB) of Canada films screened at film festivals in London, England, and Cardiff, Wales. Notes the NFB entered 55 films. 1853 McKay, Marjorie. History of the National Film Board of Canada. Montreal, Quebec : National Film Board of Canada, 1966.147 p, index, En. A detailed account of the inception and development of the National Film Board (NFB) of Canada, from the early 1930s to 1964. Describes the political and social pre-war

Canada conditions to contextualize John Grierson's arrival in Canada, and includes a transcript of the policies and proposals presented to the government, which became the structure of the NFB in 1939. Includes many anecdotes about Norman McLaren, Donald Fraser, Jim (James) Beveridge, Tom Daly, Guy Glover, Vincent Paquette, Paul Theriault, and Louis Applebaum, as well as other young inexperienced employees being trained through practical application. Traces the decrease in production and staff support after the war, coinciding with Grierson's departure in 1945, and recounts NFB efforts to negotiate funding from the government, and redefine production and organization according to recommendations made in the Woods Gordon report of 1950. Discusses the passing of the National Film Act in 1950 and issues of concern during the 1950s, such as the NFB move from Ottawa, Ontario, to Montreal, Quebec, the threat of television to film production and distribution, and the increase in French language filmmaking. Explores the growing reputation of the Animation Department through the successes of McLaren's films, the development of new facilities and technologies, and conditions at the NFB as of 1964. 1854 McLean, Grant. Present status and future plans. Journal of University Film Producers Association 18 no 1 (1966) 16-20. 4 ill, En. An address presented by Grant McLean of the National Film Board (NFB) of Canada at a meeting of the Washington Film Council in Washington, D.C., on 12 January 1966. McLean outlines the mandate of the NFB to operate an information agency in a cultural field, adapt to the changing needs of society, and experiment in the technology they use to create film as well as its final product. Compares the NFB to the United States counterpart, the U.S. Information Agency, and discusses how the NFB is funded as well as its overall objectives. Mentions the success of People by the Billions (Donald Fraser, 1961) in India, where it has sold 500 copies. 1855 Bobet, J. Lettre ouverte au commissaire du gouvernement a la cinematographic. Liberte 8 (mars-juin 1966) 104-111. fr. 1856

Bobet, J. Editorial. Liberte 8 (mars-juin 1966) 3-8. fr.

1857 Bobet, J. L'O.N.E a tort ou a raison. Liberte 8 (marsjuin 1966) 91-92. fr. 1858

Citations. Liberte 8 (mars-juin 1966) 93-103. fr.

1859 Slade, Mark. Studying film and television. Continuous Learning 5 (September-December 1966) 203-209, 269-275. En. 1860 Educational role of Canadian films abroad. External Affairs 18 no 11 (November 1966) 508-509.1 ill, En. Describes Canada's contribution to UNESCO in the educational development of regions of illiteracy in the world, including sending cinema vans equipped to screen National Film Board (NFB) of Canada films to Senegal, Uganda, Chad, Guinea, Rwanda, and Gabon. 1861 Bell, Don. The NFB: Rudderless in a sea of talent. Maclean's 79 no 23 (3 December 1966) 65-66. 3 ill, En.

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Contends that the National Film Board (NFB) of Canada is undergoing a period of philosophical upheaval. Argues that young filmmakers working at the NFB wish to express themselves in the contemporary cinema verite style, rather than film staged interpretations of reality sponsored by governmental departments. Ties the NFB's turmoil to its uncertain relationship with the Canadian Broadcasting Corporation (CBC), and the departure of many French Canadian directors, such as Michel Brault, Denys Arcand, Jean-Claude Labrecque, Gilles Groulx, and Jean Dansereau. Explains that dissension arose over sponsored films, and prejudice against French Canadian filmmakers. Lists film projects underway at the NFB, and notes that they have begun production of 8mm films for schools. 1862 Slade, Mark. The N.F.B. Summer Institute : The God with the luminous navel. Take One 1 no 3 (February 1967) 11-13. 3 ill, En. Describes the first National Film Board (NFB) of Canada Summer Institute as a program working consciously within a social context and taking a functional approach to the study of film and television. Also outlines the institute's educational objectives. 1863 Canadian films abroad. External Affairs 19 no 4 (April 1967) 142-143.1 ill, En. Demonstrates the success in distributing and screening National Film Board (NFB) of Canada films throughout the world, attributable to the combined efforts of the NFB and government of Canada posts. The use of film as an international communications medium is discussed, and the favourable reception of NFB films at international festivals is considered significant in promoting NFB films. The lending of NFB films to educational institutions internationally is described as a major source of information about Canada in other countries. 1864 Garceau, Raymond. Les carnets d'un p'tit Garceau no. 4: surplus de guerre... surplus de createurs... surplus d'apotres. Objectifno 38 (mai 1967) 11-13. fr. Construit comme un journal intime, cet article nous propose une vue personnelle sur les evenements de 1'apresguerre a 1'Office national du film (ONF) du Canada. Les departs de John Grierson, Tom Daly et Lome Greene font place a des personnes comme Ross McLean et Paul Gardner. Ces evenements sont evoques comme des souvenirs de Raymond Garceau. 1865 Pratley, Gerald. Should the film commissioner be a cineaste? Canadian Cinematography no 31 (May-June 1967) 8. En. Questions the media coverage given to the appointment of Hugo McPherson as commissioner of the National Film Board (NFB) of Canada. Looks at previous film commissioners stating that Grant McLean is the ideal man for the position. 1866 Villeneuve, Paquerette. L'O.N.F. a Paris. Le Maclean 7 (juin 1967) 67.1 ill, fr. Discussion sur 1'etablissement d'un bureau de 1'Office national du film (ONF) du Canada a Paris (France). Preside par Jean-Jacques Chagnon, ce bureau, qui com-

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Film and Government / Cinema et gouvernement

prend une cinematheque, se charge de diffuser des productions canadiennes et quebecoises en Europe centrale. 1867 Durniak, J. National Film Board of Canada. Popular Photography 60 Qune 1967) 77-81. En. 1868 Pot Pourri. (August 1967-Summer 1977). Three times per year. Toronto, Ont; Hamilton, Ont: National Film Board of Canada, August 1967-Summer 1977. ill, En. Pot Pourri, the National Film Board (NFB) of Canada newsletter published three times per year between 1967 and 1977 reports on the production, distribution and exhibition activities of the NFB, and provides information pertaining to film libraries, community action groups, film societies and organizations, the production of animated films, screenings, and film education in the context of the Canadian film industry in general. Regularly features reviews of new NFB films and compiles lists of film titles pertaining to a particular topic such as drug abuse, animated subjects, and social action. Often features interviews with film people such as Bill Reid, Donald Green, and Derek May, and the contributors to Pot Pourri, such as Bill Canning, Bruce Mackay, Wally Gentleman, Colin Low, Sidney Goldsmith, Wolf Koenig, Clarke Mackey, and Bill Mason, are usually involved with NFB production in some capacity. Some issues of Pot Pourri focus on a single topic, such as the environment and film, animation, or special effects in film. 1869 Garceau, Raymond. Les carnets d'un p'tit Garceau no. 5: « Garceau, tu fen viens dans 1'equipe frangaise ». Objectifno 39 (aout-septembre 1967) 14-15. fr. Construit comme un journal intime, cet article parle de la section francophone de 1'Office national du film (ONF) du Canada. Un bref historique sur les hommes qui ont dirige 1'ONF. L'auteur presente Bernard Devlin et Roger Blais, ainsi que Roman Kroitor, Wolf Koenig et Colin Low. 1870 Bonneville, Leo. Quinze questions precises. Sequences no 52 (fevrier 1968) 16-20. 2 ill, fr. Jean-Paul Vanasse, secretaire de 1'Office national du film (ONF) du Canada, repond a 15 questions que 1'equipe de Sequences lui a fait parvenir. II parle, en premier lieu, des questions touchant la structure, le role et 1'organisation de 1'ONF. Puis, il discute du recrutement du personnel, des diverses politiques de 1'institution sur la liberte de creation des cineastes, de la productions des longs metrages, de la coproduction, de 1'appel a des cineastes etrangers, du cinema d'animation et de la distribution. 1871 Challenge for Change Newsletter. 1 no 1 - no 14 (Spring 1968 - Spring 1975). Two to three times per year. Title changed to Challenge for Change / Societe Nouvelle Newsletter, no 6-8 (February 1971 - Spring 1972), and Access: Challenge for Change / Societe Nouvelle, no 9 - no 14 (Summer 1972 - Spring 1975). Montreal, Quebec: National Film Board of Canada, Spring 1968-Spring 1975. ill, En. Published in conjunction with the Challenge for Change program of the National Film Board (NFB) of Canada, the newsletter was designed to serve as "a forum of new experiences for people involved in using film to effect social change" (1 no 1). The program was co-sponsored by the NFB and several other federal government agencies

under the direction of the Department of the Secretary of State. Its objectives were "to improve communications, create greater understanding, promote new ideas, and provoke social change." Participants within the program hoped to introduce communication technologies such as film, video, and radio into disadvantaged communities to assist its members in improving the quality of their lives. The newsletter was edited by Gwenn Stevenson, Dorothy Todd-Henaut, Elizabeth Prinn, and Elizabeth Greene Havens. Other members of its editorial board included Denise Winnicki, D.A.R. Moffatt, and Carol Bednar. Editorial board members and most contributors were associated with the NFB, many as filmmakers or producers. Notable contributors included Hugo McPherson, R.A.J. Phillips, Ben Low, James R. Whitford, Robert Sparks, Harold Oxley, Georges Beaupre, Doris Schwob, Pierre Fontaine, Bill Reid, Anton Karch, Bill Nemtin, Bill Houston, Leonard Forest, Henry Becton, Jim Hyder, Kathie Tweedie, Gwynne Basen, Pat Quinsey, Peter Whalley, Virginia Stikeman, Helene Blain, Colin Low, and Kathleen Shannon. Among the projects described in some depth are the Fogo Island film series from Newfoundland, the Lome School project in Montreal, Quebec, the making and screening of Encounter at Kwacha House-Halifax (Rex Tasker, 1967), the VTR project in Saint-Henri, Montreal, the student occupation of McGill University in Montreal, and the film series documenting the work of Saul Alinsky. Although the newsletter focussed primarily on the projects sponsored by the Challenge for Change program, it also reported on similar activities practised elsewhere in Canada and abroad. In addition to reports on specific projects, theoretical issues relevant to the documentary, communications and social change were also treated separately in letters, editorials and articles. 1872 MacNeill, N. "Challenge for Change" : The Film Board deals with social issues. Continuous Learning 7 QulyAugust 1968) 169-175. ill, En. 1873 Bell, Don. A new way to solve some of your town's old problems : See yourself as others do, on miles of movie film. Maclean's 81 no 12 (December 1968) 87. En. Discusses the social, political, and economic effects of the National Film Board (NFB) of Canada Challenge for Change (1967-1980) program. Focuses on this interactive use of film in the communities of Fogo Island, Newfoundland, Loon Lake, Alberta, Halifax, Nova Scotia, and SaintJerome, Quebec. Examines the concept of feedback and the role of film as a living newspaper. 1874 Screen Study: A Report on the National Film Board of Canada and McGill University Summer Research Institute of Screen Study. National Film Board of Canada. McGill University, Montreal. The NFB-McGill Summer Research Institute of Film and Media Study was organized by Peter Ohlin, Mark Slade, and Terry Ryan. Ottawa, Ont: Summer Research Institute, 1969. 8 p, 23 ill, En. A photo essay with text, of the 1969, six-week Summer Research Institute of Screen Study developed by the National Film Board (NFB) of Canada and McGill University in Montreal, Quebec, to explore the personal and social consequences of media. 1875 Blumer, Ronald. Is this the end? Take One 2 no 3 Qanuary-February 1969) 12-13.1 ill, En.

Canada Points out problems arising from the federal government's decision to cut the budget of the National Film Board (NFB) of Canada by ten to 20 per cent. Explains the sources of NFB financing, and stresses its importance in fostering a sense of national identity. 1876 Henaut, Dorothy Todd. Film as an instrument for social change. Artscanada 26 no 1 (February 1969) 34-35. 5 ill, En. Presents the National Film Board (NFB) of Canada's Challenge/or Change (1967-1980) program in terms of its mandate to use the medium of film to improve communications, promote new ideas, and provoke social change. Questions whether filmmakers should become social animators, or whether social animators, such as community organizers, development officers, or agitators, should become filmmakers, and describes how the Challenge for Change program attempts to address this question. Considers Colin Low's The Children ofFogo Island (1967) filmed on Fogo Island, Newfoundland, Willie Dunn's The Ballad of Crowfoot (1968) produced by the NFB Indian Unit, and Fernand Dansereau's Saint-Jerome (1968), Maurice Bulbulian's La P'tite Bourgogne (1968), and Michel Regnier's L'Ecole des autres (1969) produced as part of Societe nouvelle, the NFB French unit's counterpart to the Challenge for Change program. States that although the Challenge for Change films are created as consciousness raising projects rather than as works of art, there is profound beauty in the faces of struggling, committed people when filmed with understanding and empathy. 1877 Stanbury, Robert. Society's catalyst: Film. Canadian Business 42 no 4 (April 1969) 38, 41-42.1 ill, En. Member of Parliament Robert Stanbury assesses film as a communications medium capable of initiating social change. Looks at the goals and results of Challenge for Change (1967-1980), a film development program established by the National Film Board (NFB) of Canada in 1967 in order to probe social problems through the eyes of those who have the experiences. Describes the program's past successes : a film about the residents of the povertystricken community of Fogo Island, Newfoundland ; films about the lifestyle and traditions of the native Indians of Canada ; the films of seven native Indians trained in the techniques of filmmaking to produce films about their community ; various film projects established by the NFB for the students and parents of Lome School in Montreal, Quebec; and Encounter at Kwacha House: Halifax (Rex Tasker, 1967), a film depicting debates between black and white youths in Halifax, Nova Scotia. Also notes the future aspirations of the Challenge for Change program, and the influence it has had on the establishment of a similar project at the Office for Economic Opportunity in the United States. 1878 Guay, Jacques. Du cinema au service de la population. Le Maclean 9 (avril 1969) 90. fr. Descriptions de quatre films produits par 1'Office national du film (ONF) du Canada en vue de sensibiliser la population aux problemes de la pauvrete urbaine. Saint-Jerome (1968) et L'Operation pourquoi (sorti sous le titre Tout le temps, Tout le temps, Tout le temps...?, 1970) de Fernand Dansereau, La P'tite Bourgogne (Maurice Bulbulian, 1968) et L'Ecole des autres (Michel Regnier, 1969) y figurent

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comme exemples de nouvelles productions de 1'ONF qui visent a servir des groupes particuliers. 1879 Prichard, P. S. Photographer to a nation. Americas 21 (September 1969) 36-41. En. 1880 Henaut, Dorothy Todd. Implicating people in the process of change: Canada's new kind of film making. Film Library Quarterly 2 no 4 (Fall 1969) 44-47. En. Describes the origins of the Challenge for Change (19671980) film project, which began as an effort to give a voice to those silenced by poverty, and allow them to communicate their needs to their community governments. The program allows participants to become involved in choosing what is included in the films, as compared to past film projects where filmmakers applied their own visions without involving community members. Screenings of the final film are organized to include all involved, allowing for a dialogue between the film's participants and their opposing groups, who are usually government administrators. To alleviate the economic, technological, and time constraints which film can involve, video was decided upon as an appropriate medium because it allows members of the community to work the camera themselves, and permits instant playback. The drawback of video is that it has a smaller screen. Discusses Encounter at Kwacha House: Halifax (Rex Tasker, 1967), made in conjunction with the black population of Halifax, Nova Scotia, that helped increase communication with the city administration, Colin Low's work in Fogo Island, Newfoundland, among a divided fishing population as a catalyst in bringing greater cooperation, and Bonnie Sherr Klein's involvement with the citizens in a poor area of Montreal, Quebec, for the Comite des citoyens de StJacques. Outlines the implications the program may have for native groups. Importance is placed on continued action within communities, discouraging continued mythologizing of problems through media. 1881 Friedlander, Madeleine S. "Challenge for Change" : An American view. Film Library Quarterly 2 no 4 (Fall 1969) 48-52. 1 ill, En. Madeleine S. Friedlander, a leading figure in the use of film with community groups in New York City, New York, discusses the National Film Board (NFB) of Canada's Challenge for Change (1967-1980) program from an American perspective. Friedlander examines how Challenge for Change attempts to place the medium of film in the hands of the people of impoverished and under-represented communities, in order to help them deal with the problems facing their community. She refers specifically to the positive effects of Colin Low's Fogo Islands series on the fishing community of Fogo Island, Newfoundland, and of Rex Tasker's Encounter at Kwacha House - Halifax (1967) on the black community in Halifax, Nova Scotia. Friedlander also refers to some parallels to the Challenge for Change program currently being undertaken in the United States, but notes that such programs are underpublicized and often inaccessible to the general public. 1882 Millions see NFB movies. Financial Post 63 (6 September 1969) 34. ill, En. 1883 Vineberg, Dusty. New man at the Film Board. Take One 2 no 8 (November-December 1969) 13-14.1 ill, En.

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Reviews the career of Sydney Newman, the newly appointed head of the National Film Board (NFB) of Canada. Discusses recent NFB budget restraints and conflicts with the Canadian Broadcasting Corporation (CBC), and Newman's plans to resolve these difficulties under the terms of the Film Act. Newman's acceptance of advertising breaks in NFB films in order to permit broadcast of the CBC's programming schedule is noted, as is filmmaker Norman McLaren's opposition to this scheme. 1884 Begin, Jean-Yves. Le Groupe de recherches sociales de 1'O.N.F. Sequences no 59 (decembre 1969) 14-22. 4 ill, fr. Description du Groupe de recherches sociales (GRS) de 1'Office national du film (ONF) du Canada, precurseur du programme Societe Nouvelle (1967-1980) mis sur pied par cet organisme. Ce groupe fut cree a 1'ONF en 1967 et dissous en avril 1969. Homologue francophone de la serie anglaise Challenge for Change de 1'ONF, le GRS se donnait pour but de montrer aux citoyens comment surmonter leur situation economique precaire. Le Groupe etait compose de trois cineastes: Fernand Dansereau, Michel Regnier et Maurice Bulbulian. Le producteur etait Robert Forget tandis qu'Hortense Roy occupait a la fois les postes de specialiste du travail de groupe, coordonnatrice de la distribution et attachee au service de recherches en communication de la distribution. L'ethique cinematographique du GRS se basait sur la non-manipulation du sujet. Enfin, sa methode de production constituait un processus global d'animation de groupe ou les participants etaient consultes a tous les stades de la production. Les membres du GRS ont realise cinq productions : SaintJerome (1968) de Dansereau, L'Ecole des autres (1969) realise par Regnier, La P'tite Bourgogne (1968) de Bulbulian, Tout le temps, tout le temps, tout le temps...? (1970), realise par Dansereau et un groupe de citoyens de Montreal et 82,000 (une serie de cinq films realies par le Comite de citoyens du quartier Hochelaga a Montreal (Quebec)) (1969) de Regnier. 1885 Bonneville, Leo. Crise a 1'O.N.F. Sequences no 60 (fevrier 1970) 2-3. fr. Editorial portant sur la crise de 1'Office national du film (ONF) du Canada qui se voit restreint par de nouvelles coupures budgetaires. Tout en notant la qualite actuelle des productions de 1'ONF, Leo Bonneville denonce la politique entree en vigueur en Janvier 1970 qui impose des frais de location. II proteste contre le fait qu'on doive payer, au Canada, pour ce qu'on finance deja, tandis qu'a 1'etranger, on peut louer des films de 1'ONF sans debourser le moindre sou par 1'entremise des ambassades canadiennes. 1886 Fulford, Robert. Trudeau's cool, efficiency-minded murder of the arts. Saturday Night 85 no 2 (February 1970) 7-9.2 ill, En. Criticizes Prime Minister Pierre Trudeau and Gerald Pelletier, the secretary of State, for freezing the budget of the National Film Board (NFB) of Canada. Claims it is hypocritical of the federal government to stress the importance of asserting a national identity, while limiting the effectiveness of the NFB. 1887 Summers, Bob. "Challenge for Change." Cineaste 3 no 4 (Spring 1970) 16-18. 2 ill, En.

An overview of the National Film Board (NFB) of Canada's Challenge for Change program. Notes the program's mandate to produce films on a wide variety of social problems, and to put communications technology in the hands of community groups in order to assist them in organizing and effecting social change in their community. Discusses the development of the program out of Colin Low's Fogo Island series, which taught the filmmakers the important principle of community involvement in the shaping of a social film, and also made them aware of the need for their work to be part of an ongoing process. Mentions other films produced under the auspices of the Challenge for Change program, including Peter Pearson's Encounter with Saul Alinsky (1967) and The Alinsky Approach: Organizing for Power series (1968), Bonnie Sherr Klein's Little Burgundy (1968), Citizen's Medicine (1970), and VTR St. Jacques (1969), Mort Ransen's You Are on Indian Land (1969), and Willie Dunn's The Ballad of Crowfoot (1968). 1888 Summers, Bob; Crowdus, Gary. A discussion with Tony Kent. Cineaste 3 no 4 (Spring 1970) 18-20.1 ill, En. An interview with Tony (Anthony) Kent, distribution coordinator for the National Film Board (NFB) of Canada's Challenge for Change (1967-1980) program. Kent discusses the methods used by the program to decide which film projects it will undertake, as well as the censorship policies of the NFB, the social effects of the Challenge for Change films, recent NFB funding cuts, and the cultural dynamics resulting from Canada's two distinct societies. 1889 Ruddy, Jon. What's the big squeeze leaving on the cutting room floor? Maclean's 83 no 3 (March 1970) 73, 75. 4 ill, En. Discusses the reaction of filmmakers, administrators, politicians, and the Syndicat general du cinema et de la television (SGCT) to the ten per cent reduction in the budget of the National Film Board (NFB) of Canada. The protest activities of the SGCT, the union representing the production and technical staff, are contrasted with the acceptance displayed by the directors of the French and English NFB programming. Notes the international acclaim garnered by NFB productions. 1890 The fight for the National Film Board. Canadian Dimension 6 no 8 (April-May 1970) 13-18. En. An account of the attempt of the federal government to establish a rental system at the National Film Board (NFB) of Canada, whereby individuals and organizations would be required to pay rental charges for the use of NFB films, and describes the action as an attempt to commercialize the NFB. Focuses on the Cinematheque canadienne's announcement that the proposed rental system means they can no longer showcase films produced by the NFB. Discusses in detail, the resulting political battle between the Syndicat general du cinema et de la television (SGCT), the independent bicultural Canadian union of French and English filmmakers at the NFB, and the federal government. Describes the formation and mandate of the SGCT and its efforts to maintain the NFB as an institution free from commercial, political, and union restrictions, and remain an institution that produces distinctly Canadian films. Also describes the SGCT as favouring the participation of staff in policy, planning, and major decisions at the

Canada NFB. Outlines what the SGCT believes is necessary for the maintenance of the NFB as a unique cultural institution : a policy of free Canadian distribution; the development of a network of nationally owned theatre chains ; the establishment of more regional production centres; and the implementation of an automated film library. 1891 Watson, Patrick. "Challenge for Change." Artscanada 27 no 2 (April 1970) 14-20. 12 ill, En. Reprinted in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 112119. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. Outlines the development of the National Film Board (NFB) of Canada's Challenge for Change (1967-1980) program, a film series created by producers George Stoney and John Kemeny along with director Colin Low, and designed to explore social issues and provoke dialogue in an attempt to accelerate social change. Relates the program to the mandate of the NFB, as articulated by founder John Grierson, to use the medium of film for social improvement. Considers the influence of Low's 28 Fogo Island films, which first elaborated the principle of taking the medium of film into troubled situations in order to help communities find avenues for social change without exploiting the subjects of the films. Discusses Societe nouvelle, the NFB French unit's counterpart to the Challenge for Change program, focussing on Fernand Dansereau's Tout le temps, tout le temps, tout le temps...? (1970). Examines the ethical issues inherent in documentary filmmaking, and notes how the Challenge for Change program addresses such issues by emphasizing the participation of the subjects of the film in the planning, shooting, and editing. Discusses the NFB's native Indian film unit and examines Willie Dunn's The Ballad of Crowfoot (1968), which chronicles the legendary prairie chief, and Mort Ransen's You Are on Indian Land (1969), about a blockade staged by the Saint Regis Indians. Discusses Terence MacartneyFilgate's video Up Against the System (1969), and the use of video in the Challenge for Change program as a viable mode of production. 1892 Ryan, Terry. Six filmmakers in search of an alternative. Artscanada 27 no 2 (April 1970) 25-27.11 ill, En. A discussion about the National Film Board (NFB) of Canada, emphasizing its concern for the common person and how she or he is manipulated by contemporary media technologies. Illustrates how film is becoming a more personal medium by analysing the work of six filmmakers who work for the NFB; discusses the evolution of the careers of filmmakers Arthur Lipsett, Derek May, Robin Spry, Pierre Hebert, Ryan Larkin, and Norman McLaren. 1893 Bonneville, Leo. « Premieres Oeuvres ». Sequences no 63 (decembre 1970) 4-8. 4 ill, fr. Commentaires de Leo Bonneville sur cinq films produits par 1'Office national du film (ONF) du Canada dans le cadre d'un projet Premieres Oeuvres venant en aide aux jeunes cineastes quebecois. Ainsi 1'ONF a donne un soutien financier et technique a cinq jeunes realisateurs qui, selon Bonneville, possedent une ecriture personnelle et des oeuvres qui s'inscrivent dans un cinema definitivement moderne. Ces Premieres Oeuvres sont: Ti-Coeur (1969) de Fernand Belanger, Jean-Fran^ois-Xavier de... (1971) de Michel Audy, Un jour sans evidence (sorti sous le

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titre Ainsi soient-ils, 1971) d'Yvan Patry, Question de vie (1971) d'Andre Theberge et Mon enfance a Montreal (1971) de Jean Chabot. 1894 Boissonnault, Robert. Les Cineastes quebecois: un apercu. Maitrise. Montreal, Quebec : Universite de Montreal, 1971. 345, 30 p, ill, bibl, fr. Reimpression, Cinema Quebec 2 no 2 (octobre 1972) 15-21; 2 no 3 (novembre 1972) 12-18; 2 no 4 (decembre 1972) 14-22; 2 no 5 (janvier-fevrier 1973) 14-18 ; 2 no 8 (mai-juin 1973) 14-16. Cette etude porte sur les cineastes quebecois de 1'Office national du film (ONF) du Canada de 1950 a 1967. On etudie deux aspects de leur metier: leurs projets cinematographiques et les conditions dans lesquelles ils ont travaille. On s'attarde aussi sur 1'evolution du statut de realisateur qui entraina le depart de huit cineastes de 1'ONF entre 1964 et 1966. L'etude utilise la theorie neorationaliste de M. Crozier. Comme outils de recherche, on se base sur 21 entrevues menees aupres de cineastes qui ont travaille a 1'ONF de 1945 a 1967, sur des ecrits et sur des entrevues accordees par des realisateurs quebecois, sur des documents d'associations professionnelles, des rapports annuels de 1'ONF et des coupures de presse. On demontre que les cineastes, a force d'etre confronted a des obstacles bureaucratiques, se sont regroupes pour assurer un controle sur 1'appareil de production. 1895 Le defi de 1'efficacite. Cinema Quebec 1 no 1 (mai 1971) 5-6.1 ill, fr. Apres qu'on lui ait attribue une responsabilite operationnelle a 1'Office national du film (ONF) du Canada, en 1971, Andre Lamy, commissaire-adjoint du gouvernement a la cinematographic, explique ses nouvelles responsabilites et priorites. II explique, entre autres, la philosophic de production et de distribution ainsi que la rentabilite sociale. 1896 L'Office national du film du Canada. Cinema Quebec 1 no 7 (janvier-fevrier 1972) 16-18. fr. Dossier sur 1'Office national du film (ONF) du Canada. On fait etat des films qui sont censures par cet organisme : Les Ordres (1974) de Michel Brault, Cap d'espoir (1975) de Jacques Leduc, On est au coton (1976) de Denys Arcand et Un pays sans bon sens! (1971) de Pierre Perrault. Bilan de la production franchise et anglaise de 1'ONF pour 1'annee 1970-1971 et description du programme experimental Societe nouvelle / Challenge for Change (1967-1980) etabli en collaboration avec le gouvernement federal qui traite des communications et de 1'evolution sociale. Enfin, on analyse 1'apport de 1'ONF en matiere de distribution pour 1'annee 1970-1971. 1897 Grierson, John. Memo to Michelle about decentralizing the means of production. Challenge for Change Newsletter no 8 (Spring 1972) En. Reprinted in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 132-136. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. John Grierson addresses the issue of indiscriminate use of 8mm filmmaking as a form of self-expression practised in North American universities and introduces the National Film Board (NFB) of Canada's Challenge for Change (19671980) program as a method of decentralizing production.

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1898 NFB sets record. Cinema Canada no 3 (July-August 1972) 9. En. States that a record number of 16,675 film bookings were made with the National Film Board (NFB) of Canada in 1971 and that Claude Jutra's Mon oncle Antoine (1971) was the most requested feature film. 1899 Kurchak, Marie. What challenge? What change? Take One 4 no 1 (September-October 1972) 22-25. En. Reprinted in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 120-128. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. Examines the function and structure of the National Film Board (NFB) of Canada Challenge for Change (1967-1980) program. Discusses the ethics of social documentaries by contrasting The Things I Cannot Change (1966) by Tanya Ballantyne with Colin Low's Fogo Island films. Looks at the focal point of the program, effecting change in the audience, and notes how video is used to create an information network more vital than that of conventional mass media. Questions whether the expanded use of communications technology is ultimately beneficial and reviews the methods of evaluating the program's accomplishments. 1900 Koller, George Csaba. NFB films win 63 awards in 1972. Cinema Canada no 5 (December 1972-January 1973) 11-12.1 ill, En. Lists awards received by the National Film Board (NFB) of Canada in 1972. 1901 Koller, George Csaba. NFB making language-learning films. Cinema Canada no 5 (December 1972-January 1973) 12-13. En. Announces that the National Film Board (NFB) of Canada is producing a series of 60 20-minute films designed to support the teaching of Canada's two official languages. 1902 Technical News: New products and development. Cinema Canada no 5 (December 1972-January 1973) 17. En. Describes the Time Index System, a revolutionary new method for sound recording developed by Leo O'Donnell of the National Film Board (NFB) of Canada, which was introduced by O'Donnell to the Society of Motion Picture and Television Engineers Conference held in Los Angeles, California 22-27 October 1972. 1903 Gray, C. W. Movies for the People : The Story of the National Film Board's Unique Distribution System. Montreal, Quebec : National Film Board of Canada, 1973.132 p, 38 ill, bibl, En. This report explores the film distribution system developed by the National Film Board (NFB) of Canada in 1942, which was so efficient that, for a time, more people saw films in union halls, classrooms, and church basements than in cinemas. Part one traces the history of itinerant projectionists from the earliest days of film to their absorption by the NFB. Part two illustrates how NFB rural circuits brought information on film to the Canadian people strengthening a feeling of unity and resolve in pursuing the war effort. Provides a description of the NFB circuits organized to reach people in factories and primary industries and to provide training for volunteer projec-

tionists. Part three delves into the postwar demand for film as an educational device and a community event, focussing on the distribution mechanisms for 16 mm film and the use of film in classrooms and continuing education contexts. Part four explores special NFB uses of film in outpost areas, outdoor settings, and film festivals, for cinema and television, and for the projection of Canada abroad. The powerful effect of film on social change is emphasized in relation to the role of the NFB in promoting films on health, sanitation, redevelopment, employment, vocational training, and social attitudes and problems. 1904 Perron, Clement. L'Office national du film: (1) une certaine idee de 1'ONF. Cinema Quebec 2 no 9 (1973) 32. fr. Le cineaste Clement Perron donne ses impressions sur 1'Office national du film (ONF) du Canada. 1905 Newman, Sydney. L'Office national du film: (2)... il ne suffit pas de divertir. Cinema Quebec 2 no 9 (1973) 33. fr. Extrait du rapport annuel de 1'Office national du film (ONF) du Canada pour 1'annee 1971-1972 ou le commissaire Sydney Newman donne son opinion sur le role de 1'ONF vis-a-vis des autres pays. 1906 Lamy, Andre. L'Office national du film: (3) L'ONF et la politique federale. Cinema Quebec 2 no 9 (1973) 33-35. 2 ill, fr. Andre Lamy, commissaire-adjoint de 1'Office national du film (ONF) du Canada, propose quatre directives issues de son organisme, le 4 juillet 1972, visant a respecter la politique federale en matiere de films. 1907 Hurley, Jefferson. The National Film Board of Canada is frightened of its own images. Communist Viewpoint 5 no 3 (1973) 36-42. En. Discusses the National Film Board (NFB) of Canada in its attempts to attack the concept of Quebec nationalism by censoring documentaries made by its Quebecois employees. 1908 NFB presents Quebec like it is to CBC English network audiences. That's Showbusiness 2 no 2 (10 January 1973) 6. En. 1909 NFB's "Adieu Alouette" series great critical success. Cinema Canada no 6 (February-March 1973) 11. En. A brief synopsis of the 13 films that comprise the Adieu Alouette (1972-1973) series produced by Ian McLaren of the National Film Board (NFB) of Canada which attempts to destroy stereotyped misconceptions about Quebec. 1910 Le delegue de 1'Office national du film du Canada pour 1'Europe, 1'Afrique du Nord et le Moyen-Orient, M.Roland Ladouceur, estime que le cinema canadien a atteint aujourd'hui «le seuil professionel». Le Devoir (17 avril 1973) 15. fr. 1911 Dworkin, Sol. Life at the early NFB. Take One 4 no 5 (May-June 1973) 31-33.1 ill, En. Sol Dworkin relates his experiences as an employee of the National Film Board (NFB) of Canada while the NFB was

Canada under the directorship of John Grierson. Describes his apprenticeship making newsreels for rural, industrial, and trade union circuits as part of the World War II effort, and details the circumstances surrounding the production of the film Farm Front (1943). States that British filmmakers constituted the majority of the employees at the NFB, and that it was from them that Canadian filmmakers received their training. Provides details as to the organization of the NFB, which was divided into departments such as production, camera, music cutting, animation, and distribution. 1912 Sous 1'egide de « societe nouvelle » de 1'ONF sera presente le cinema social canadien. Le Devoir (9 mai 1973) 12. fr. 1913 Dawson, Marie. NFB as active as ever. Cinema Canada no 8 (June-July 1973) 13. En. A brief overview of the recent projects and the current production schedule of the National Film Board (NFB) of Canada. 1914 Driscoll, Dan. Notes from the N.F.B.: Media and multi-culture. Motion 0uly-August 1973) 12. En. Description of current events at the National Film Board (NFB) of Canada focussing on media and multiculture. Notes that during the past two years the NFB has, through its versioning program, increased the number of versioned films for significantly large minority language groups and 44 languages are represented in the NFB Foreign Versions Catalogue. 1915 NFB crew filming in China. Cinema Canada no 9 (August-September 1973) 8. En. Examines the National Film Board (NFB) of Canada's production of Marcel Carriere's Three Innocents in China (released under the title Ping-pong, 1974), a film about Canadian ping-pong players in China. 1916 More news from the NFB. Cinema Canada no 9 (August-September 1973) 9. En. Discusses recent projects and activities of the National Film Board (NFB) of Canada, including the Canadian visit of two Soviet film executives sponsored by the NFB, the NFB's Summer Cinema program, the release of new NFB products, and the awards that the NFB has recently garnered at international film festivals. 1917 La formule « cine-participation », mise au point par 1'Office national du film vise fondamentalement a habituer la population a aller au cinema autrement que pour consommer du film de loisir. Le Soleil (22 septembre 1973) 38. fr. 1918 Ferrabee, Gil. On the National Film Board. Media Message (Winter 1973) 5-7. En. Reports on the National Film Board (NFB) of Canada's decision to discontinue direct loans to schools and discusses how schools will be affected. 1919 NFB series on Canadian West. That's Showbusiness 3 no 1-2 (16 January 1974) 1,13. En.

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1920 Hausvater, Alexander. "Filmglish." Motion (MarchApril-May 1974) 30-31.4 ill, En. Report on the National Film Board (NFB) of Canada language series Filmglish (1974) that includes the films The Heatwave Lasted Four Days (Doug Jackson, 1975), A Case of Eggs (Bernard Devlin, 1974), A Moving Experience (Rudi Dorn, 1974), A Star Is Lost! (released in the series as Star, John Howe, 1974), and Albert-la-grenouille (released as The Winner but not as part of the Filmglish series, Michael Scott, 1975). 1921 Lever, Yves. Nouveaux modes de diffusion culturelle : deux experiences significatives au cinema. Relations 34 (avril 1974) 108-111. fr. 1922 NFB wins Flaherty award; honoured at Miami. Canadian Film Digest (April-May 1974) 14. En. 1923 Proulx, Pierre. Ou la Bolivie vue par Guy Cote de 1'ONF: le lent eclatement de deux univers religieux. Le Devoir (11 mai 1974) 21. ill, fr. 1924 Stage d'initiation a 1'ONF. Le Devoir (18 mai 1974) 11. fr. 1925 En.

Lauppe, Carl. "West" Pot Pourri Qune 1974) 13-17.

1926 Shannon, Kathleen. "Working Mothers." Pot Pourri (June 1974) 2-6. En. 1927 Elley, Derek. Rhythm 'n' truths. Films and Filming 20 no 9 Qune 1974) 30-36. 7 ill, En. Reprinted in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 94-103. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. An extensive interview with National Film Board (NFB) of Canada chair and government film commissioner Sydney Newman and NFB filmmaker Norman McLaren. Newman discusses the mandate of the NFB, its processes of film production and distribution, the positive and negative aspects of working within a federally funded institution, and the technical branch of the NFB. Newman also considers the contributions of NFB founder and first government film commissioner John Grierson to the board, expresses his admiration for the work of McLaren, and describes his background in the film industry and the state of the NFB when he first joined its production section in 1941. McLaren provides a brief autobiography, focussing on his fascination with cinema as a child in Scotland, his background in filmmaking, and how he came to be involved with the NFB. McLaren also discusses his innovations in the field of animation that have included experiments with pixillation, painting directly onto the film strip, drawing on the optical soundtrack to create artificial sound, using paper cut-outs, 3-D, and a pastel technique, and describes how he uses such techniques to produce socially relevant films. McLaren refers to a number of his films including Fiddle-de-dee (1947), Begone Dull Care (with Evelyn Lambart, 1949), Canon (with Grant Munro, 1964), Pas de deux (1968), Ballet Adagio (1971), and A Chairy Tale (with Claude Jutra, 1957).

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Film and Government / Cinema et gouvernement

1928 Gauthier, Guy. Cinema documentaire et changement social: « Societe nouvelle ». La Revue du cinema : Image et Son no 285 (juin-juillet 1974) 43-51. 4 ill, bibl, fr. Presentation de Societe nouvelle (1967-1980), un programme gouvernemental administre par un comite qui regroupe six representants de 1'Office national du film (ONF) du Canada. A travers ses activites, on decrit les principaux objectifs du programme, on souligne 1'approche des cineastes face a leur sujet et on termine en mentionnant les projets a venir. 1929 Ammon, Jack. Vancouver's NFB expands. That's Showbusiness 3 no 15 (17 July 1974) 7. En. Describes the National Film Board (NFB) of Canada's expansion of its West Coast production unit. 1930 Blumer, Ronald. There's more to the Film Board than meets the eye. Cinema Canada no 15 (August-September 1974) 17.1 ill, En. An introduction to a series of articles on the National Film Board (NFB) of Canada in Cinema Canada no 15 (AugustSeptember 1974) in honour of the NFB's 35th anniversary. Recalls NFB founder John Grierson's speech to the board's staff on the occasion of its 25th anm'versay. 1931 Kirshenbaum, Harris. Time Index System. Cinema Canada no 15 (August-September 1974) 20-21. 4 ill, En. Discusses the Technical Development Department of the technical and production services branch of the National Film Board (NFB) of Canada, which is involved in a constant program of research and testing of the mechanical aspects of film equipment. Focuses on the Time Index System developed by Leo O'Donnell while at the NFB's Technical Development Department. Describes the system, which offers continuous automatic identification of all sound and picture material, in detail, emphasizing its technical aspects, operations, and applications. States that the Time Index System may be used by the Canadian Broadcasting Corporation (CBC) for coverage of the 1976 Summer Olympic Games in Montreal, Quebec. 1932 Chesley, Stephen. Information and promotion. Cinema Canada no 15 (August-September 1974) 26-27.1 ill, En. Profiles David Novek, director of the information and promotion division at the National Film Board (NFB) of Canada. Novek discusses the function of his department, which, in addition to information and promotion, is responsible for festival representation, public relations, and the NFB's catalogue and annual report. Provides a brief summary of Novek's career in journalism and communications. 1933 Hartt, Laurinda. English production. Cinema Canada no 15 (August-September 1974) 32-34. 2 ill, En. Profiles Robert Verrall, director of English production at the National Film Board (NFB) of Canada. Discusses Verrall's support of the NFB's five-year regionalization program, the objectives of which are to connect the NFB with areas outside of metropolitan centres and to assist in the establishment of regional production facilities that are not directly affiliated with the NFB. Verrall discusses the possibility of increased feature film production within the English production unit, and describes some of the unit's current and upcoming projects.

1934 Koller, George Csaba. Government film commissioner. Cinema Canada no 15 (August-September 1974) 42-46. 2 ill, En. Interviews Sydney Newman, the controversial government film commissioner for the National Film Board (NFB) of Canada. Newman discusses his refusal to release Gilles Groulx's 24 heures or plus... (1977), a documentary about labour unrest in Quebec, his views regarding the role of the NFB in the Canadian film community and how the NFB will develop over the next five years, and provides insight into what occurs during meetings held by the advisory committee to the Department of the Secretary of State, the Canadian Broadcasting Corporation (CBC), and the Canadian Film Development Corporation. Newman also expresses his opinions regarding the problems in Canadian film production and the implications of television production for the Canadian film industry. Provides an overview of Newman's address in Ottawa, Ontario, in April 1974. 1935 Koller, George Csaba. Assistant film commissioner. Cinema Canada no 15 (August-September 1974) 48-51. 3 ill, En. Interview with Andre Lamy, assistant film commissioner for the National Film Board (NFB) of Canada. Lamy describes himself as well-organized and systematic, and discusses his involvement in implementing the NFB's five-year regional production plan, and in the re-organization ot the French production unit. Lamy also discusses the NFB's plans to produce more feature films for television, the democratic nature of the NFB, its budget, and its system for the allocation of monies. Lamy examines the NFB in the context of Quebec society, and addresses the accusations of censorship directed at the NFB regarding films by Gilles Groulx and the Societe nouvelle (1967-1980) series. 1936 Chesley, Stephen. Distribution. Cinema Canada no 15 (August-September 1974) 60-61. 2 ill, En. Antonio Vielfaure, the National Film Board (NFB) of Canada's director of distribution, provides statistical information regarding NFB prints in domestic and international distribution, and describes the operations and organization of the NFB's distribution department. Vielfaure discusses his department's expansion plans, which involve the acquisition of non-NFB material to supplement NFB products in film programs created for foreign distribution. Briefly outlines Vielfaure's career with the NFB. 1937 Chesley, Stephen. Personnel. Cinema Canada no 15 (August-September 1974) 62-63. 2 ill, En. Director of personnel for the National Film Board (NFB) of Canada Marc Devlin describes how he is able to coordinate the 1000 employees that constitute the NFB's staff. Devlin discusses NFB policies regarding language training for the promotion of bilingualism, freelance employees, and layoffs, firing and retiring, and provides suggestions for filmmakers seeking employment with the NFB. 1938 Thorne, Duncan. Audience reaction. Cinema Canada no 15 (August-September 1974) 66.1 ill, En. Examines the National Film Board (NFB) of Canada's Audience Needs and Reactions research unit, which, headed by Sandy Burnett, uses questionnaires to help

Canada forecast developments in technology, social concerns, government policies, and education. The unit also probes the success of existing NFB films by gauging the audience response to a given film at a special screening. Discusses the application of the unit's research methods to producers Anne Claire Poirier's En tant c\ue femmes (1973-1974) and Kathleen Shannon's Working Mothers series (19741975). 1939 Une fete... 1'autre. Le Devoir (21 aout 1974) 2. fr. 1940 Regional series from NFB. That's Showbusiness 3 no 18 (28 August 1974) 7. En. 1941 Kirshenbaum, Harris. NFB technical bulletin on metrification. Cinema Canada no 16 (October-November 1974) 18. En. The National Film Board (NFB) of Canada has recently published a bulletin on metric conversion for film instruments. 1942 Vallieres, Pierre. Ameliorer la qualite de la vie urbaine... en dix films de 1'ONF: « Urba 2000 ». Le Devoir (30 octobre 1974) 14. ill, fr. 1943 Oille, Jennifer. Video politic. Art and Artists 9 no 8 (November 1974) 20-23. 4 ill, En. Describes the Challenge for Change (1967-1980) participatory video program, co-sponsored by the National Film Board (NFB) of Canada and various federal government departments. These films, designed to improve communications, create greater understanding, promote new ideas, and provoke social change, are analysed and used as a self-criticism tool by their spectators, who are also their subjects. NFB producer-director Colin Low, who works on the project, established a documentary ethic for the program that demands editorial rights for participants, allowing them to choose what is filmed and to shape the final product. The films may be shown to government agencies who can respond to the needs expressed in the film, or to members of a given community who wish to see a more objective view of themselves. Examples of a video crew working concertedly with Mohawk Indians during a crisis with the government, or with fishermen in Newfoundland who were fighting among themselves for rights to fishing grounds, demonstrate that these films are a powerful tool for communication between adversaries. Also discusses the general consequences of video and cable technology on communities across Canada, and the potential of telecommunications to allow citizens to actively participate in creating their culture. 1944 Grelier, Robert. De MacLaren a Foldes. La Revue du cinema : Image et Son no 291 (decembre 1974) 80-81. fr. Prenant comme exemple 1'oeuvre de deux cineaste d'animation, Norman McLaren et Peter Foldes, on fait 1'eloge de 1'Office national du film (ONF) du Canada, notamment au niveau de ses structures et de la liberte d'expression qu'elle permet aux cineastes. 1945 Morgan, Jean-Louis. Cinema. L'Actualite 15 no 1 (Janvier 1975) 12-13. 2 ill, fr. Article relatif a Urba 2000 (1974), une serie de 10 films pro-

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duits par 1'Office national du film (ONF) du Canada ayant trait a 1'urbanisation a travers le monde. 1946 Borsa, Nancy. "Pacificanada." Motion (JanuaryFebruary-March 1975) 23.1 ill, En. Description of the eight-part National Film Board (NFB) of Canada series Pacificanada (1974-1975) broadcast on the Canadian Broadcasting Corporation (CBC) beginning 22 January 1975. Notes the series depicting life in British Columbia consists of A Slow Hello (Tom Radford, 1974), Whistling Smith (Michael Scott and Marrin Canell, 1975), Soccer (Shelah Reljic, 1974), Where You Coin' Company Town? (Stephen Dewar, 1975), Pen-Hi Grad (Sandy Wilson, 1975), Baby This Is for You Qohn Taylor, 1975), David and Bert (Daryl Duke, 1975), and Bella Bella (Barbara Green, 1975). 1947 Ammon, Jack. Vancouver: NFB - Vancouver. Cinema Canada no 18 (March-April 1975) 15-16.1 ill, En. Describes three National Film Board (NFB) of Canada made for television documentaries, A Slow Hello (Tom Radford, 1974), Soccer (Shelah Reljic, 1974) produced by Peter Jones, and Whistling Smith (Michael Scott and Marrin Canell, 1975) from the NFB's Pacificanada (1974-1975) series. Highlights current production activity in Vancouver, British Columbia. 1948 Sorell, Leila. Hollywood : Sydney Newman, the czar of Canada's film industry? Cinema Canada no 19 (May-June 1975) 13.1 ill, En. Discussion with Sydney Newman, the government film commissioner and chair of the National Film Board (NFB) of Canada, during the 1975 press conference held by the Hollywood Foreign Press Association. Newman articulates the NFB mandate and discusses the NFB's programs to aid independent filmmakers, his desire to elevate the status of Canadian films in the United States, and the need to market Canadian films internationally. 1949 Reedijk, H. Video Kan Ontaarden in een Zeer Vrijblijvende Plaatjesmakerij, Een Soort Bewegende Prut (Video can degenerate into a very unengaged picturemaker, a sort of moving piece of rubbish). Museumjournaal 20, pt. 3 Qune 1975) 125-128. 6 ill, Du, En. Explores the observations of Dutch filmmaker Nico Crama in his year-long documentary work on artists in Canada, particularly his work with the National Film Board (NFB) of Canada. Mentions the uses of video by the NFB and its summer workshops to study the effects of old and new media on human experience. 1950 Fiction films from NFB workshop. That's Showbusiness 4 no 12 (18 June 1975) 7. En. 1951 Sound effects at the NFB. Pulse 1 no 10-11 (JulyAugust 1975) 41-42. En. 1952 Shuffle on the set. Time (Canada) 106 no 5 (4 August 1975) 10. 3 ill, En. Reports the replacement of Sydney Newman as commissioner of the National Film Board (NFB) of Canada by Andre Lamy, formerly assistant commissioner.

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Film and Government / Cinema et gouvernement

1953 NFB appoints Domville AGFC. That's Showbusiness 4 no 20 (8 October 1975) 7. En. 1954 Daigneault, Claude. L'ONF accumule les prix: voici comment. Le Soleil (18 octobre 1975) D5. fr. 1955 Lapp, Charles. Atlantic Provinces : NFB Atlantic. Cinema Canada no 23 (November 1975) 11-12.1 ill, En. Mentions current film projects of the Atlantic unit of the National Film Board (NFB) of Canada, focussing on Kent Martin's Moses Coady (1976), Bruce Mackay and William Hansen's Gulfstream (1980), Mike Mahoney and Ted Haley's Blind Mechanic (released under the title Just One of the Boys, 1975), F. Whitman Trecartin and Sam Grana's Citizen Sailors (1976), and Jon Pederson's Gardening (released under the title Tara's Mulch Garden, 1976). Also mentions recent NFB video productions. 1956 Ross, Rodger J. New film editing techniques. Cinema Canada no 24 (December 1975-January 1976) 16-17. En. Discusses the growth of film editing machines to contextualize the advances of the National Film Board (NFB) of Canada in developing a time code marking system to eliminate the need for slating picture and sound films. Also provides updates on other film equipment. 1957 Chesley, Stephen. NFB. Cinema Canada no 24 (December 1975-January 1976) 8,12. En. Notes that the National Film Board (NFB) of Canada is currently filming two one-half hour documentaries, The Mad Canadian (1976) by Robert (Bob) Fortier, and Fire Drill (1976) by Michael Scott. Announces that director Robin Spry is scheduled to beginning shooting a NFB drama about a journalist who does a story on lead pollution and Jean-Claude Labrecque will be directing the official film of the Games of the XXI Olympiad. 1958 Levine, Holly. NFB remembers. Motion 5 no 3 (1976) 10-14. 6 ill, En. Filmmakers Grant Munro, Donald Brittain, and Yves Leduc, and director of distribuition Antonio Vielfaure discuss the history of the National Film Board (NFB) of Canada. 1959 Harcourt, Peter. The years of hope. Motion 5 no 3 (1976) 20-22. En. Reprinted in Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 139-143. (PMA / Take one film book series, no 5). Toronto, Ont: Peter Martin Associates, 1977. Surveys the early years of the National Film Board (NFB) of Canada beginning with the 1938 arrival of John Grierson in Canada through to 1957 with an analysis of Colin Low's City of Gold (with Wolf Koenig, 1957). Examines Don Owen's Nobody Waved Good-bye (1964) and Gilles Groulx's Le Chat dans le sac (1964) in terms of their various representations of rejection. Comments on the role of Canadian filmmaking in terms of perception of quality. 1960 Ensom, Beverly. Native reaction. Motion 5 no 4 (1976) 22-23. 2 ill, En. Report on a Super-8 film and videotape project in the National Film Board (NFB) of Canada's Challenge for

Change (1967-1980) program. The project, arranged with Maureen Matthews, Sam Hardlotte, and Chuck Feaver of La Ronge Community TV interviewed people at a Cree settlement close to Island Falls, Saskatchewan who had been living there since before a damn was built 40 years ago on the Churchill River close to its junction with the Reindeer River. The interviews focussed on reaction to the building of the damn and were shot over several weeks and broadcast in May 1976. 1961 Grant, Connie M. A mirror for Canadians. Motion 5 no 2 (1976) 39-40.1 ill, En. Interview with National Film Board (NFB) of Canada chair and Canadian film commissioner Andre Lamy. Discusses Lamy's career and his views on role of the NFB in relation to the Canadian industry and government and the NFB's future. 1962 Lister, Ardele. N.F.B.: Peter Jones. Criteria 2 no 1 (February 1976) 10. En. An interview with producer and director Peter Jones of the Vancouver, British Columbia production center of the National Film Board (NFB) of Canada. Discusses the function of the NFB's regional offices, the difficulties involved in producing feature films at the NFB, exhibition policies for short films produced in Canada, the state of feature film production in Canada, provincial legislation for levies and quotas, and the problem of sexism at the NFB. Refers to his work on Farm for the Birds (1976), Images : Stone: B.C. flack Long, 1977), The Man Who Chooses the Bush (Tom Radford, 1975), and New Channels for Sockeye (1973). 1963 Lussier, Rachelle. Une experience de distribution intensive. Cinema Quebec no 42 (printemps 1976) 35-37. 1 ill, fr. Les films de la serie En temps quefemmes (1973-1974) sont une experience unique de distribution communautaire a travers le Canada fran^ais. L'auteure explique pourquoi il est impossible de repeter une telle formule et, dans ce contexte, explique comment le programme Societe nouvelle (1967-1980), subventionne par 1'Office national du film (ONF) du Canada et des organismes federaux, vise a reveler des valeurs nouvelles et a susciter une reflexion qui favorise le changement social. On donne un resume des six films de la serie : J'me marie, j'me marie pas (1974) de Mireille Dansereau, Souris, tu m'incjuietes (1973) d'Aimee Danis, A qui appartient ce gage? (1973) de Jeanne Morazain (avec Susan Gibbard, Clorinda Warny, Francine Saia et Marthe Blackburn), Les Filles du Roy (1974) d'Anne Claire Poirier, Les Filles c'est pas pareil (1974) d'Helene Girard et Le Temps de I'avant (1975) d'Anne Claire Poirier. Analyse detaillee de 1'impact du film Le Temps de I'avant. 1964 Chesley, Stephen. Major Developments. Cinema Canada no 26 (March 1976) 6. En. The National Film Board (NFB) of Canada has announced new appointments and re-assignments including Roma Franko as vice-chair, Colin Low as head of regional production, Don Hopkins as executive producer, and Beryl Fox as regional program producer. 1965 L'ONF distribuera 90 heures d'emissions de RadioCanada. Le Devoir (9 mars 1976) 12. fr.

Canada 1966 Perreault, Luc. Les plus beaux dechets du monde. La Presse (13 mars 1976) D8. fr. 1967 Une place du monde. Le Devoir (23 avril 1976) 2. fr. 1968 Perreault, Luc. L'ONF s'apprete a se refaire un nouveau visage. La Presse (24 avril 1976) Dll. fr. 1969 En rodant avec les loups... Le Devoir (9 juin 1976) 10. fr. 1970 L'ONF recoit des ambassadeurs du film de la Chine Populaire. Le Devoir (2 juillet 1976) 12. fr. 1971 L'ONF en vedette au festival d'animation. Le Devoir (17 aout 1976) 10. fr. 1972 Boudreault, Jean-Claude. Jos Champagne 35 ans de son. Cinema Quebec no 44 (automne 1976) 10-13. 5 ill, fr. Jos (Joseph) Champagne, preneur de son a 1'Office national du film (ONF) du Canada depuis 1943, livre son experience. II explique, entre autres choses, pourquoi il est plus valorisant de faire du direct que de la fiction. II discute egalement des differents equipements techniques. 1973 Cineastes mexicains a 1'ONF. Le Devoir (8 octobre 1976) 11. fr. 1974 Tadros, Jean-Pierre. L'ONF doit se donner une politique de conservation des vieux films. Le Devoir (9 octobre 1976) 23. fr. 1975 Air Canada slates NFB in-flight screenings. Boxoffice 110 (18 October 1976) E4. En. 1976 Tasker, Rex. NFB Atlantic regional office. Cinema Canada no 32 (November 1976) 34.1 ill, En. Rex Tasker, executive producer of the National Film Board (NFB) of Canada Atlantic region notes that the aims of the Atlantic region production unit, established in Halifax, Nova Scotia, in April 1973, are to make good films about the Atlanic provinces, provide opportunities for local filmmakers, and encourage a vigorous film and video community. A list of accomplishments from 1973 to 1976 follows. 1977 Air Canada to screen in-flight short subjects. Independent Film Journal 78 no 12 (26 November 1976) 19. En. Describes an agreement made between the National Film Board (NFB) of Canada and Air Canada through which NFB short films will be exhibited on the airline's flights in both Canada and the United States. 1978 Chesley, Stephen. Mexicans visit NFB. Cinema Canada no 33 (December 1976-January 1977) 16. En. Notes that 12 Mexican filmmakers have arrived in Canada to take part in a $1.2 million exchange program sponsored by the National Film Board (NFB) of Canada and the Department of the Secretary of Public Education of Mexico. 1979 Blumer, Ronald H. A crash course in film technique:

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A selective guide to the NFB catalogue. Cinema Canada no 33 (December 1976-January 1977) 49-53.12 ill, En. Gives a precis on filmmaking, drawing its examples from several films from the National Film Board (NFB) of Canada as a form of illustrated analogy to production techniques. Subjects discussed are editing, structuring, special effects, camera, sound, and lighting. Includes an article on how to access and purchase films through the NFB. 1980 James, C. Rodney. Film as a National Art: NFB of Canada and the Film Board Idea. Foreword by George Stoney. (The Arno Press Cinema Program. Dissertations on Film Series). New York, New York : Arno Press, 1977. 760 p, 157 ill, bibl, index, En. Revision of The National Film Board of Canada, Its Task of Communication. Ph.D. dissertation. Columbus, Ohio : Ohio State University, 1968. The history of the National Film Board (NFB) of Canada is presented as the current upon which the art of filmmaking moves as a national art form. The concept underlying the NFB, that of a public agency with a mandate to create films for the public on a non-commercial basis, is seen as an honest and creatively challenging medium for the filmmaker and a bulwark for freedom of expression in society and government. From 1939 to 1945, John Grierson guided the fledgling NFB, providing the necessary solid foundation for its concept, particularly in terms of mandate and legality. The absence of a powerful commercial film industry is seen as critical to the early survival of the NFB, and the antagonism of industry and capitalism is noted, particularly in the critical year 1950. In the years after Grierson's departure, the NFB focus on national issues and topics, enabled it to garner enough grass roots support to survive renewed attacks from government and industry critics. By 1977, the NFB had produced 8,000 films and, while dozens of films are reviewed in great detail, it is the thrust behind its filmmaking policy that emerges as its greatest contribution to film as art. Films produced directly for federal departments and those for the public are noted for their differences and similarities, and their use by national agencies in international contexts is examined. 1981 NFB crews China-bound! Trade News North 1 (1977) 10. En. 1982 Harcourt, Peter. The Canadian cinema : The years of promise. Movies and Mythologies : Towards a National Cinema, edited by Peter Harcourt, 133-150 Toronto, Ont: Canadian Broadcasting Corporation, 1977. bibl, En. Peter Harcourt notes that the National Film Board (NFB) of Canada has been a training centre for Canadian filmmakers since its founding by John Grierson in 1939 and emphasizes that the documentary he installed has become the national film genre. Relates the influences of the NFB on artists working in Unit B during the highly creative period between 1953 and 1962, under the direction of Tom Daly, and includes quotes by John Grierson, Claude Jutra, Don Owen, Gilles Carle, and Michel Brault on the making of documentary films, the role of the NFB, and cultural identity. Highlights films that evolved from experiments with the documentary style, such as Colin Low and Wolf Koenig's City of Gold (1957), and Koenig's Lonely Boy (with Roman Kroitor, 1961). Shows how by the 1960s, with the organization of the French and English language units,

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the artists worked less in groups, became more involved with their individual projects, and created the first few feature films which had their origins in documentary methods. Examples of these films are Owen's Nobody Waved Good-bye (1964), Gilles Groulx's Le Chat dans le sac (1964), and Carle's The Merry World of Leopold Z. (1965). 1983 The National Film Board of Canada's computerized film booking system, a strategy for the future. Educational Media International no 3 (1977) 15-17. En. 1984 Shale, Rick. NFB on the road. Motion 6 no 3 (1977) 45-47. 5 ill, En. Discusses some of the National Film Board (NFB) of Canada productions screened 18-20 February 1977 at the Midwest Film Conference in Chicago, Illinois, devoted to the creative use of film in education. 1985 NFB made less than 20% of Canadian films. Broadcaster 36 no 1 (January 1977) 12-13. En. 1986 NFB promotes use of non-theatrical films. Broadcaster 36 no 1 (January 1977) 19. En. 1987 Lee, R. Editorially speaking: Eyes across the border - an "hommage." Film News 34 (January-February 1977) 7. En. 1988 L'ONF acheve de livrer ses 464 copies a la France. Le Devoir (7 Janvier 1977) 11. fr. 1989 Barrot, O. Le National Film Board of Canada de 1939 a 1955. Cinema d'Aujourd'hui 11 (fevrier-mars 1977) 79-82. ill, fr. 1990 Goetz, William. The Canadian wartime documentary: "Canada Carries On" and "The World in Action." Cinema Journal 16 no 2 (Spring 1977) 59-80. ill, bibl, En. Examines two documentary compilation film series, Canada Carries On (1940-1959) and The World In Action (19411945) produced by the National Film Board (NFB) of Canada under the supervision of the NFB's founder and then commissioner, John Grierson. Argues that the two series, produced as World War II allied propaganda, provide the most concentrated expression of Grierson's documentary vision and, for what they presented and their modes of presentation, were extremely dynamic for their time. Discusses Grierson's approach to documenting the war on film and describes the nationalist aims of both series. States that both Canada Carries On and The World in Action are characterized by an intellectual toughness and realism, and states that while Canada Carries On concentrates on issues of national interest, The World in Action, although strongly nationalistic, presents issues concerning the global strategies of war and postwar challenges of peace and international relations. Provides analyses of both series, focussing on the contribution of director Stuart Legg. Discusses four films that Legg was involved with, Warclouds in the Pacific (1941), The Gates of Italy (with Tom Daly, 1943), The War for Men's Minds (1943), and When Asia Speaks (Gordon Weisenborn, 1944) in terms of style and technique. Concludes that the production of the

Canada Carries On and The World in Action series was largely responsible for the growth and expansion of the NFB during World War II and includes a filmography of these films. 1991 Tadros, Jean-Pierre. Un «malaise de bobines» a 1'ONF. Le Devoir (Ire avril 1977) 14. fr. 1992 Bonneville, Leo. Ou en est 1'Office national du film? Andre Lamy repond... Sequences no 88 (avril 1977) 21-27. 3 ill, fr. Rencontre avec le president de 1'Office national du film (ONF) du Canada, Andre Lamy, qui commente les activites et les preoccupations de 1'organisme. II explique la vocation de 1'ONF et son evolution depuis sa fondation, puis precise sa nouvelle politique concernant les longs metrages de fiction. II parle egalement du retour de certains cineastes a la societe publique et justifie la preponderance de la production de films documentaires. II presente certaines des realisations du departement de cinema d'animation et explique le fonctionnement de la distribution des films de 1'ONF. 1993 Canemaker, John. Canada's National Film Board: What's old and what's new. Millimeter 5 no 5 (May 1977) 12, 72-73. 2 ill, En. Summarizes the history of the National Film Board (NFB) of Canada, and profiles active staff members in the animation departments of both English and French branches of the NFB. Acknowledges the accomplishments of NFB animators Norman McLaren, Derek Lamb, Lynn Smith, Jacques Drouin, Veronika Soul, Janet Perlman, Andre Leduc, and Bernard Longpre. A more extensive profile of animator Caroline Leaf is provided, discussing her films The Owl Who Married a Goose: A Legend (1974) and The Street (1976). Concludes that the NFB allows its animators sufficient creative leeway. 1994 L'ONF obtient sept prix. Le Devoir (31 mai 1977) 12. fr. 1995 New York festival: NFB films win seven US prizes. Toronto Star (31 May 1977) Fl. En. 1996 NFB had strong presence at Cannes Film Festival. Boxoffice 111 (6 June 1977) E2. En. 1997 NFB head Lamy tries to mend fences. Globe and Mail (8 June 1977) insert 12. En. 1998 Tadros, Jean-Pierre. Lamy invite les cineastes prives a travailler de concert avec 1'ONF. Le Devoir (9 juin 1977) 14. fr. 1999 NFB plans outdoor shows of family films. Montreal Star (5 July 1977) Cll. En. 2000 NFB's man in Man. Winnipeg Free Press (15 August 1977) 22. En. 2001 Lazarus, Charles. Ottawa to Film Board : Unfurl the flag. Variety 288 (21 September 1977) 7. En.

Canada 2002 Nelson, Joyce. Historical notes : Roland Barthes and the NFB connection. Cinema Canada no 42 (November 1977) 14-15. En. Traces the role played by French sociologist Roland Barthes in the writing of the National Film Board (NFB) of Canada's film Of Sport and Men (1961). The documentary, scripted in both French and English, was part of the NFB's Comparisons (1959-1964) series. An interview with executive producer Guy Glover explains little known facts about the production of the documentary, how Barthes became involved, and what insights Barthes brought to the project. 2003 NFB gets permission to shoot three films in China. Montreal Star (9 November 1977) G6. En. 2004 2 National Film Board movies "JA Martin, photographe" and "One Man" scoop up 13 of 15 feature prizes. Toronto Star (21 November 1977) D4. En. 2005 Kemeny, Jewison attempt to arrange China filming. Boxoffice 112 (28 November 1977) SW4. En. 2006 Favoriser 1'apprentissage des methodes professionnelles : aide au cinema artisanal. Cinema Quebec no 47 (hiver 1977) 28-30. fr. Informations sur le programme d'aide au cinema artisanal de 1'Office national du film (ONF) du Canada. On explique les objectifs du programme, les conditions d'admissibilite et les differents niveaux d'aide apportee. 2007 Office national du film du Canada. Canada-Mexique. Montreal, Quebec : 1978? 8 p, fr. Document ou Ton presente cinq longs metrages documentaires coproduits par 1'Office national du film (ONF) du Canada et le ministere de 1'Education du Mexique (titre de series Canada-Mexique, 1976-1980). Dans un premier temps, les auteurs expliquent le contexte de ces coproductions, puis presentent chaque documentaire avec son generique complet. Ces longs metrages ont pour sujet des aspects de la realite sociale mexicaine. 2008 Grierson, John. Rapport sur les activites cinematographiques du gouvernement canadien (juin 1938). Precede du « Rapport Grierson dans son contexte », par Pierre Veronneau. (Les Dossiers de la Cinematheque, no 1). Montreal, Quebec : Cinematheque quebecoise, Musee du cinema, 1978. 40 p, 9 ill, fr. Version anglaise : Report on Canadian Government Film Activities. Essentiellement inscrit dans une perspective historique, ce rapport sert de document de recherche. II est precede d'un texte de Pierre Veronneau intitule : « Le rapport Grierson dans son contexte », qui situe dans un contexte historique les efforts de John Grierson pour mettre sur pied un office national du film. Quant au rapport, il comprend plusieurs parties, dont «La politique de propagande cinematographique », ou 1'auteur souleve certaines faiblesses de 1'appareil de production du gouvernement canadien, definit certains roles et propose differents moyens pour perfectionner les films publicitaires et educatifs. On trouve aussi des propositions concernant la coordination des activites cinematographiques canadiennes. En annexe, on peut voir la liste des films que Grierson voulait

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retirer de la circulation, ainsi que ceux qu'il considerait indispensables pour l'« Empire Film Library ». 2009 Shoebridge, Tom. The new wave. Motion 7 no 1 (1978) 25-26. 5 ill, En. Describes the National Film Board of Canada (NFB) of Canada films nominated for Academy Awards in 1978. Notes that in 32 years, the NFB has had 49 Academy Award nominations but has received only three Oscars. Discusses The Sand Castle (Co Hoedeman, 1977), winner in the short animation category, High Grass Circus (Torben Schioler and Tony lanzelo, 1976), nominee in the featurelength documentary category, Bead Game (Ishu Patel, 1977), nominee in the short animation category, and /'// Find a Way (Beverly Shaffer, 1977), winner in the short documentary category. 2010 Handling, Piers. 1939-1959: L'Office national du film. Les Cinemas canadiens, dossier etabli sous la direction de Pierre Veronneau, 26-35 Montreal, Quebec : Cinematheque quebecoise; Paris, France : Pierre Lherminier, 1978. 5 ill, fr. Version anglaise : The National Film Board of Canada: 1939-1959. Piers Handling retrace la creation de 1'Office national du film (ONF) du Canada et son developpement entre 1939 et 1959, et attire 1'attention sur le mandat de ce dernier en ce qui concerne les rapports sociaux et sa relation avec le gouvernement federal. II discute aussi 1'impact de John Grierson sur 1'ONF, de la reputation communiste de 1'ONF dans le milieu des annees 1940 et de la nouvellle Loi sur le cinema de 1950 qui interdit toute relation directe entre la politique et les activites de 1'organisation. De meme, Handling fait reference aux priorites esthetiques des annees 1950, a 1'augmentation des productions de langue franchise et conclut en etablissant un contraste entre les implications politiques et les innovations techniques dans les films produits par le Studio B de langue franchise, et la preoccupation sociale et realiste des films du Studio B de langue anglaise. 2011 Lamy, Andre. L'O.N.F. et 1'unite canadienne. Cinema Quebec 6 no 6 (1978) 4, 6, 8.1 ill, fr. Compte rendu des activites de 1'Office national du film (ONF) du Canada. On mentionne les titres de la programmation s'inscrivant dans une politique nationale. On souligne le caractere educatif des films et on constate 1'ouverture recente de nouveaux centres regionaux. 2012 Tadros, Jean-Pierre. Tous les mardis, des films de 1'ONF a Outremont. Le Devoir (7 fevrier 1978) 19. fr. 2013 Sept employes de 1'ONF deboutes. Le Devoir (10 fevrier 1978) 9. fr. 2014 Tadros, Jean-Pierre. Une bonne annee pour 1'ONF. Le Devoir (14 fevrier 1978) 19. fr. 2015 Trois Oscars a Woody Allen?: 4 films de 1'ONF en lice. Le Devoir (22 fevrier 1978) 19. fr. 2016 Burnett, Ron. "Chronique de la vie quotidienne." Cine-Tracts 1 no 4 (Spring-Summer 1978) 75, 77-79. 6 ill, En.

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2017 NFB workers to fight bilingual bonus cutoff. Montreal Star (9 March 1978) A4. En. 2018 NFB may have a winner at Academy Awards. Montreal Star (1 April 1978) DID. En. 2019 Tadros, Jean-Pierre. A la semaine du cinema quebecois. Le Devoir (15 avril 1978) 56. fr. 2020 Vignettes canadiennes : la nouvelle contribution de 1'ONF a 1'unite. Le Devoir (15 avril 1978) 7. fr. 2021 L'ONF presentera bientot une serie de cent courts films sur le Canada: grace a une subvention de $2 millions. Le Devoir (2 juin 1978) 13. fr.

2031 MacGregor, Roy. Theatre of the absurd. Maclean's 91 no 19 (18 September 1978) 30-31. 4 ill, En. Discusses the problems confronting Andre Lamy as commissioner of the National Film Board (NFB) of Canada, including drastic budget cuts, poor quality productions, ineffective distribution policies, and over bureaucratization, and their negative effect on talented NFB filmmakers such as Beverly Shaffer, Robin Spry, Bill Mason, and Donald Brittain. Refers to criticisms by independent filmmakers that NFB distribution policies undercut the distribution potential of independent films. 2032 Tadros, Jean-Pierre. Andre Lamy quitte 1'ONF pour passer a Radio-Canada. Le Devoir (26 septembre 1978) 12. fr.

2022 Des films pour 1'ete. Le Devoir (20 juin 1978) 8. fr.

2033 Tadros, Jean-Pierre. In nervous Canada, Lamy changes hat (resigns from film board). Variety 292 (27 September 1978) 3 (2). En.

2023 Dussault, Serge. Un jeune cinema quebecois qui risque d'etre tue dans 1'OEUF. La Presse (22 juillet 1978) C13. ill, fr.

2034 15 Film Board members in Manitoba fired. Winnipeg Free Press (30 September 1978) 8. En.

2024 Petrowski, Nathalie. Un evenement doux et discret a 1'Outremont. Le Devoir (3 aout 1978) 8. ill, fr.

2035 L'ONF entend remplir son mandat malgre les compressions budgetaires. Le Devoir (17 octobre 1978) 15. fr.

2025 Daigneault, Claude. L'ONF continue a jouer son role malgre les tensions politiques. Le Soleil (12 aout 1978) F6. ill, fr.

2036 Budget cuts forcing reappraisal by NFB. Boxoffice 114 (27 November 1978) K3. En.

2026 Daigneault, Claude. Les chemins difficiles de la coproduction et de la regionalisation. Le Soleil (12 aout 1978) F7. ill, fr. 2027 Le Manitoba ne repond plus...: a Radio-Canada, le 25 aout. Le Devoir (18 aout 1978) 19. fr. 2028 Walz, Gene. The best of the NFB? Cinema Canada no 49-50 (September-October 1978) 25-26. 2 ill, En. Examines the results of an informal survey conducted by the Film Studies Association of Canada (FSAC) of its membership, designed to determine whether there was a recognizable body of films by the National Film Board (NFB) of Canada that clearly established themselves as superior to others. The survey asked the FSAC membership to list the ten best, most useful, or personal favourite NFB films. Argues that the fact that over 100 films were mentioned at least once by the FASC membership is a testimony to the high quality and range of the NFB product. Briefly mentions the limitations of the survey. 2029 Surprise a 1'ONF : Lamy quitte pour Radio-Canada. Cinema Quebec 6 no 8 (septembre-octobre 1978) 5.1 ill, fr. Annonce de la demission d'Andre Lamy, commissaire du gouvernement a la cinematographic et president de 1'Office national du film (ONF) du Canada, pour un poste de vice-president aux relations avec 1'auditoire a la Societe Radio-Canada (SRC). On parle des consequences de son geste sur 1'avenir de 1'ONF. 2030 Les dimanches de 1'ONF au Musee d'art contemporain. Le Devoir (5 septembre 1978) 12. fr.

2037 Dumas, Patricia. L'ONF met fin a 1'experience du cinema franco-ontarien. Le Devoir (5 decembre 1978) 7. fr. 2038 Les coupures a 1'ONF, coup dur pour les Francophones hors Quebec. Le Devoir (16 decembre 1978) 23. fr. 2039 Four Chicago festival awards go to the NFB. Boxoffice 114 (18 December 1978) 4. En. 2040 Incoming NFB chairman strives for Canadianism. Calgary Herald (21 December 1978) A13. En. 2041 New NFB head to resist pressure from Ottawa. Montreal Gazette (22 December 1978) 40. En. 2042 NFB won't be a mouthpiece: Domville. Halifax Chronicle-Herald (23 December 1978) E4. En. 2043 Veronneau, Pierre. L'Office national du film, 1'enfant martyr. (Les Dossiers de la Cinematheque, no 5). Montreal, Quebec: Cinematheque quebecoise, Musee du cinema, 1979. 68 p, 16 ill, bibl, fr. Afin de celebrer le 40e anniversaire de 1'Office national du film (ONF) du Canada, Pierre Veronneau a rassemble dans ce document des textes d'epoque qui nous donnent une vue d'ensemble des controverses dont cet organisme fut 1'objet entre 1939 et 1969. Tous les grands moments de 1'histoire de 1'ONF y figurent: la Loi nationale sur le cinematographe de 1939, les conflits avec le gouvernement de Maurice Duplessis et le Parlement canadien (1946-1950), la Commission royale sur 1'avancement des arts, des lettres et des sciences (1949-1951), les relations avec la Chambre des communes (1951-1954), la Loi nationale du film de 1950, la reorganisation que 1'organisme subit apres cette loi, la polemique entourant « L'affaire ONF » de

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Canada 1957, le memoire que 1'Association of Motion Picture Producers and Laboratories of Canada presenta au gouvernement canadien en 1959, le memoire presente au Secretariat d'Etat en 1964 par 1'Association professionnelle des cineastes du Quebec, les allocutions du ministre Maurice Lamontagne et du commissaire Guy Roberge a 1'occasion du 25e anniversaire de 1'ONF (1964) et, enfin, la deposition du memoire de 1'Association des producteurs de films du Quebec devant le comite consultatif aupres du Bureau des gouverneurs de la radiodiffusion (1969). 2044 Veronneau, Pierre. Les annees 50 : la decade meconnue. Copie Zero no 2 (1979) 15-17.2 ill, fr. Description du cheminement de 1'Office national du film (ONF) du Canada dans les annees 1950. L'auteur explique comment cette decennie marqua la production cinematographique canadienne, en mentionnant 1'apport d'Arthur Irwin et d'Albert Trueman comme commissaires, le travail des cineastes Lawrence et Evelyn Cherry, 1'arrivee des francophones a 1'ONF, le demenagement subsequent de 1'institution a Montreal (Quebec) en 1956 et, enfin, 1'orientation de 1'ONF vers la television. On decrit le genre des productions de 1'epoque, comme par exemple, les productions a la chaine et les films a tendance thematique. On remarque finalement que la production cinematographique dont dependait la survie de 1'ONF s'est stabilisee a la fin des annees 1950. 2045 Evans, Gary; Beaudet, Louise; Veronneau, Pierre. 1950... Copie Zero no 2 (1979) 18-24.19 ill, fr. Filmographie ou Ton trouve les films de fiction et d'animation produits a 1'Office national du film (ONF) du Canada pendant les annees 1950. Pour chacun, on donne le generique, le format, la duree, la date et un resume du scenario. 2046 The National Film Board of Canada today. Educational Media International no 3 (1979) 21-22. ill, En. 2047 Daudelin, Robert. Les annees 60: reperes en vrac... Copie Zero no 2 (1979) 25-26. fr. Bref historique de 1'Office national du film (ONF) du Canada ou 1'on explique pourquoi 1'ONF s'est francise de plus en plus pendant les annees 1960. On rappelle les films qui ont fait 1'evenement pendant cette decennie: Lonely Boy (1961) de Wolf Koenig et Roman Kroitor, La Lutte (1961) de Michel Brault (avec Marcel Carriere, Claude Fournier et Claude Jutra), Golden Gloves (1961) de Gilles Groulx, Bucherons de la Manouane (1962) d'Arthur Lamothe, Les Enfants du silence (1962) de Michel Brault, Pour la suite du monde (1964) de Pierre Perrault (avec Michel Brault et Marcel Carriere) et Le Festin des marts (sorti sous le titre Astatal'on, 1965) de Fernand Dansereau On mentionne egalement les 25 ans de 1'ONF en 1964 et la creation de la Societe de developpement de 1'industrie cinematographique canadienne. 2048 Evans, Gary; Beaudet, Louise; Veronneau, Pierre. 1960... Copie Zero no 2 (1979) 27-34. 20 ill, fr. Filmographie des films de fiction et d'animation produits a 1'Office national du film (ONF) du Canada pendant les annees 1960. Les films sont classes en ordre alphabetique et on donne le generique, la date, un resume et des details sur le format et la duree.

2049 Evans, Gary; Beaudet, Louise; Veronneau, Pierre. 1970... Copie Zero no 2 (1979) 37-46. 25 ill, fr. Filmographie des films produits a 1'Office national du film (ONF) du Canada dans les annees 1970. On trouve 31 films de fiction et 18 films d'animation. On donne des details sur le format, la duree, le generique et un resume du scenario. 2050 Evans, Gary. John Grierson et 1'esprit totalitaire: la propagande et la Deuxieme Guerre mondiale. Copie Zero no 2 (1979) 5-7. 2 ill, fr. Portrait du Britannique John Grierson, qui fut a 1'origine de la creation de 1'Office national du film (ONF) du Canada en plus d'en etre la personnalite principale dans les annees 1940. En premier lieu, on parle de sa pensee politique, de ses entreprises a 1'ONF pendant la Deuxieme Guerre mondiale, et de ses efforts a la fin de la guerre pour assurer la survie de 1'ONF. L'auteur explique le message internationaliste de la production cinematographique de Grierson. 2051 Evans, Gary; Beaudet, Louise; Veronneau, Pierre. 1940... Copie Zero no 2 (1979) 8-14.14 ill, fr. Catalogue des films produits par 1'Office national du film (ONF) du Canada dans les annees 1940. On trouve 31 films de fiction et 15 films d'animation. Pour chaque film, on precise le format, la date, la duree et le generique. On donne aussi un resume du contenu. 2052 Ontario's government at work: Cameras allowed behind the scenes for NFB film. Winnipeg Free Press (5 January 1979) 31. En. 2053 Film Board chairman promotes Canadianism. Boxoffice 114 (15 January 1979) K3. En. 2054 CFTA: NFB encroachment. Cinemag no 14 (February 1979) 8. En. 2055 Gauvin, Lise. « Les Enfants des normes » : un choc necessaire. Possibles 3 no 3-4 (printemps-ete 1979) 289-292. fr. 2056 Lee, R. The National Film Board of Canada at forty. Film News 36 (March-April 1979) 9-12. ill, En. 2057 Manitoba phones for a day Film Board brass ordered. Toronto Star (10 March 1979) A12. En. 2058 Des Rivieres, Paul. L'Ecole quotidienne des adolescents : « Les Enfants des normes ». Le Devoir (17 mars 1979) 26. ill, fr. 2059 Bonneville, Leo. «Les Enfants Sequences no 96 (avril 1979) 29-31.1 ill, fr.

des

normes».

2060 Une retrospective de 1'ONF a Paris. Le Devoir (20 avril 1979) 23. fr. 2061 Loved abroad but shunned at home, that's the story of our 40-year-old National Film Board. Toronto Star (21 April 1979) D3. En.

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2062 The NFS : Reeling into the future. Montreal Star (28 April 1979) D12. En. 2063 NFB 40th anniversary stamp. Cinema Canada no 54 (May 1979) advertisement 3.1 ill, En. Announces the rejection by the postmaster-general of a commemorative stamp of John Grierson to mark the 40th anniversary of the National Film Board (NFB) of Canada. Mentions that funding for the board continues to be cut and that an offer to purchase the NFB's film library, distribution network, and production operation has come from Encyclopedia Britannica. 2064 Prizes, prestige, abuse in years of Canadian Film Board. Variety 295 (9 May 1979) 448 (2). En. 2065 Gay, Richard. Pour les 40 ans de 1'ONF. Le Devoir (26 mai 1979) 23. 2 ill, fr. 2066 Shepherd, John R. A challenge to change: The regionalization of the National Film Board of Canada. Journal of the University Film Association 31 no 3 (Summer 1979) 13-17. bibl, En. Examines the importance of recent regionalization efforts by the National Film Board (NFB) of Canada, as discussed at a recent meeting, held 8-12 May 1978 in Vancouver, British Columbia, of the NFB's regional executive producers and representatives from the board's headquarters in Montreal, Quebec. States that the increased emphasis by the NFB on regionalization follows from the decision, presented in its 1976-77 annual report to increase the volume of activity of regional offices in Toronto, Ontario, Halifax, Nova Scotia, Winnipeg, Manitoba, and Vancouver, British Columbia, within five years. Argues that this will provide more diversified programming to reflect regional concerns and encourage the development and employment of independent filmmakers locally. Describes the efforts of Peter Jones, a producer at the British Columbia centre of the NFB, and Colin Low, director of regional productions, as the catalysts behind the NFB's regionalization efforts, and the support of Andre Lamy, film commissioner and Ian McLaren, director of English productions, and points out that despite the high energy and competency of regional personnel, problems are likely to arise regarding the autonomy of the regional centres, the functions of the program committee, and the relationship between the regional centres, independent producers, and production companies. Concludes that regionalization will likely result in a revitalized documentary film effort in Canada, and that the NFB has proved itself to be a federal institution capable of self-evaluation and subsequent change. 2067 A view from the top. Cinema Canada no 56 (June-July 1979) 37-41. 3 ill, En. Interview with J. Arthur Irwin, government film commissioner from 1950 to 1953. Describes how Irwin reorganized the National Film Board (NFB) of Canada in response to pressure from politicians, the private film industry, and members of the Department of National Defence, who suspected the NFB of harbouring Communist sympathizers. Outlines the new film act Irwin initiated, and the furor surrounding his decision to move the NFB to Montreal, Quebec. Mentions the critical role of the documentary Royal Journey (David Bairstow, Gudrun

Parker, and Roger Blais, 1951) in restoring public confidence in the NFB and the increase in film activity under Irwin. 2068 Dressel, Holly. The National Film Board at forty: Not a happy birthday. Take One 7 no 8 (July 1979) 36-39. 7 ill, En. Discusses recent cutbacks in the National Film Board (NFB) of Canada's budget and how this will affect an already ailing institution. Traces the history of the NFB to the present and contrasts its dismal domestic appraisal with the international appreciation of its documentaries. Argues that the government makes a national policy of setting up institutions like the NFB and then crippling them. Competition from the Canadian Broadcasting Corporation (CBC) has removed NFB control over network distribution of its films, while its educational distribution policy of allowing free film rentals to all Canadians has obstructed the NFB's ability to buy new prints. On a production level, many believe that budget cuts affect only the independent filmmakers, who are producing the highest quality work, while full-time staff, many not competent behind a camera, continue to receive salaries without producing work of sufficient quality. 2069 Budget cuts and plans to decentralize the institution examined. Montreal Star (21 July 1979) Dl. En. 2070 En avant Quebec, camera a 1'epaule. Perspectives 21 no 34 (aout 1979) 14-17. fr. Presentation de films realises par 1'Office national du film (ONF) du Canada accompagnee de quelques statistiques. 2071 Veronneau, Pierre. Une guerre a gagner. Perspectives 21 no 35 (25 aout 1979) 2-7. fr. Notes sur les origines de 1'Office national du film (ONF) du Canada, cree en 1939 2072 Therien, Gilles. Cinema et television: Images de 1'enfance. Voix et Images 5 no 1 (automne 1979) 209-210. fr. 2073 Dagenais, Angele. Les nouveaux defis de 1'ONF. Le Devoir (15 septembre 1979) 33. fr. 2074 Dagenais, Angele. Visiter 1'ONF. Le Devoir (15 septembre 1979) 33. ill, fr. 2075 Perreault, Luc. Le defi de 1'ONF: survivre a ses 40 ans. La Presse (15 septembre 1979) Cl. ill, fr. 2076 Perreault, Luc. La crise de 1'ONF est avant tout financiere. La Presse (15 septembre 1979) C16. ill, fr. 2077 Rowan, Renee. Jeudi, a 1'ONF. Le Devoir (17 septembre 1979) 8. fr. 2078 Walsh, Michael. Canada Film Board sees cable as web for distribution of pix. Variety 296 (19 September 1979) 1 (2). En. 2079 Lemieux, Louis-Guy. L'ONF, entre le passe et 1'avenir. Le Soleil (29 septembre 1979) E5. ill, fr.

Canada

201

2080 Les 40 ans de 1'ONF. Commerce 81 (octobre 1979) 152. fr.

2095 NFB lack of funds halts distribution of major film on China. Calgary Herald (14 December 1979) CIO. En.

2081 Bonneville, Leo. 40 ans... et apres. Sequences no 98 (octobre 1979) 2-3.1 ill, fr. Editorial consacre a 1'Office national du film (ONF) du Canada, a 1'occasion de son quarantieme anniversaire. On rappelle la creation de 1'organisme par le Britannique John Grierson. On fait egalement reference aux films qui ont contribue a la gloire de 1'ONF dont Mon oncle Antoine (1971) de Claude Jutra, J.A. Martin, photographe (1977) de Jean Beaudin, Au bout de mon age (1976) de Georges Dufaux et Les Vrais Perdants (1979) d'Andre Melangon. Enfin, 1'auteur s'oppose a ce que 1'ONF exige des frais de location pour ses films.

2096 ONF sur ONF. Le Devoir (20 decembre 1979) 14. fr.

2082 NFB at 40 : Alive but well? Prez' P.O.V. Cinemag no 24 (15 October 1979) 8. En. 2083 Distribution a new NFB frontier. Cinemag no 24 (15 October 1979) 9. En. 2084 Bellemare, Roger. Hollywood, a son tour souligne les 40 ans de 1'ONF. Le Devoir (31 octobre 1979) 20. ill, fr. 2085 Boost, Charles. National Film Board of Canada bestaat 40 jaar-media tonen weinig belangstelling. Skoop 15 (November 1979) 7-8. ill, Du. 2086 Nadeau, Jules. La percee de 1'ONF en Chine. La Presse (10 novembre 1979) Cl. ill, fr. 2087 NFB dying: Domville. Montreal Gazette (16 November 1979) 17. En. 2088 Tories unsympathetic to NFB's money plea. Globe and Mail (16 November 1979) 9. En. 2089 Bassan, R. O.N.F.: 40 ans de temoignages. Ecran 79 85 (20 novembre 1979) 15-16. ill, fr. 2090 National Film Board of Canada, 40 years old: All over dominion, and distribs in foreign lands. Variety 297 (21 November 1979) 48. En. 2091 NFB needs million. Cinemag no 27 (26 November 1979) 3. En. 2092 L'Office national du film en fete. Vie des arts 24 no 97 (hiver 1979-1980) 83.1 ill, fr. Description du quarantieme anniversaire de 1'Office national du film (ONF) du Canada, tenu au siege social a Montreal (Quebec), du 18 au 21 septembre 1979. On y retrouve quelques statistiques et hommages rendus a cette occasion. 2093 Money troubles mar NFB's 40th. Globe and Mail (1 December 1979) E5. En. 2094 National Film Board "bleeding" after $3.4 million budget cut. Boxoffice 115 (3 December 1979) 1. En.

2097 Tribute paid to 40 years of the NFB. Globe and Mail (29 December 1979) E6. En. 2098 Miiller, T. S. Der film er forsvarspolitikk. Film and Kino 48 no 7 (1980) 274-275. ill, Nor. 2099 Handling, Piers. The National Film Board of Canada: 1939-1959. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 42-53 Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 3 ill, bibl, En. French edition: 1939-1959: L'Office national du film. Handling traces the birth and development of the National Film Board (NFB) of Canada from 1939 to 1959, stressing its mandate to depict social issues and exploring its relationship with the federal government. Discusses John Grierson's impact on the NFB, the board's Communist reputation during the mid-1940s, and the new National Film Act of 1950 which removed direct political interference in the policy and affairs of the organization and led to the relocation of its headquarters to Montreal, Quebec. Notes the rise of aesthetic priorities in the 1950s and the growth of French language productions and concludes by contrasting the political concerns and innovative techniques of films produced by French Studio B in the 1950s with the realistic and socially conscious films of English Studio B. 2100 Harcourt, Peter. 1964: The beginning of a beginning. Self Portrait: Essays on the Canadian and Quebec Cinemas, edited by Pierre Veronneau and Piers Handling, 6476' Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1980. 3 ill, En. Don Owen's Nobody Waved Good-bye (1964) and Gilles Groulx's Le Chat dans le sac (1964) are two feature films produced by the National Film Board (NFB) of Canada in 1964. Peter Harcourt suggests that both films stem from the tradition of cinema direct and observational documentary established at the NFB in the 1950s, and demonstrate characteristic attitudes which were prevalent at that time. Concludes that while the two films are similar in subject matter their execution, utterance, and treatment of cultural and political problems illustrate that English Canadian cinema is separate from the cinema of Quebec. 2101 Treadway, Toni. Superserious-8: Super-8 and video at the NFB. Filmmakers Monthly 13 no 3 Qanuary 1980) 42-45. 3 ill, En. Discusses the technique of interfacing video and Super-8 formats, as it was innovated and improved by Arnold Schieman, senior technical consultant at the National Film Board (NFB) of Canada. Examines the technology involved in interfacing, and describes the use of the process in Rupert Glover's The Virginal (1979) and Ian Matheson's My People Are Dying (1979). States that the combination of Super-8 and video formats creates a low-cost, high quality outlet for Super-8 products.

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2102 Jones, D. B. Kicking the car when it's out of gas. Variety 297 (9 January 1980) 30. En. 2103 L'ONF lance trois films refuses par Radio-Canada. Le Devoir (Ire mars 1980) 24. ill, fr. 2104 Chamberland, Roger. Le Cinema. Quebec frangais (mars 1980) 26. ill, fr. Grace a 1'Office national du film (ONF) du Canada, plusieurs cineastes quebecois ont pu produire leurs films Roger Chamberland attire aussi 1'attention sur le financement de la production quebecoise qui a survecu principalement grace a des fonds publics. 2105 Perreault, Luc. L'ONF en tournee preferendaire. La Presse (Ire mars 1980) Dll. ill, fr. 2106 Lemieux, Louis-Guy. Le referendum de 1'ONF: 52.9 P.C. de « oui ». Le Soleil (8 mars 1980) E10. ill, fr. 2107 Schupp, Patrick. Un decorateur-costumier. Sequences no 100 (avril 1980) 70-81. 8 ill, fr. Vianney Gauthier, decorateur-costumier, travaille pour 1'Office national du film (ONF) du Canada depuis cinq ans. II a participe a des films dont J.A. Martin, photographe (1977), Cordelia (1980) de Jean Beaudin, IXE-13 (1972), La Gammick (1975) de Jacques Godbout, Two Solitudes (1978) de Lionel Cherwynd, Taureau (1973) de Clement Perron. II parle de ses experiences avec des realisatrices comme Aimee Danis pour le film Souris, tu m'inquietes (1973) et Anne Claire Poirier pour Le Temps de I'avant (1975). Ses taches varient du simple ensemblier au directeur artistique. II explique egalement les responsabilites de son metier ou le decor est relie au scenario. 2108 Leroux, Andre. Un mixeur de sons. Sequences no 100 (avril 1980) 90-101. 6 ill, fr. Roger Lamoureux, mixeur de son a 1'Office national du film (ONF) du Canada, raconte comment 1'automatisation a ete une etape importante des enregistrements sonores de 1'ONF. II definit les grandes lignes du mixage, cette derniere etape de la postproduction ou le mixeur agence les dialogues, la musique, les sons et les bruits qui ont deja ete faits pour constituer la trame sonore finale d'un film. II parle egalement des differences entre 1'enregistrement de la musique et 1'enregistrement des dialogues, de la postsynchronisation, de 1'art par rapport a la technique dans le metier et de son travail a 1'ONF. Enfin, il discute de la releve dans son metier et des equipements sonores des salles de cinema. Roger Lamoureux a mixe le son de plusieurs films dont Pour la suite du monde (1964) de Pierre Perrault (avec Michel Brault et Marcel Carriere) et StDenis dans le temps... (1970) de Carriere. 2109 NFB hopes to pan Oscar gold. Toronto Star (12 April 1980) 41. En. 2110 The NFB laments losing winner Fedorenko. Globe and Mail (26 April 1980) E6. En. 2111 Watkins, Peter. Maintaining standards. Cinemag (16 June 1980) 10,17. En.

2112 McPherson, Hugo. No guarantees, no culture. Maclean's 93 no 24 (16 June 1980) 6.1 ill, En. Responds to a rumour that Encyclopedia Britannica, an American publishing company, has offered to buy the National Film Board (NFB) of Canada from the federal government for $100 million. Insists that the NFB should never be sold to American interests. Argues that the NFB must have consistent and increasing government support if it is to fulfill its mandate in the production, distribution, and experimentation in the art of filmmaking. 2113 Perreault, Luc. S'associer, oui, mais a quelle prix?: jumelage ONF-secteur prive. La Presse (21 juin 1980) Cll. ill, fr. 2114 Un film de l'ONF sur les maritimes. Le Soleil (21 juin 1980) D7. fr. 2115 Cousteau, NFB to film ecological conflict. Globe and Mail (3 July 1980) 12. ill, En. 2116 Tadros, Jean-Pierre. Quebec's French producers are still piqued; talk "parity" as key to deal with board. Variety 299 (16 July 1980) 7 (2). En. 2117 Balcon, D. NFB sees new opportunities in television. Marketing 85 (24 November 1980) 38. En. 2118 Jones, D. B. Movies and Memoranda : An Interpretative History of the National Film Board of Canada. (Canadian Film Series). Ottawa, Ont: Canadian Film Institute / Institut canadien du film, 1981. 240 p, 33 ill, bibl, index, En. Revision of The National Film Board of Canada: The Development of Its Documentary Achievement. Ph.D. dissertation. Paolo Alto, Calif : Stanford University, 1976. In this history of the National Film Board (NFB) of Canada, D.B. Jones attempts to discover how the NFB achieved its early leadership in the realm of documentary filmmaking and maintained it through decades of production. Chapter 1 deals with the founder of the NFB, John Grierson, and his attempts to explore and realize the potential of the documentary. Chapter 2 traces the establishment of the NFB and its absorption of the Canadian Government Motion Picture Bureau. Chapter 3 analyses the filmmaking of the NFB during World War II, focussing on Grierson's conception of propaganda. The largely unstructured approach of the NFB to filmmaking during the war led to a crisis in direction and purpose aggravated by Grierson's resignation in 1945. This is discussed in chapter 4, along with the fear of politicians and business leaders that this volatile agency, so effective in mobilizing public support for the war, could become dangerous by carrying on Grierson's socially conscious style of filmmaking. Chapter 5 investigates the restructuring of the NFB after the Film Act of 1950, and focuses on the interest of Unit B in producing higher quality films that interpreted Canada to Canadians. Chapter 6 notes the divergent interests of English Canadian and Quebecois filmmakers at the NFB and the emergence of a distinct Quebecois point of view in French language films produced by the NFB. Chapter 7 reviews the accomplishments of the NFB by 1964, its 25th anniversary, concentrating on the increased international recognition of its films and the bureaucratic structure that produced them.

Canada Chapter 8 considers the effect the dissolution of the unit system in 1964 had on filmmakers, the ways in which they restructured creative leadership, and the results of these changes. Chapter 9 deals with the attempt of NFB head Sydney Newman to suppress the politically conscious filmmaking of Quebecois NFB filmmakers in the early 1970s. Chapter 10 looks at the international involvement, public interaction, and response during the making of the Challenge for Change (1967-1980) series. Chapter 11 discusses the effects of the regionalization of the NFB and the final chapter looks at the prospects for documentary filmmaking at the NFB in the early 1980s. Jones's 1977 dissertation by the same title differs little from this book except for the final chapter, "Points for Departure," which lists recommendations for further research by the NFB or other scholars, to help the NFB profit from evaluative goals and strategies, and find ways to better articulate their aims and achievements to the Canadian public. 2119 Miiller, T. S. Supermarked for film. Film and Kino 49 no 1 (1981) 11. ill, Nor. 2120 Miiller, T. S. Regionaliseringen? Film and Kino 49 no 1 (1981) 12-13. ill, Nor. 2121 Perforations. 1 no 1 (January 1981-). Bi-monthly. Montreal, Quebec : National Film Board of Canada. Technical and Production Services Branch / Office national du film du Canada. Services techniques et artistiques, January 1981-. En, f r. Published by the Technical and Production Services Branch of the National Film Board (NFB) of Canada, this magazine is aimed at technicians and contains information on, and analyses of, lenses, projectors and all equipment involved in film and animation. There are also tips on development and printing of film. Publie par les Services techniques et artistiques de 1'Office national du film (ONF) du Canada, cette revue s'adresse aux techniciens et comprend de 1'information et des analyses sur divers aspects techniques, les systemes de projection et le materiel utile au cinema et en 1'animation. On y trouve aussi des conseils sur le developpement et le tirage des films. 2122 Ann Garneau aux relations publiques de 1'ONF. Le Soleil (24 Janvier 1981) D4. fr. 2123 OToole, Lawrence. The applause is across the border. Maclean's 94 no 4 (26 January 1981) 50-51. 2 ill, En. Announces that the Museum of Modern Art in New York City, New York is holding a retrospective of 275 productions from the National Film Board (NFB) of Canada in January 1981. Describes the program and notes that the NFB enjoys world renown, yet Canadians take it for granted. 2124 Film booking network complete. Quill and Quire 47 no 2 (February 1981) 39. En. Announces that the National Film Board (NFB) of Canada has completed its cross-Canada electronic film booking system. Explains how the system connects the NFB's 27 film libraries.

203

2125 Hommage a 1'ONF a New York. Le Soleil (7 fevrier 1981) D10. fr. 2126 Kermoyan, Mireille. Portrait d'une adolescence, en 21 films. Le Devoir (20 fevrier 1981) 29. ill, fr. 2127 Whynot, Chris. The NFB and Labour, 1945-1955. Journal of Canadian Studies I'Revue d'etudes canadiennes 16 no 1 (Spring 1981) 13-22. bibl, En. Explores post-World War II films on labour issues, including films produced by the National Film Board (NFB) of Canada. Identifies such films as belonging to one of two groups : those commissioned by the federal Department of Labour, such as Even/body's Handicapped (Ernest Reid, 1953) and Teamwork: Past and Present (Michael Spencer, 1950), and those produced independently by the NFB, such as Local 100 (Bernard Devlin, 1950) and the Labour in Canada series (1953-1955). Discusses the values expressed in these films, specifically the tendency of the Department of Labour to promote the Labour Management Production Committee as a means of preventing labour related confrontations. Notes the ability of independent productions to exhibit a neutral stance by depicting a balance between capital and labour, union and management. States that the independently produced NFB films stress the democratic nature of unions and attempt to dispel myths of union militancy. Includes a listing of the films produced for the Department of Labour by the NFB from 1947 to 1955 and films initiated by the NFB from 1950 to 1955. 2128 Morris, Peter. After Grierson: The National Film Board 1945-1953. Journal of Canadian Studies / Revue d'etudes canadiennes 16 no 1 (Spring 1981) 3-12. En. Reprinted in Take Two, edited by Seth Feldman, 182-194. Toronto, Ont: Irwin Publishing, 1984. Identifies the administrative and creative changes that occurred within the National Film Board (NFB) of Canada after the departure of founder John Grierson in 1945. States that under film commissioner Ross McLean, Grierson's successor from 1947 to 1949, the NFB faced a period of crisis. The budget was reduced after World War II, British and American filmmakers left the NFB along with Grierson, and the board was accused of harbouring leftwing subversives and with threatening the financial interests of commercial film producers. Claims that J. Arthur Irwin, McLean's successor, reorganized the NFB according to modern bureaucratic systems and directed film production away from contentious political issues. Describes the dominant formal approach of post war NFB filmmaking as incorporating both dramatic and documentary techniques, and discusses Leslie McFarlane's The Boy Who Stopped Niagara (1947) and Bernard Devlin and Jean Palardy's L'Homme aux oiseaux (1952) in this context. Also considers the social dramas produced by the NFB during this period, citing Donald Mulholland's R.C.M.P. File 1365: The Connors Case (1947), Robert Anderson and Stanley Jackson's Mental Mechanisms (1947-1950) series for the NFB, Julian Biggs's The Son (1952), and Devlin and Raymond Garceau's L'Abatis (1952) as examples of how the social drama fictionally depicts a generalized reality or social truth, but draws upon the documentary form for its syntax. Further explores the genre of the social drama in terms of narration, acting, the depiction of social issues,

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setting, the origins of the form, the Grierson legacy, and the important role played by McLean in the genre's development. 2129 Delaney, Marshall. Featured role. Saturday Night 96 no 3 (March 1981) 61-62.1 ill, En. States that the National Film Board (NFB) of Canada continues to make feature films, despite its official mandate to concentrate on documentaries and short films. Praises feature films by NFB employees, such as Don Owen's Nobody Waved Good-bye (1964), Claude Jutra's Man oncle Antoine (1971), Jean Beaudin's J.A. Martin, Photographe (1977), and Gilles Groulx's Le Chat dans le sac (1964). Interviews James de B. Domville, commissioner of the NFB since 1979, who explains that the NFB has embarked on a program of co-production with private film producers to make feature films. Domville states that the NFB's erratic history in feature filmmaking was due to government pressure, not indecision within the board. Reports that the Museum of Modern Art (MOMA) in New York City, New York, is screening an extensive selection of films by the NFB from 22 January to 15 September 1981. Interviews Larry Kardish, the associate curator of film at the MOMA, who sees a steady movement towards fiction in the NFB. 2130 McCarthy, Todd. National Film Board of Canada expanding into U.S. activities. Variety 303 (13 May 1981) 15 (2). En. 2131 Cormier, Robert. L'Office national du film ferme son bureau de Moncton. Le Devoir (15 juin 1981) 3. fr. 2132 4 films de 1'ONF primes a New York. Le Devoir (19 juin 1981) ll.fr. 2133 Trudel, Clement. L'ONF a TDH : encore un record d'affluence? Le Devoir (25 juin 1981) 14. fr. 2134 Bonneville, Leo. « Gui Dao : Sur la voie ». Sequences no 105 (juillet 1981) 26-27.1 ill, fr. 2135 Gay, Richard. La fermeture du bureau de 1'ONF suscite des inquietudes a Moncton. Le Devoir (9 juillet 1981) 10. fr. 2136 Canada : The NFB gives us a regional interpretation. Halifax Chronicle-Herald (5 August 1981) E2. En. 2137 Pioneering spirit is still an integral part of NFB. Halifax Chronicle-Herald (8 August 1981) 37. En. 2138 NFB opens LA Center to help promotion. Cinema Canada no 77 (September 1981) 15. En. Announces that the Film Canada Center, which is being established by the National Film Board (NFB) of Canada in order to promote better opportunities for Canadians through closer ties to the American film industry, will open in Los Angeles, California, on 1 October 1981. Executive director Roland Ladouceur comments on the purpose and future goals of the centre. 2139 En.

Montreal. Cinema Canada no 77 (September 1981) 15.

Announces that National Film Board (NFB) of Canada directors Yves Dion and Co Hoedeman will be travelling to certain festivals where their films will be screened, Dion to the Malaga Scientific Film Week in Malaga, Spain, and Hoedeman to the Cambridge Animation Festival in Cambridge, England. 2140 Martin, Lyn. Inventing Canada : Again? Cinema Canada no 77 (September 1981) 31-33. 6 ill, En. Discusses the current uncertain state of the National Film Board (NFB) of Canada as a reflection of the tentative, self-critical, self-conscious and well-intentioned Canadian national identity. Examines, in this context, the demise of the documentary tradition of the NFB, and its need to revitalize itself in terms of priorities, ideas, and technologies. Also discusses the relationship of the NFB to television and to the private sector, the question as to how best utilize the NFB product, and the possibility of the reorganization of the NFB as a crown corporation. 2141 Montreal. Cinema Canada no 77 (September 1981) 4. En. Announces that the Chicago Art Institute in Chicago, Illinois and the St. Louis Museum of Art in St. Louis, Missouri, are both planning a two-month program for the fall 1981 which will feature films from the National Film Board (NFB) of Canada. 2142 NFB out of sponsored films by 1986. Cinema Canada no 77 (September 1981) 4. En. Announces an agreement reached between the National Film Board (NFB) of Canada, the Association des producteurs de films du Quebec, and the Canadian Film and Television Association that states the NFB is leaving the domain of government sponsored films, retaining only "special areas" for production. Also notes that although the NFB will retain the status of executive producer on all projects, it is trying to contract out all of its goverment sponsored films within the next five years. 2143 L'ONF survivra les vacanciers. Le Devoir (5 septembre 1981) 36. fr. 2144 L'ONF sera en Floride cet hiver. Le Soleil (12 septembre 1981) Ell. fr. 2145 Trudel, Clement. Le secteur prive fera presque tous les films du federal: 1'ONF devoile une nouvelle politique. Le Devoir (17 septembre 1981) 23. fr. 2146 New NFB financing policy aims at private producers. Globe and Mail (18 September 1981) 19. En. 2147 L'ONF tend la main au secteur prive. Le Soleil (19 septembre 1981) E10. fr. 2148 Film de 1'ONF sur la petite bourgeoisie d'ici. Le Devoir (25 septembre 1981) 16. fr. 2149 Macerola outlines distribution goals for NFB, counts on pay TV. Cinema Canada no 78 (October 1981) 18. En.

205

Canada Francois N. Macerola of the National Film Board (NFB) of Canada notes his disappointment in the lack of Canadian films being screened in theatres and on television, and expresses the hope that Pay-TV will provide a means by which to broadcast Canadian productions. Notes the NFB's dedication to building a strong Canadian film industry. 2150 Policy change from NFB. Broadcaster 40 no 10 (October 1981) 81. En. 2151 L'ONF reprend en Acadie. Le Devoir (24 decembre 1981) 16. fr. 2152 Gauthier, Real; Gignac, Monique. Propositions pour une strategic de distribution electronique pour 1'ONF: la presence de 1'ONF sur le marche francophone de la television et des moyens video au Canada: document de travail. Montreal, Quebec : Office national du film du Canada, 1982. 122,51 p, fr. Apres avoir examine les marches de la television et de la video francophone au Canada, et la presence dans ce secteur de 1'Office national du film (ONF) du Canada comme distributeur, les auteurs proposent des strategies pour ameliorer le role de 1'ONF. 2153 Marleau, Lucien. Evolution dans les appareils de montage et dans les formats des pellicules et des bandes sonores a 1'ONF. Copie Zero no 14 (1982) 23-24.4 ill, fr. Le cineaste Lucien Marleau raconte ses premieres experiences a 1'Office national du film (ONF) du Canada en tant que monteur, avant de retracer les grandes lignes de 1'evolution de la technique et de 1'equipement utilise pour le montage a 1'ONF entre les annees 1950 et 1980. 2154 Plenty of awards but very little bread : Films in Canada. Vancouver Sun (21 January 1982) A5. En. 2155 Mister cinema Losique would give National Film Board the boot -Johnson. Globe and Mail (26 February 1982) 8. En. 2156 Toronto. Cinema Canada no 83 (April 1982) 24. En. Announces that Penny Ridge has joined the Toronto, Ontario, office of the National Film Board (NFB) of Canada as film officer in charge of elemetary and secondary education in the metropolitan Toronto area. 2157 National Film Board of Canada. Film no 105 (AprilMay 1982) 29. ill, En. 2158 Weintraub, William. Film Board favorites down the years. Cinema Canada no 83 (April 1982) 38-39. 6 ill, En. William Weintraub light-heartedly lists and describes 15 of his favourite films of the last 35 years from the National Film Board (NFB) of Canada. 2159 Gordon, Martin. NFBC: Strength in documentaries and animation. TV World (April 1982) 76-77. En. 2160 Sinclair drops suit against Kirwan Cox and Cinema Canada for defamation. Cinema Canada no 84 (May 1982) 18. En.

Notes producer-cinematographer Ross Sinclair's abandonment of a lawsuit against Cinema Canada and writer Kirwan Cox over the article "The Grierson Files," (no 56 Qune-July 1979) 16-24) which states that Sinclair made false accusations against John Grierson and other members of the National Film Board (NFB) of Canada during World War II. 2161 Few want to buy National Film Board's products. Montreal Gazette (17 May 1982) Al, 8. En. 2162 Riggio, Mike. Atlantic Echoes. Cinema Canada no 85 (June 1982) 8. En. An overview of operations at the Atlantic studio of the National Film Board (NFB) of Canada since its inception in 1973 in Halifax, Nova Scotia. Contrasts the Atlantic studio with other regional studios, noting that the Atlantic studio has the disadvantage of representing four provinces, all with little or no film industry resources from which to draw. Examines how the studio encouraged Atlantic region residents to learn the craft of filmmaking through organized cooperatives and apprenticeship programs, and explains why NFB Atlantic studio executive producer Barry Cowling has shifted the studio's emphasis from in-house production to the production of outside film projects. 2163 Zerbisias, Antonia. Admired overseas, NFB needs Canada aid : Plotting new distribution path. Variety 307 (2 June 1982) 7 (2). En. 2164 Bonneville, Leo. Faut-il briiler 1'O.N.F.? Sequences no 109 (juillet 1982) 2-3. fr. L'auteur defend 1'Office national du film (ONF) du Canada des accusations et des plaintes qui sont emises centre 1'organisme dans le « Compte rendu des memoires et des audiences publiques » du Comite d'etude de la politique culturelle federale. Tout en soulignant les points forts de 1'organisme, il remarque certaines lacunes, notamment la production qui tend a ralentir et la distribution de copies souvent de mauvaise qualite. 2165 Succes pour 1'ONF. Le Soleil (3 juillet 1982) E5. fr. 2166 Gay, Richard. L'ONF et les pieges de la coproduction : Cousteau aux commandes. La Presse (10 juillet 1982) 9. fr. 2167 NFB films end up as no-shows. Globe and Mail (19 July 1982) 13. En. 2168 NFB faces continuing distribution problems. Winnipeg Free Press (20 July 1982) 21. En. 2169 NFB film shorts being criticized. Halifax ChronicleHerald (21 July 1982) E3. En. 2170 NFB tables annual report, plans to develop TV. Cinema Canada no 87 (August 1982) 19-20. En. The National Film Board (NFB) of Canada's annual report, tabled 4 August 1982, reports on its 174 film productions and revenues. The commissioner's report con-

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tains recommendations for increased access to television in order to gain greater exposure for NFB films. 2171 Rowan, Renee. Madame, vous avez rienL. Le Devoir (13 septembre 1982) 2. ill, fr. 2172 Juneau named to NFB board. Globe and Mail (17 November 1982) 15. En. 2173 Juneau appointed to NFB board. Montreal Gazette (17 November 1982) D3. En. 2174 Un nouveau role pour 1'Office national du film? Le Devoir (23 novembre 1982) 7. fr. 2175 Regnier, Michel. Refaire 1'ONF en fonction de notre temps? Le Devoir (23 novembre 1982) 7. ill, fr. 2176 van Beek, S. National Film Board of Canada op dood spoor. Skoop 18 (December-January 1982-1983) 5. Du. 2177 Lemieux, Louis-Guy. L'ONF ne veut pas mourir. Le Soleil (11 decembre 1982) Dl. ill, fr. 2178 Tout English, French "segregation" for Canadian Film Board revamp: Term cutback ideas "one opinion." Variety 309 (15 December 1982) 5 (2). En. 2179 L'Office national du film canadien menace de disparition. Le Filmfran$ais (17 decembre 1982) 7. fr. Le rapport Applebaum-Hebert (Comite d'etude de la politique culturelle federate) veut aneantir 1'Office national du film (ONF) du Canada. Afin d'appuyer les protestations actuelles, on fait appel aux cineastes europeens. 2180 Des employes de 1'ONF intercedent aupres de Fox: le « role historique » de 1'Etat dans le cinema canadien. Le Devoir (29 decembre 1982) 13. fr. 2181 Carriere, Louise. La serie « Societe nouvelle » dans un Quebec en changement (1969-1979). Maitrise. Montreal, Quebec : Universite du Quebec a Montreal, 1983. viii, 305 p, ill, bibl, fr. L'etude porte sur le projet Societe nouvelle (1967-1980) que 1'Office national du film (ONF) du Canada a produit pour illustrer les changements sociaux qui se developpaient au Quebec durant cette periode. L'auteur etudie les films produits dans le cadre de ce projet, ainsi que les documents portant sur leur emergence, leur realisation et leur diffusion. Elle s'attarde da vantage a 1'epoque de 1973 a 1976 qui demeure une etape importante en raison de la production des films de la serie En tant quefemmes (19731974). 2182 Lever, Yves. Faut-il se battre pour 1'ONF? Copie Zero no 15 (1983) 9. 2 ill, fr. Le rapport Applebaum-Hebert (Comite d'etude de la politique culturelle federale) voudrait voir disparaitre 1'Office national du film (ONF) du Canada. L'auteur s'oppose a cette idee et rappelle les grandes productions quebecoises qui ont fait la reputation de cette institution.

Par ailleurs, il souligne quelques faiblesses dans certaines productions mais conclut de la necessite d'un organisme comme TONE 2183 NFB Ontario to S. America for abortion. Cinema Canada no 92 Qanuary 1983) 11. En. The National Film Board (NFB) of Canada is shooting the documentary for television The Politics of Abortion (released under the title Abortion: Stories from North and South, Gail Singer, 1984) in several countries, including Colombia and Peru. 2184 Bonneville, Leo. Bombe a 1'O.N.F. Sequences no 111 (Janvier 1983) 2-3. fr. Commentaires sur le rapport Applebaum-Hebert (Comite d'etude de la politique culturelle federate) qui a eu 1'effet d'une bombe a 1'Office national du film (ONF) du Canada. Alors que la commission privilegie les films de fiction en raison de leur potentiel lucratif, elle recommande que 1'ONF soit transforme en un « centre de recherche avancee et de formation artistique et scientifique ... ». L'auteur conclut que de confiner 1'ONF exclusivement a la recherche serait lui renier son passe glorieux et compromettre la creation artistique, trop souvent negligee par les interets prives. 2185 Dorland, Michael. The NFB's winter campaign: An interview with James Domville, government film commissioner. Cinema Canada no 92 (January 1983) 33-34.1 ill, En. An interview with James de B. Domville, the National Film Board (NFB) of Canada government film commissioner who is currently director of the Applebaum-Hebert (Federal Cultural Policy Review Committee) working group. The group will coordinate the NFB's formal response to the federal minister of Communications regarding the recommendations for changes to the NFB made in the recently released Applebaum-Hebert report. Domville outlines the strategies of the group's campaign against the report, and states that while he rejects every recommendation pertaining to film and broadcasting in their specifics, he endorses some of the report's principles regarding Canadian culture. 2186 Hammond, Arthur. An NFB producer answers Applebert [sic] "... ignorant, foolish, biased and insulting...." Cinema Canada no 92 (January 1983) 36-41.11 ill, En. Arthur Hammond, a senior producer for the National Film Board (NFB) of Canada's Toronto studio, publishes an open letter responding to the Applebaum-Hebert (Federal Cultural Policy Review Committee) report recommendation that the NFB be divested of all its production and distribution responsibilities and transformed into a centre for advanced research and training in the art and science of film and video production. Hammond counters this recommendation by pointing out the international acclaim received by NFB productions, the importance of NFB regional offices for independent filmmakers, the NFB's innovations in methods for the distribution of its own and other Canadian films, and the popularity of NFB films shown on prime time television. States that the report reflects the inability of the Applebaum-Hebert committee to distinguish between documentary film and news and public affairs programming, and that the bias of the committee towards commercial feature films and

Canada mass market television reveals their failure to recognize the heterogeneity of Canadian audiences. Outlines and addresses some of the report's specific recommendations, and concludes that acting on such recommendations would be disastrous for Canadian film culture. 2187 Bourgault, Pierre. Sign a reprieve for the Film Board. Montreal Gazette (8 January 1983) B3. En. 2188 Garneau leaves Board. Cinema Canada no 93 (February 1983) 10. En. Ann Garneau has left her position as director of public relations at the National Film Board (NFB) of Canada and Kay MacKinnon has retired from her post as television clerk at the NFB's distribution office in Toronto, Ontario. 2189 Menaces sur 1'ONF au Canada. La Revue du cinema no 380 (fevrier 1983) 11. fr. On parle du rapport Applebaum-Hebert (Comite d'etude de la politique culturelle federale) qui preconise la commercialisation complete du cinema au Canada et un demantelement de 1'Office national du film (ONF) du Canada. 2190 Bendazzi, G. O.N.F... ok! Banc-Titre no 28 (fevrier 1983) 11-12. ill, fr. 2191 Johnson, J. NFB Studio D works to develop filmmaking skills and meet information needs of women. Media Report to Women 11 (March-April 1983) 17. En. 2192 Dorland, Michael. The NFB's Studio A: Portrait of the animator as a rising star. Cinema Canada no 94 (March 1983) 25-28.4 ill, En. An examination of Studio A, the animation studio of the National Film Board (NFB) of Canada, consisting of a post-Norman McLaren generation of animators who are ready to continue the tradition that has made Canada a global leader in the field of animated film. Discusses the Studio A mandate, as articulated by executive producer Doug MacDonald, and refers to various films produced by the studio. 2193 Armatage, Kay. NFB wars. Canadian Forum 62 (March 1983) 39,42.1 ill, En. The controversy surrounding the Applebaum-Hebert (Federal Cultural Policy Review Committee) report is discussed, noting how the report's critique of the National Film Board (NFB) of Canada found support within the independent filmmaking community. The report's call for the dismantling of the NFB, however, was denounced by most, including NFB producer Arthur Hammond. Hammond's powerful defence of the NFB in Cinema Canada ("An NFB producer answers Applebert" [sic] no 92 (January 1983) 36-41) emphasized the importance of the NFB to Canadian culture, filmmaking, and national identity. 2194 Veronneau, Pierre. Canada-ONF: 1'Office en sursis? Cinema 83 no 291 (mars 1983) 70. fr. Critique du rapport du Comite d'etude de la politique culturelle federale, nomme rapport Applebaum-Hebert, en ce qui concerne 1'avenir de 1'Office national du film (ONF) du Canada. L'auteur conteste 1'abolition de 1'ONF

207

preconisee par ce comite et les recommandations fortement axees sur des questions commerciales plutot que culturelles. 2195 NFB "propaganda" films to receive a second look. Winnipeg Free Press (1 March 1983) 27. En. 2196 NFB films win raves from US. Globe and Mail (2 March 1983) 1-2. En. 2197 NFB films are liberal / leftist tracts. Vancouver Sun (12 March 1983) A5. En. 2198 The stories behind the making of NFB Oscar contenders. Montreal Gazette (19 March 1983) D9. En. 2199 Plot thickens at the Film Board : Canada's national moviemakers are in a fight for survival -and a US ruling has given the needed ammunition. Vancouver Sun (20 March 1983) E4. En. 2200 Shapcott, Catherine. Despite noteriety, dispute^ Canadian shorts flop at Box Office. Variety 310 (23 March 1983) 1 (2). En. 2201 Film Board fights back: We're needed now more than ever. Vancouver Sun (30 March 1983) D14. En. 2202 Quebec NFB film wins award. Winnipeg Free Press (31 March 1983) 29. En. 2203 CBC's indifference irritates Film Board. Vancouver Sun (31 March 1983) D16. En. 2204 Triple NFB threat opens theatrically. Cinema Canada no 95 (April 1983) 17. En. The three films Acid Rain : Requiem or Recovery (Environment Canada, 1981), Acid from Heaven (George Mulley, 1981), and the National Film Board (NFB) of Canada If You Love This Planet (Terri Nash, 1982) opened during March 1983 in Toronto, Ontario. 2205 NFB laboratories in "unfair competition." Cinema Canada no 95 (April 1983) 3,18. En. The National Film Board (NFB) of Canada is being criticized for using their laboratories and technical services to complete private sector films and co-productions, which is a violation of its mandate according to Harold Greenberg, president of Astral Bellevue Pathe. 2206 Eight NFB offices to be closed. Globe and Mail (6 April 1983) 13. En. 2207 NFB closing 10 distribution offices. Montreal Gazette (7 April 1983) C16. En. 2208 NFB unveils plan for reduction of costs. Halifax Chronicle-Herald (7 April 1983) E3. En. 2209 Film Board chastised in Commons. Toronto Star (29 April 1983) D9. En.

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2210 NFB told it's "losing touch." Halifax Chronicle-Herald (29 April 1983) El. En. 2211 Peloquin, Gilles. Les installations de repiquage font peau neuve! Perforations (mai-juin 1983) 27-29. fr. Notes sur la renovation des equipements a 1'Office national du film (ONF) du Canada. 2212 NFB battling for life. Halifax Chronicle-Herald (24 May 1983) El. En. 2213 Public ready for NFB by cable. Cinema Canada no 97 (June 1983) 6. En. A public opinion survey commissioned by the National Film Board (NFB) of Canada has discovered that Canadians are interested in a Canadian cable TV channel focussing on children's, information, and documentary programming. Film commissioner James de B. Domville comments on the need for an alternative to American commercial TV models to achieve high quality Canadian programming. 2214 Concerns about NFB should be addressed. Halifax Chronicle-Herald (3 June 1983) El. En. 2215 NFB agrees to delay eight office closures. Calgary Herald (24 June 1983) F10. En. 2216 NFB delays closing of regional offices. Globe and Mail (29 June 1983) 22. En. 2217 NFB will delay closing offices. Montreal Gazette (29 June 1983) D9. En. 2218 Commons told to probe Film Board. Toronto Star (30 June 1983) F5. En. 2219 Film Canada Center's future doubtful as feds ponder policy. Cinema Canada no 98 (July-August 1983) 11. En. Notes the dependence of the Canadian film center in Los Angeles, California, whose funding will terminate on 1 September 1983, on the operating budget of the National Film Board (NFB) of Canada. Mentions the budgetary constraints of the NFB and the need for funding from the Department of Communications or the Canadian Film Development Corporation. 2220 Peloquin, Gilles. Le reamenagement de la section video. Perforations (juillet-aout 1983) 46-48. fr. Description du reamenagement du service de videographie de 1'Office national du film (ONF) du Canada. 2221 Film dollars draw Ottawa to Hollywood: Great grey bureaucracy sets up office in Beverly Hills. Montreal Gazette (22 August 1983) C4. ill, En. 2222 NFB opens French studio for co-productions with private sector. Cinema Canada no 99 (September 1983) 13. En. Studio C, a new feature film co-production studio, of the French production branch of the National Film Board (NFB) of Canada, officially in existence since 1 April 1983,

has begun shooting its first film, Mario sen va t'en guerre (released as Mario, Jean Beaudin, 1984) with co-producer International Cinema. Pierre Lamy, president of the Association des producteurs de films du Quebec (APFQ) expressed no enthusiasm for the venture and noted the lack of cooperation between the APFQ and the NFB. 2223 Variety of films this fall at NFB. Halifax ChronicleHerald (1 September 1983) El. En. 2224 NFB fears a return to centralization. Halifax Chronicle-Herald (8 September 1983) E2. En. 2225 Regional centres vital, NFB affirms. Winnipeg Free Press (27 September 1983) 25. En. 2226 Pierre-Adolphe, P. Paris: Station balneaire pour 1'ONF. Banc-Titre no 34 (octobre 1983) 20+ (2). ill, fr. 2227 NFB sells all films to Aussies. Cinema Canada no 100 (October 1983) 34. En. The National Film Board (NFB) of Canada has sold its collection of 1,150 films held at its recently closed Sydney, Australia, office to the State Film Centre of Victoria, Australia. 2228 "War" breaks out in NFB TV series. Cinema Canada no 100 (October 1983) 44. En. The National Film Board of (NFB) Canada's seven-part series War (1983) will premiere on the Canadian Broadcasting Corporation (CBC) 2 October 1983. 2229 11 NFB films compete in international festival. Winnipeg Free Press (8 October 1983) 27. En. 2230 NFB enters Swiss film fest. Globe and Mail (8 October 1983) E7. En. 2231 NFB movie tops Atlantic festival. Montreal Gazette (24 October 1983) 4. En. 2232 NFB hopes to cash in on video market. Halifax Chronicle-Herald (28 October 1983) E3. En. 2233 Film Board entering cassette market. Globe and Mail (28 October 1983) E4. En. 2234 NFB series on "War" wins awards. Calgary Herald (31 October 1983) A14. En. 2235 "War" takes international awards. Halifax ChronicleHerald (31 October 1983) E2. En. 2236 Lamy, Pierre. Co-production flap. Cinema Canada no 101 (November 1983) 24. En. Pierre Lamy, president of the Association des producteurs de films du Quebec, in a letter to Cinema Canada, writes that he did not make the derogatory statement regarding the National Film Board (NFB) of Canada as quoted in, "NFB opens French studio for co-productions with private sector" (no 99 (September 1983) 13).

209

Canada 2237 NFB takes 43 titles to home VCR. Cinema Canada no 101 (November 1983) 27. En. The National Film Board (NFB) of Canada has entered the home video market with a selection of 43 productions, entitled Video with a Difference. 2238 NFB chairman to quit. Winnipeg Free Press (3 November 1983) 48. En. 2239 NFB chairman stepping down. Calgary Herald (3 November 1983) Cl. En. 2240 National Film Board head stepping down in January. Montreal Gazette (3 November 1983) D8. En. 2241 NFB chairman to step down in January. Globe and Mail (3 November 1983) E3. En. 2242 NFB's Domville will step down in January. Halifax Chronicle-Herald (3 November 1983) E3. En. 2243 Grierson's destruction: The ideology was suspect. Globe and Mail (3 November 1983) E5. ill, En. 2244 Culture agencies' revolving doors. Cinema Canada no 102 (December 1983) 41. En. Announces that James de B. Domville will not serve a second term as government film commissioner and chair at the National Film Board (NFB) of Canada.

distribution, allegations of Communist sympathies brought against Grierson and the NFB after World War II, and the roles played by the CBC and the Canadian Film Development Corporation in developing public and private filmmaking are topics discussed by Harry Gulkin, Judy (Judith) Crawley, Gordon Sparling, and Michael Spencer. 2253 Harcourt, Peter. Some relationships between the NFB animation department and the documentary. John Grierson and the NFB, 152-162 Toronto, Ont: ECW Press, 1984. En. Peter Harcourt moderates this panel discussion with Tom Daly and animation artists Colin Low, Gerald Potterton, and Bob (Robert) Verrall on the interrelationships between animation and documentary film at the National Film Board (NFB) of Canada. Animation is presented as an introspective form of filmmaking while the documentary is seen as shaped by the reality it encounters. Norman McLaren in his work philosophy, and social consciousness, combined the influences of animation and documentary in his films, such as Spheres (with Rene Jodoin, 1969) and Neighbours (1952). Wolf Koenig's City of Gold (with Colin Low, 1957) while technically composed of photographic stills, is ultimately an animation film that utilizes documentary techniques. 2254 Helmersson, S. Kvinnof ilmen organiserad : National Film Boards Studio D i Montreal. Chaplin 26 no 1 (1984) 2022. Sw.

2245 NFB appoints acting commissioner. Globe and Mail (14 December 1983) 19. En.

2255 Dorland, Michael. "War." Cinema Canada no 103 (January 1984) 24.1 ill, En.

2246 Macerola lands NFB appointment. Winnipeg Free Press (14 December 1983) 37. En.

2256 Macerola to helm NFB. Cinema Canada no 103 (January 1984) 4.1 ill, En. Francois Macerola will become acting film commissioner of the National Film Board (NFB) of Canada on 8 January 1984. He will hold the position until a permanent commissioner is chosen.

2247 NFB gets a new chief. Vancouver Sun (14 December 1983) Fl. ill, En. 2248 Macerola gets new job in NFB executive. Montreal Gazette (14 December 1983) Gl. ill, En. 2249 New NFB head named. Calgary Herald (14 December 1983) H7. En. 2250 Macerola to succeed Domville at NFB post. Halifax Chronicle-Herald (15 December 1983) E2. En. 2251 Petro-Can head may still get CBC debut. Globe and Mail (19 December 1983) 18. En. 2252 Anderson, Robert. The NFB and the private sector. John Grierson and the NFB, 135-151 Toronto, Ont: ECW Press, 1984. En. Robert Anderson, former Canadian Broadcasting Corporation (CBC) announcer and National Film Board (NFB) of Canada producer and director from 1942 to 1955, acts as moderator for this panel discussion on the interaction of John Grierson, the NFB, and the private filmmaking sector. The relationship of the NFB with Crawley Films and Associated Screen News is noted, particularly the effects of the National Film Act. Difficulties in NFB film

2257 Gurik, Robert. L'Office national du film et le droit d'auteur. Le Devoir (13 Janvier 1984) 11. fr. 2258 Labrador missions theme of National Film Board film. Halifax Chronicle-Herald (14 January 1984) 20. En. 2259 Laurier, Marie. L'ONF exige de la SARDEC qu'elle soil plus representative: les droits d'auteur. Le Devoir (16 Janvier 1984) 3. fr. 2260 Ottawa puts the squeeze on Film Board. Montreal Gazette (27 January 1984) Dl. En. 2261 French scriptwriters charge discrimination. Chronicle-Herald (4 February 1984) 40. En.

Halifax

2262 Map has new view of Canada. Calgary Herald (4 February 1984) C5. En. 2263 French-speaking writers charge Film Board with discrimination. Toronto Star (5 February 1984) H6. En.

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2264 NFB urges sifting of television funds into films. Winnipeg Free Press (7 February 1984) 31. En.

2282 More responsive NFB seen by commissioner Macerola. Halifax Chronicle-Herald (16 June 1984) 38. ill, En.

2265 Pinard, Daniel. « En tant que femmes » se poursuit. Le Devoir (25 fevrier 1984) 10. fr.

2283 "Biased" film outrages federation. Halifax ChronicleHerald (27 June 1984) 29. En.

2266 Local Genie award winner cites quality of NFB films. Winnipeg Free Press (24 March 1984) 18. En.

2284 NFB to lose 56,000 still photos: Collection's future fuzzy. Globe and Mail (30 June 1984) E4. En.

2267 NFB is back for another Oscar race. Calgary Herald (4 April 1984) A17. En.

2285 Thompson, Pat. "Canada Vignettes: Angel of Death." Cinema Canada no 109 0uly-August 1984) 20. En.

2268 The NFB's Studio D: Women making films for women. Montreal Gazette (6 April 1984) C4. En.

2286 Lemieux, Louis-Guy. L'ONF s'oriente vers un nouveau dynamisme. Le Soleil (7 juillet 1984) D8. ill, fr.

2269 NFB now a "regular" at the Oscars. Halifax ChronicleHerald (7 April 1984) 46. En.

2287 Mort d'un des fondateurs de 1'ONF. Le Devoir (31 juillet 1984) 4. fr.

2270 NFB Oscar hopes ride on two films. Globe and Mail (7 April 1984) Ell. En.

2288 Ottawa takes negative view on photos. Vancouver Sun (2 August 1984) Bl. En.

2271 Canadian winners accept an Oscar on behalf of "our 25 million investors." Toronto Star (10 April 1984) El. ill, En.

2289 Two NFB abortion films to get premiere day before papal visit. Montreal Gazette (16 August 1984) B6. En.

2272 NFB on defensive before committee. Halifax Chronicle-Herald (2 May 1984) E2. En.

2290 Demonstrators slash photos. Calgary Herald (14 September 1984) Fl. En.

2273 Adilman, Sid. Film Board withdraws support, but Film Canada Center secure. Variety 315 (9 May 1984) 7 (2). En.

2291 "Slashers" protest NFB stills transfer. Halifax Chronicle-Herald (15 September 1984) 43. En.

2274 NFB to be streamlined. Halifax Chronicle-Herald (29 May 1984) 21. En. 2275 Fox wants Canadian films shown, leaner NFB. Montreal Gazette (29 May 1984) Al. En. 2276 Ottawa to limit NFB to research and training. Toronto Star (29 May 1984) El. En. 2277 Doors open for film freelancers. Vancouver Sun (6 June 1984) Cl. ill, En. 2278 Film Board chief sees challenges. Calgary Herald (7 June 1984) Fl. En. 2279 Film Board plans to boost budget for making movies. Winnipeg Free Press (9 June 1984) 22. ill, En. 2280 Reprieve for Film Board's Saskatoon extended. Winnipeg Free Press (9 June 1984) 23. En.

office

2281 Finlayson, A. An era ends in Canadian film. Maclean's 97 no 24 (11 June 1984) 62.1 ill, En. Describes the effect of the federal minister of Communications Francis Fox's new film and video policy on the National Film Board (NFB) of Canada. The policy acts upon a recommendation made by the 1982 ApplebaumHebert (Federal Cultural Policy Review Committee) report that the NFB should function predominantly as a teaching and research facility.

2292 NFB plans threaten Canadian photography. Calgary Herald (15 September 1984) A15. ill, En. 2293 Gala draws protesters. Globe and Mail (15 September 1984) E14. En. 2294 NFB photo division reprieved. Calgary Herald (25 September 1984) F5. En. 2295 NFB photo transfer delayed. Globe and Mail (25 September 1984) M10. En. 2296 Masse reporte le transfer! du service de la photographic de 1'ONF. Le Devoir (26 septembre 1984) 2. fr. 2297 Germain, Jean-Claude. Fais pas 1'acteur! Copie Zero no 22 (octobre 1984) 10-13. 2 ill, fr. L'auteur commente et critique 1'attitude des cineastes quebecois face aux acteurs et au cinema de fiction, et situe leur evolution en retra^ant leurs debuts a 1'Office national du film (ONF) du Canada. 2298 Schupp, Patrick. La video a 1'O.N.F.: mariage ou concubinage? Sequences no 118 (octobre 1984) 64. fr. Breves descriptions des projets concernant le marche de la video que 1'Office national du film (ONF) du Canada a recemment mis sur pied. Us sont en place depuis seulement deux ans et Andre Petrowski en est le responsable. Selon ce dernier, trois projets sont a retenir : la distribution des cassettes video ayant un interet culturel dans les bibliotheques de la province; la distribution de 39 films dans les video-clubs francophones et la location de plus

Canada d'une centaine de titres aux bureaux de 1'ONF, a Quebec et Montreal (Quebec) et Ottawa (Ontario). 2299 Forestry firms irked by film on herbicides. Globe and Mail (26 October 1984) M7. En. 2300 Film Board boss fears programs may be cut. Toronto Star (31 October 1984) Bl. En. 2301 NFB boss fears major cutbacks. Vancouver Sun (31 October 1984) E6. En. 2302 NFB chief awaiting budget cut. Calgary Herald (31 October 1984) Fl. En. 2303 NFB braces itself for budget cuts. Globe and Mail (1 November 1984) E4. En. 2304 NFB management plan provokes employee response. Cinema Canada no 113 (December 1984) 38-39. En. Recent government policies affecting the National Film Board (NFB) of Canada, including the recently released Five Year Operational Plan: Discussion Document to implement the new Film and Video Policy and a $1.5 million budget cut, have incited anger amongst NFB filmmakers and technicians. They feel decisions are being made by bureaucrats with no knowledge of filmmaking and without the consultation of NFB staff. 2305 National Film Board bids for Youth TV. Vancouver Sun (3 December 1984) C8. En. 2306 NFB makes bid to launch cable-TV channel. Globe and Mail (6 December 1984) M2. En. 2307 $400,000 restored to NFB stills budget. Globe and Mail (11 December 1984) M9. En. 2308 New boss devises "last-chance" plan to gain more interest in Film Board. Toronto Star (23 December 1984) G3. En. 2309 Office national du film du Canada / National Film Board of Canada. Disposition du plan d'exploitation relatif aux strategies administratives a suivre en matiere de production et de distribution / An operational plan presenting strategies for the production and distribution of films at the National Film Board of Canada. Montreal, Quebec: Office national du film du Canada / National Film Board of Canada, 1985.112; 102 p, fr, En. Description des applications concretes du Plan quinquennal pour chacun des secteurs d'activites de 1'Office national du film (ONF) du Canada. Ce plan quinquennal d'exploitation a ete propose en octobre 1984 par la direction de 1'ONF pour redefinir le role et la place de cet organisme dans le contexte mediatique canadien. La direction reevalue ainsi ses ressources internes et reduit son role de producteur pour s'orienter davantage vers la recherche et la formation. Describes the concrete applications of the five-year plan for each sector of the National Film Board (NFB) of Canada. This five-year plan of action was proposed in October 1984 by the management of the NFB to redefine the

211

role and the place of the organization's internal resources and to reduce its role as a producer to better orientate itself towards research and education. 2310 Syndicat general du cinema et de la television (Office national du film du Canada). Carte sur table. Montreal, Quebec : 1985. 82 p, fr. Reactions du Syndicat general du cinema et de la television aux propositions presentees dans le Plan quinquennal d'exploitation depose par la direction de 1'Office national du film (ONF) du Canada en octobre 1984. La direction de 1'ONF propose un demantelement progressif de ses activites qui laisserait le champ libre aux entreprises privees. Le Syndicat prevoit, si ces recommandations sont appliquees, que le public perdra son plus ancien producteur dans le domaine public. De plus, le Canada perdra sa plus grande ecole de formation en medias et le seul organisme pouvant « canadianiser » ses ecrans de television. 2311 Adilman, Sid. Big changes needed this year, sez Canada Film Board's Macerola. Variety 317 (2 January 1985) 5. En. 2312 Laurendeau, Francine. Des films de 1'ONF pour reveiller notre conscience. Le Devoir (12 Janvier 1985) 23. fr. 2313 NFB considers moving its headquarters : Move from Montreal possible in "five, six or seven years." Globe and Mail (26 January 1985) El. En. 2314 NFB's new pink cinema faces an uncertain future. Globe and Mail (26 January 1985) E3. ill, En. 2315 Shaking up the Film Board. Vancouver Sun (29 January 1985) B5. En. 2316 Lemieux, Louis-Guy. Carle et Werner Nold font hommage a 1'ONF. Le Soleil (9 fevrier 1985) D3. ill, fr. 2317 The NFB's last stand? Globe and Mail (16 February 1985) El. En. 2318 Boulad, Bernard. La production franchise de 1'ONF fete ses 25 ans: sans 1'Office national du film, le cinema quebecois n'aurait jamais vu le jour. La Presse (23 fevrier 1985) 10-11. ill, fr. 2319 Quebec National Film Board marks jubilee. Winnipeg Free Press (26 February 1985) 34. ill, En. 2320 The NFB's role: MacMillan, Atlantis Films Ltd. Globe and Mail (28 February 1985) 6. En. 2321 Studio D facing "tricky times." Halifax ChronicleHerald (19 March 1985) El. En. 2322 Petrowski, Nathalie. L'ONF entend realiser quatre video-clips. Le Devoir (22 mars 1985) 6. fr. 2323 NFB to resubmit children's TV bid. Globe and Mail (26 March 1985) M4. En.

212

Film and Government / Cinema et gouvernement

2324 Edwards, Margaret Bunel. "D" for decision. Performing Arts in Canada 22 no 1 (April 1985) 15-17. 4 ill, En. An outline of the mandate and modes of operation of Studio D, the women's film unit formed in 1974 at the National Film Board (NFB) of Canada. Describes the emphasis of Studio D on community filmmaking, stating that many of the studio's ideas originate in discussions with women's groups and other community organizations. States that although the topics of the films produced by Studio D are often controversial, this is consistent with an intention to establish the conditions for dialogue and communication. Focuses on the role of Studio D executive producer Kathleen Shannon, and cites Shannon's opinions regarding the decrease in government funding of cultural activities, the myth of journalistic objectivity, and the future projects of Studio D. 2325 Bonneville, Leo. Francois N. Macerola, commissaire du gouvernement a la cinematographie et president de 1'Office national du film. Sequences no 120 (avril 1985) 2534.1 ill, fr. Entrevue avec Francois N. Macerola, commissaire du gouvernement a la cinematographie et president de 1'Office national du film (ONF) du Canada. II s'attaque d'abord au rapport Applebaum-Hebert et a ses repercussions sur 1'ONF. II precise ensuite les politiques de 1'ONF pour privilegier la creation des longs metrages de fiction, des documentaires ou des films d'animation, et il parle des efforts de distribution qui laissent encore a desirer. II discute des mandats de 1'ONF avec les industries privee et publique, de sa politique au sujet de la videocassette et de la coproduction et de ses rapports avec les industries privees et publiques. II termine enfin sur 1'avenir de 1'ONF. 2326 International: Canada. SMPTE Journal 94 no 4 (April 1985) 401-405.13 ill, En. An overview of technological developments at the National Film Board (NFB) of Canada. Lists improvements in the dubbing theatre, in the central machine room in the sound division, and in the frame-count cuing operation in the laboratory. Notes that a video printing and processing centre was built near the laboratory. 2327 Film Board launches two new documentaries. Cinema Canada no 118 (May 1985) 47. En. The National Film Board (NFB) of Canada has recently released Lyn Wright's Dad's House, Mom's House (1985), and Margaret Wescott's Behind the Veil (1984). 2328 Film Board relocates. Cinema Canada no 118 (May 1985) 55. En. The regional office of the National Film Board (NFB) of Canada will be relocated to the Bibliotheque centrale in Quebec, Quebec. 2329 NFB chairman stresses need for political decisions. Winnipeg Free Press (10 May 1985) 33. En. 2330 NFB head seeks federal aid. Globe and Mail (10 May 1985) E3. En. 2331 It's up to Ottawa says NFB head. Halifax ChronicleHerald (10 May 1985) E4. En.

2332 NFB gets aid in bid for children's TV. Globe and Mail (10 May 1985) Ml, 3. En. 2333 NFB bids for kids. Calgary Herald (12 May 1985) F6. En. 2334 NFB tries again to start kids' TV service. Vancouver Sun (15 May 1985) C2. En. 2335 Mintzberg, Henry; McHugh, Alexandra. Strategy formation in an adhocracy. Administrative Science Quarterly 30 no 2 (June 1985) 160-197. 9 ill, bibl, En. In discussing ways in which strategies are formulated, focuses on the idea of project structure or adhocracy, a strategy forming organizational system that opposes the traditional organizational concepts of articulated objectives and sharp divisions of labour. Using the National Film Board (NFB) of Canada as an example of an adhocracy, examines the strategies of the NFB from 1939 to 1975, analysing finance, staff, distribution, structure, number, length, language, sponsorship, and content of films. Considers specific periods in the NFB's history, from 1939 to 1945,1946 to 1953,1954 to 1957,1958 to 1964,1965 to 1968, and 1969 to 1975, to assess the different types of management strategies used during each of these periods. States that the early years of the NFB, 1939-45, were strong and formative under the guidance of John Grierson. The ensuing years saw a more scattered pattern during which the NFB attached itself to various events in an effort to focus its output. Sees very few managerial decisions which could indicate a centrally controlled organization, and instead cites several cases where emergent patterns were based upon ad hoc decisions. These decisions were collectively followed and it is argued that leadership and planning, except in the case of Grierson, have never been considered of great importance at the NFB. The adhocracy that emerges from the policies of the NFB results in a grass roots model of strategy formation characterized by a willingness and capacity to learn, and supported by a tolerant organization and its committed personnel. 2336 Another controversial film from the NFB. Vancouver Sun (4 June 1985) B7. En. 2337 L'ONF fait son entree a la bibliotheque de Quebec. Le Soleil (13 juin 1985) Fl. fr. 2338 NFB shakeup means greater public access to films. Globe and Mail (14 June 1985) E9. En. 2339 Macerola defends NFB before Commons committee. Cinema Canada no 120-121 (July-August 1985) 52. En. On 9 May 1985, National Film Board (NFB) of Canada chair Francois N. Macerola appeared before the House of Commons Standing Committee on Communications and Culture to outline the 46-year history of the NFB and its plans for the future. 2340 NFB feature entries at Montreal festival opposites in style. Globe and Mail (7 August 1985) S8. En. 2341 Most Canadians see NFB film in '84. Cinema Canada no 122 (September 1985) 44. En.

Canada Reports that a recent CROP survey revealed that 52 per cent of Canadian adults have seen a National Film Board (NFB) of Canada film during the last 12 months, and that 90 per cent of the viewers were satisfied with what they saw. 2342 National Film Board and city of Chicoutimi sign to increase services. Cinema Canada no 122 (September 1985) 53. En. The National Film Board (NFB) of Canada and the city of Chicoutimi, Quebec, have signed an agreement to increase cultural services and public access to films in that region. 2343 New Quebec office. Cinema Canada no 122 (September 1985) 60. En. The National Film Board (NFB) of Canada and the Institut canadien de Quebec have recently opened an office at the central library in Quebec, Quebec, as part of an attempt by the two governments to consolidate resources and increase public access to film services by creating a network of NFB offices in public libraries. 2344 Preventing sexual abuse: A film series for young children. CM: Canadian Materials for Schools and Libraries 13 no 6 (November 1985) 250-251. En. 2345 Private labs suffer from NFB / TF productions. Cinema Canada no 124 (November 1985) 33-34. En. Reports on conflicts between the National Film Board (NFB) of Canada and private laboratory services. Sonolab and Bellevue Pathe are charging that the NFB is encroaching on private sector contracts for Telefilm Canada sponsored films. Notes that the NFB insists on maintaining an active production centre and that private companies are attempting to regain projects from the NFB. 2346 I/Office national du film coute $60.5 millions aux Canadiens. La Presse (3 novembre 1985) A20. fr. 2347 Dagenais, Angele. Francois Macerola: Sequences et consequences a 1'ONF. Le Devoir (16 novembre 1985) 23. fr. 2348 Tombs, George. La propagande et sa victime. Le Devoir (18 novembre 1985) 9. fr. 2349 Macerola supports free trade exemptions. Cinema Canada no 125 (December 1985) 39. En. National Film Board (NFB) of Canada president Francois N. Macerola, in a recent statement at the 3 October 1985 opening of the new NFB regional office in Saguenay-Lac Saint-Jean, Quebec commented that cultural industries must be exempted from free trade negotiations. 2350 Lesson of DES portrayed. Vancouver Sun (5 December 1985) B8. En. 2351 Petrowski, Nathalie. Daniel Pinard quitte la direction de la production francaise de 1'ONF: « II n'y a pas de crise », dit-il. Le Devoir (7 decembre 1985) 2. fr. 2352 Lemieux, Louis-Guy. Plan quinquennal d'exploitation de 1'ONF. Le Soleil (7 decembre 1985) D15. fr.

213

2353 Cuts would mean end of NFB, NACO: Outrage greets recommendations of task force report. Globe and Mail (10 December 1985) C3. En. 2354 More NFB cuts will wipe us out union boss says. Montreal Gazette (18 December 1985) Cl. En. 2355 Another cut will kill NFB, says union head. Vancouver Sun (18 December 1985) C7. En. 2356 More NFB cutbacks "would wipe us out." Globe and Mail (18 December 1985) D10. En. 2357 Petrowski, Nathalie. Malgre le discours de Marcel Masse, les syndiques craignent la mort a petit feu de 1'ONF. Le Devoir (19 decembre 1985) 6. fr. 2358 Lesage, Gilles. Masse se fait rassurant: 1'ONF gardera son mandat. Le Devoir (19 decembre 1985) 7. fr. 2359 Masse on our side: NFB head. Montreal Gazette (19 December 1985) Cl. En. 2360 Masse reaffirms NFB's role. Globe and Mail (19 December 1985) Dl. En. 2361 Masse "on our side" : NFB commissioner. Chronicle-Herald (19 December 1985) E2. En.

Halifax

2362 Film Board chief sure Masse "on our side." Toronto Star (19 December 1985) Fl. En. 2363 New hope over NFB cutbacks. Vancouver Sun (19 December 1985) F2. En. 2364 Veronneau, Pierre. La production canadiennefran^aise a 1'Office national du film du Canada de 1939 a 1964. Doctorat. Montreal, Quebec : Universite du Quebec a Montreal, 1986. ix, 754 p, bibl, fr. En utilisant les films comme materiau historique, Pierre Veronneau presente les evenements, parle des principaux films et series, analyse une cinquantaine de films-temoins, et traite de certains themes et de leurs rapports avec les ideologies de la societe quebecoise de 1'epoque. Dans le premier chapitre, 1'auteur precise 1'origine, le developpement et les tendances de 1'approche « histoire et cinema », tout en expliquant la methodologie utilisee. L'auteur divise 1'histoire des cineastes francophones de 1'Office national du film (ONF) du Canada en trois periodes : les annees John Grierson (1939-1945), le developpement de la production a Ottawa (Ontario) (1945-1956) et 1'essor et la diversification qui suivent le demenagement de 1'ONF a Montreal (Quebec). II remarque que des leurs premiers films, les realisateurs canadiens-francais choisissent des themes qui se rapportent a leur culture, leur mentalite et leurs valeurs. Certains de ces cineastes peuvent adherer a 1'ideologie conservatrice, mais la plupart d'entre eux n'hesitent pas a se demarquer des discours dominants en choisissant le documentaire traditionnel, la fiction documentaire, le cinema direct et le film dramatique. Enfin, Veronneau etablit un parallele entre 1'opposition de ces cineastes face aux discours officiels et leurs revendications institutionnelles telles que l'autonomie de la production

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franchise et la liberte d'expression et de la creation cinematographique. 2365 Dick, Ronald. Regionalization of a federal cultural institution : The experience of the National Film Board of Canada 1965-1979. Flashback: People and Institutions in Canadian Film History, edited by Gene Walz, 107-133. (Canadian Film Studies / Etudes canadiennes du cinema 2). Montreal, Quebec : Mediatexte Publications, 1986. bibl, En. Questions why and when the idea of regionalization was developed at the National Film Board (NFB) of Canada. Discounts the more popular theories of linguistic competition and political expediency and gives support to Colin Low's idea that regionalization was the flowering of the promises of the NFB's Challenge for Change (1967-1980) series. 2366 Kermoyan, Mireille. La science a 1'ecran. Aujourd'hui le cinema quebecois: dossier, 30-33 Paris, France: Cerf et Office franco-quebecois pour la jeunesse, 1986. 2 ill, fr. Description de 1'Office national du film (ONF) du Canada. On parle de ses origines, de ses buts, de son fonctionnement et des derniers developpements technologiques de cette institution. 2367 La video a 1'ONF, la confiance regne. Videocom 4 no 1 (janvier-fevrier 1986) 20, 22.1 ill, fr. Entretien avec Andre Petrowski. II discute de 1'importance de la video comme moyen de promotion pour les productions de 1'Office national du film (ONF) du Canada. 2368 Tadros, Connie. After the Nielson report: NFB - The last debate. Cinema Canada no 126 (January 1986) 7-9. En. Debates the importance of the National Film Board (NFB) of Canada as a national cultural institution in light of the federal government's Nielson report, that recommends the budget of the NFB be reduced by $5 million each year for the next five years. Examines how public debate may be informed by the internal, private debate within the NFB that is currently taking place between NFB filmmaker Guy Cote and government film commissioner and NFB president Francois Macerola. Cites Cote's and Macerola's views regarding issues such as Macerola's operational plan presenting strategies for the production and distribution of film at the NFB, the necessity of the NFB's creative core of employees, the conflict between creator and administrator at the NFB, privatization, and the involvement of the NFB in the financing of Quebec's French language fictional features. Includes tables documenting total expenditures on audiovisual production in Canada in 1982, the number of Academy Award nominations and wins garnered by NFB productions since 1950, the total federal expenditures on the NFB between 1958 and 1984, and federal budgetary estimates for cultural institutions for 1984-85.

2371 The little film office that could : on a small budget, Winnipeg's NFB produces screen gems such as Oscarbound. Winnipeg Free Press (22 February 1986) 21. ill, En. 2372 Calgary NFB operations shifting to Edmonton. Calgary Herald (27 February 1986) B5. En. 2373 Regina NFB office to stay open until an agreement is reached. Winnipeg Free Press (15 March 1986) 27. En. 2374 Amiel, Barbara. The case against neutrality. Maclean's 99 no 13 (31 March 1986) 9. En. Challenges the opinions of Canadian journalist Gwynne Dyer as expressed in his film series on Canada's defence policies. Barbara Amiel sees The Defence of Canada (1986) as a typical, left-wing film from the National Film Board (NFB) of Canada. She disagrees that Canada will be able to avoid war by withdrawing from NATO and NORAD. Amiel accuses Dyer of being an isolationist and a narrowminded nationalist. 2375 Faulk, Frank. Warring on TV: A conversation with Gwynne Dyer. Cinema Canada no 129 (April 1986) 16-17.1 ill, En. An interview with Gwynne Dyer who discusses the series War (1983) and The Defence of Canada (1986) which he acted as host for. Dyer describes the complex process of producing a series, and discusses the problems inherent in documenting a subject as sensitive as military history. 2376 NFB closing 18 libraries. Feliciter 32 (April 1986) 2. En. 2377 Amiel, Barbara. A radical approach to the NFB. Maclean's 99 no 17 (28 April 1986) 9. En. Argues that many of the film productions of the National Film Board (NFB) of Canada reflect a left-wing bias that does not represent the majority of Canadians. 2378 Beauchamp, Michel. Main Film: le «tres jeune cinema » et son temps. L'Oeil rechargeable no 9 (mai-juin 1986) 41.1 ill, fr. Survol d'une douzaine de courts metrages de fiction produits par la maison de production Main Film de Montreal (Quebec). Cette maison, soutenue par 1'Office national du film (ONF) du Canada, se veut un centre de ressources pour les jeunes realisateurs. 2379 Five-year plan operative as NFB presents case to committee. Cinema Canada no 131 (June 1986) 50. En. Reports that National Film Board (NFB) of Canada chair and government film commissioner Francois Macerola presented the NFB's priorities and budget estimated for the following year and discussed the new operation plan merging production and marketing.

2369 National Film Board develops five-year plan. Broadcaster 45 no 1 January 1986) 9. En.

2380 NFB Winnipeg's budget slashed despite winners. Winnipeg Free Press (3 June 1986) 27. En.

2370 Front line in the Film Board battle. Vancouver Sun (18 January 1986) D4. ill, En.

2381 A new market opening up. Globe and Mail (9 June 1986) CIO. En.

Canada 2382 Provost, Martine. Des stages de formation pour femmes. Quifait quoi? no 26 (15 juin 1986) 12. fr. Bilan de 1'experience « The Woman's Project» qui est un stage de formation en cinema donne par les Studio D de 1'Office national du film (ONF) du Canada. Dans ce stage, on retrouvait des femmes canadiennes representant divers groupes ethniques. 2383 Amiel, Barbara. Seeking a political balance. Maclean's 99 no 25 (23 June 1986) 9. En. Response to the National Film Board (NFB) of Canada's claims that the Barbara Amiel's allegations of left-wing bias in all the NFB's socio-political films are erroneous. Amiel maintains her position that right-wing views are not adequately represented by the NFB. 2384 NFB edits with hi-tech droid. Cinema Canada no 132 (July-August 1986) 51. En. Describes the technological details and lists the advantages of the Edit Droid off line, computer assisted video editing system for film, which is scheduled to be installed at the National Film Board (NFB) of Canada in the summer of 1986. 2385 Towers, Deirdre. Dancevideo: National Film Board of Canada. Dancemagazine 60 no 7 Quly 1986) 65. En. Reports on the production and distribution of films and videos on dance in Canada by the National Film Board (NFB) of Canada. Cites Cynthia Scott's For the Love of Dance (co-directed with John N. Smith, Michael McKennirey, and David Wilson, 1981), and Flamenco at 5 :15 (1983), Niv Fichman's Blue Snake (1986), and Norman McLaren's Narcissus (1983), Pas de deux (1968), and Ballet Adagio (1971) as examples. 2386 NFB's women feeling squeeze. Winnipeg Free Press (29 July 1986) 29. En. 2387 Future bleak for famed Studio D. Globe and Mail (30 July 1986) C8. En. 2388 Lauder, Scott. A studio with a view: The NFB's Studio D is lifting women's filmmaking out of the basement. Canadian Forum 66 (August-September 1986) 12-15.1 ill, En. A history of Studio D, the National Film Board (NFB) of Canada's women's filmmaking division, from its inception in 1974 to the stepping down of executive producer Kathleen Shannon after 12 years. The goals of the studio were : to train women filmmakers, to make films needed by a female audience, and to achieve credibility for the filmmakers of Studio D through a high level of professionalism. Bonnie Sherr Klein's Not a Love Story (1981) and Terri Nash's If You Love This Planet (1982) are seen as the films that made the accomplishment of those goals undeniable. Notes how Shannon cited the collective work of the women of Studio D as the reason she was awarded the Order of Canada, and Shannon describes Studio D as a place where women could speak freely and work with film as a tool of social change in a sharing atmosphere based in women's culture, politics, and values. The popularity of Studio D films, despite funding problems and the refusal of the Canadian Broadcasting Corporation (CBC) to air films they consider biased are noted, and Shannon

215

states that such bias indicates emotional integrity and a firm perspective that engages the audience, insists on a response, and provokes discussion. Shannon points out that the films of Studio D do not conform to the traditional male bias that characterizes most institutions, including the CBC and the NFB. 2389 Fund to fuel the production of French-language feature films. Winnipeg Free Press (28 August 1986) 42. En. 2390 Adilman, Sid. Canadian report sounds alarm over flagging nontheatrical production. Variety 324 (8 October 1986) 35. En. 2391 "Discussions in Bioethics." CM : A Reviewing Journal of Canadian Materials for Young People 15 no 6 (November 1986) 265-266. En. 2392 Petrowski, Nathalie. Comment sauver 1'ONF en 90 jours. Le Devoir (6 novembre 1986) 7. fr. 2393 Union demands Macerola go. Cinema Canada News Update no 1 (10 November 1986) 3. En. Members of the Syndicat general du cinema et de la television at the National Film Board (NFB) of Canada are calling for the resignation of film commissioner Francois N. Macerola. The move is in response to Macerola's endorsement of a NFB dismantling as recommended by the nontheatrical Film Industry Working Group, which he co-chaired. The union is concerned with the eventual privatization or elimination of the NFB. 2394 Kome, Penney. Oscars and hard times. Maclean's 99 no 46 (17 November 1986) 76g. En. Outlines the financial difficulties that beleaguer Studio D, the women's filmmaking unit at the National Film Board (NFB) of Canada which is devoted to making films on women's issues. Explains that the NFB may choose to integrate women into all its filmmaking units instead of continuing to fund Studio D. 2395 National Film Board takes plunge into feature film mainstream, antes for 6 French-track pics. Variety 325 (26 November 1986) 45 (2). En. 2396 Veronneau, Pierre. Les premieres adaptations a 1'ONF (1939-1965). Revue d'histoire litteraire du Quebec et du Canada fran^ais no 11 (hiver-printemps 1986) 13-17. bibl, fr. Survol des adaptations cinematographiques faites a 1'Office national du film (ONF) du Canada entre 1939 et 1965. Pierre Veronneau explique pourquoi on ne trouve que sept adaptations cinematographiques pendant cette periode : le mandat de 1'ONF etant de produire des documentaires, on a eu recours a des ecrivains seulement pendant une certaine periode ou, apres la deuxieme guerre, 1'ONF a decide d'integrer la fiction a ses productions. Mais cette tendance s'est estompee assez rapidement pour etre remplacee par une liberte de choix laissee aux realisateurs qui pouvaient opter pour le direct ou pour la fiction originale de creation. 2397 Studio D needs urgent funding. Cinema Canada no 136 (December 1986) 36. En.

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Looks at a history of budget cuts in the National Film Board (NFB) of Canada's Studio D, and contrasts this with its filmmaking successes. 2398 Lotz, Jim. Film in Atlantic Canada: The National Film Board as anchor. ArtsAtlantic 6 no 4 (Winter 1986) 4243. 2 ill, En. Gives a history of the contributions to the National Film Board (NFB) of Canada by John Grierson, Norman McLaren, Rex Tasker, and Barry Cowling. Looks at the regional film industry with a focus on production in the Atlantic provinces and the obstacles that the NFB faces in light of budget cuts. 2399 Macerola receives support. Cinema Canada News Update no 2 (9 December 1986) 3. En. Following calls for the resignation of film commissioner Francois N. Macerola by the Syndicat general du cinema et de la television, the board of trustees and branch directors of the National Film Board (NFB) of Canada have publicly indicated their support for Macerola's leadership. Macerola was criticized for endorsing a task force report calling for the partial dismantling of the NFB. 2400 Gaudreault, Leonce. Le Canada tel qu'en lui-meme: exposition de photos de 1'ONF au Musee du Quebec. Le Soleil (13 decembre 1986) E13. fr. 2401 NFB institutes equity program. Winnipeg Free Press (16 December 1986) 34. En. 2402 Roy, Johanne. Quand 1'ONF et 1'Office de la langue francaise font du cinema : J'ai pas dit mon dernier mot. Le Devoir (20 decembre 1986) D9. fr. 2403 Moore, Rick Clifton. Canada's "Challenge for Change" : Documentary Film and Video as an Exercise of Power through the Production of Cultural Reality. Ph.D. dissertation. Eugene, Oregon : University of Oregon, 1987. 285 p, bibl, En. This study examines the relationship between mass media and social change in the history of a film and videotape program, Challenge for Change (1967-1980), sponsored by the National Film Board (NFB) of Canada. Using data from interviews, and the NFB archives and libraries, Rick Clifton Moore demonstrates how social change was promoted and stifled. Adopts Raymond William's concept of culture as constituted and constitutive for the analysis because Steven Luke's approach to power and Michel Foucault's notion of the web of power, while illuminating some aspects of power, do not offer a thorough exploration of events. Chapters detail the origins of the program, the methods and problems with the films The Things I Cannot Change (Tanya Ballantyne, 1966) and Colin Low's Fogo Island films (1967-1969), and others dealing with urban, native American and Canadian culture themes, the termination of the program, and related noncultural, cultural, and power issues. 2404 Veronneau, Pierre. Resistance et affirmation : la production francophone a 1'ONF ; 1939-1964 (Histoire du cinema au Quebec III). (Les Dossiers de la Cinematheque, no 17). Montreal, Quebec: Cinematheque quebecoise, Musee du cinema, 1987.144 p, 44 ill, bibl, index, fr.

Dans cette troisieme partie de 1'histoire du cinema au Quebec, Pierre Veronneau dresse le portrait de la production francophone de 1'Office national du film (ONF) du Canada. Cette histoire est divisee en trois periodes. La premiere periode debute en mai 1939 par la creation de 1'ONF et se termine en novembre 1945 par le depart de son fondateur, John Grierson. Elle est caracterisee par une production francophone qui se limite a la traduction de films anglais, par 1'entree du Canada en guerre et par la participation de 1'ONF comme organe de propagande. La deuxieme periode se situe entre rautomne 1945 et 1'automne 1956 lorsque 1'ONF demenage ses bureaux a Montreal (Quebec). C'est pendant cette periode, sous domination anglophone, qu'on commence a contester de 1'exterieur la place des Canadiens francais dans la production de 1'ONF. On cite en exemple 1'itineraire du projet de film L'Homme aux oiseaux (Jean Palardy et Bernard Devlin, 1952). De plus, en raison de 1'arrivee de la television, la production de cette epoque est marquee par la realisation de documentaires pour ce nouveau media, soit les series Sur le vif (1953-1954) et Passe-Partout (1955-1956). La derniere et troisieme periode va de 1'automne 1956 a 1964. Cette epoque est celle de la creation officielle de la production franchise comme un element autonome de 1'ONF et elle est caracterisee par 1'emergence du cinema direct et des series telles que Panoramique (1958-1959), Profils et paysages (1958-1959), Temps present (1958-1959) et Le Defi (1959-1961). C'est a la fin de cette epoque qu'emergera un cinema quebecois independant et autonome de 1'ONF. Puis, suit une analyse des films de ces epoques, groupes sous les themes de 1'agriculture, du cooperatisme, de 1'industrialisation, du syndicalisme, des femmes, du nationalisme, de la culture et de 1'histoire et ce, afin de les situer dans leur contexte ideologique. On traite egalement de 1'impact que les revues Cite Libre, Liberte et Parti Pris ont eu sur 1'ONF en plus d'etudier comment la thematique des films a evolue au cours des annees. En annexe, on trouve quelques statistiques sur le nombre de films tournes par 1'ONF depuis sa creation, ainsi que les couts moyens de ces productions. 2405 Veronneau, Pierre. I/ideologic de contestation chez les cineastes onefiens. Dialogue: cinema canadien et quebecois / Canadian and Quebec Cinema, dirige par Pierre Veronneau, Michael Dorland et Seth Feldman, 57-70. Montreal, Quebec: Mediatexte Publications et la Cinematheque quebecoise, 1987.1 ill, fr. Pierre Veronneau tente de comprendre ou et comment s'effectuerent les changements ideologiques chez les cineastes de la branche francophone de 1'Office national du film (ONF) du Canada, durant la periode 1945-1960. Trois ideologies sont degagees: 1'ideologie de conservation, predominante dans les annees 1940 et 1950 qui pronait les valeurs liees au regime duplessiste, 1'ideologie de contestation, qui vit le jour au milieu des annees 1950 et eut pour porte-parole la revue Cite Libre et 1'ideologie du developpement et de la participation nee au debut des annees 1960 de la participation de realisateurs ou artisans aux revues Liberte et Parti Pris. Cette derniere ideologic etait beaucoup plus nationaliste que la precedente. Si ces ideologies n'ont pas ete necessairement successives, elles se sont rejointes tout de meme sur certaines questions telles 1'intervention de 1'Etat, tout en refletant la diversite des attitudes qui ont caracterise cette epoque

Canada 2406 Full equality in a decade is National Film Board goal. Content (January-February 1987) 2. En. 2407 Current situation doubtful. Cinema Canada no 137 (January 1987) 38. En. Executive producer of Studio D, the women's filmmaking studio at the National Film Board (NFB) of Canada, Ginny Stikeman, explains that she is not optimistic about the NFB's promises to create equality among men and women in its workplace, noting the inadequate amount of money the NFB is currently giving to the women's studio. 2408 Kelly, Brendan. NFB's alternative drama. Cinema Canada no 138 (February 1987) 14-15. 4 ill, En. Discusses the National Film Board (NFB) of Canada's Alternative Drama program, that produces films characterized by a dramatic narrative developed within documentary form. Examines how Giles Walker and John Smith's Masculine Mystique (1985), Walker's 90 Days (1985) and The Last Straw (1987), and Smith's Sitting in Limbo (1980), reflect the effectiveness of this style of filmmaking. 2409 Mathews, Ed. Immigrants and the NFB. Cinema Canada no 138 (February 1987) 22-27. 10 ill, bibl, En. Examines the depiction of the immigrant experience in films produced by the National Film Board (NFB) of Canada. Develops a schema to explicate the visual rhetoric used by filmmakers to create a mythology of the immigrant experience. The schema is structured according to the use of images of homeland, hands, food, and photographs that correspond to the historical development of immigration to Canada. Analyses a large number of films by the NFB including some films made prior to 1970, in the context of this schema, focussing on such themes as the settler as image, assimilation and integration, the immigrant as worker, the social, economic, and religious aspects of food, ethnic neighbourhoods, politics and the photograph, and Jewish and Third World refugees. Notes new developments in the depiction of the immigrant experience in Canadian film, and includes an extensive filmography on the subject. 2410 Scherbarth, Chris. Canada's Studio D: A women's room with an international reputation. Canadian Woman Studies/Les Cahiers de lafemme 8 no 1 (Spring 1987) 24-27. 3 ill, En. Describes the 1975 formation and later development of Studio D, the women's film unit of the National Film Board (NFB) of Canada, and examines the studio's feminist mandate. States that the inception of Studio D in 1975 was the result of the creative aspirations and demands for equal employment on the part of the NFB's women filmmakers, particularly Kathleen Shannon and Anne Claire Poirier. The popularity of Shannon's series of films about working mothers and Poirier's French language series entitled En tant que femmes (1973-1974) reinforced the argument for a women's studio. Discusses the studio's extensive and varied repertoire, referring specifically to Bonnie Sherr Klein's Not a Love Story (1981), Beverly Shaffer's I'll Find a Way (1977), and Terri Nash's If You Love This Planet (1982). Refers to recent budgetary and bureaucratic problems faced by Studio D.

217

2411 Perspective feminine : Studio D. Promotion de la sante 25 no 4 (printemps 1987) 29. fr. Version anglaise : Woman's perspective : Studio D. 2412 Woman's perspective: Studio D. Health Promotion 25 no 4 (Spring 1987) 29. En. French edition: Perspective feminine: Studio D. 2413 Scherbarth, Chris. Why not D? : An historical look at the NFB's woman's studio. Cinema Canada no 139 (March 1987) 9-13. 6 ill, En. Describes the formation and operations of Studio D, the women's film unit at the National Film Board (NFB) of Canada. Briefly outlines the history of women employees at the NFB, and notes that the decision to create a separate film unit to employ women and produce films from a woman's perspective was the specific outcome of several factors. The first was the success of Kathleen Shannon's Working Mothers series (1974-1975), and Anne Claire Poirier's series entitled En tant que femmes (1973-1974), both of which were produced under the auspices of the NFB's Challenge for Change (1967-1980) program. Other factors contributing to the decision were the government of Canada's well publicized commitment to the goals set for the 1975 International Women's Year, and the pressure put on the federal government by Poirier and Shannon to ensure continued funding for women's film projects. Marks highlights in the production history of the studio, which was officially established in 1974 under the executive direction of Shannon, noting the receipt of an Academy Award by Beverly Shaffer for I'll Find a Way (1977) in 1978, and the critical and commercial success of Bonnie Sherr Klein's Not a Love Story (1981), and Terri Nash's If You Love This Planet (1982). Concludes by discussing the budgetary crisis currently challenging the studio, despite the continued popularity of its product. 2414 Fraticelli to head Studio D. Cinema Canada News Update no 4 (9 March 1987) 7. En. Rita Fraticelli has been named new executive producer for Studio D, the women's filmmaking studio at the National Film Board (NFB) of Canada. Provides Fraticelli's career background. 2415 Dramas for young children: The "Finding Our Way" series. CM : A Reviewing Journal of Canadian Materials for Young People 15 no 3 (May 1987) 101-102. 2 ill, En. 2416 Belanger, Denis. La grenouille a la poursuite du bonheur. Cine-Bulles 6 no 4 (mai-juillet 1987) 27-31. 3 ill, fr. Presentation de la serie de telefilm L'Americanite (19871988), developpee par le producteur Eric Michel de 1'Office national du film (ONF) du Canada. On commente le tournage de Voyage en Amerique avec un cheval emprunte (1987) de Jean Chabot, Le Grand Jack (1987) d'Hermenegilde Chiasson, Le Revers de I'American Dream (sorti sous le titre L'Amour... a quel prix? (1988) de Sophie Bissonnette et La Poursuite du bonheur (1988) de Micheline Lanctot. 2417 Employment equality. Cinema Canada no 141 (May 1987) 62. En. Reports that 1989 will see the 50th anniversary of the

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National Film Board (NFB) of Canada and the 25th anniversary of the release of its first French language dramatic feature, Le Chat dans le sac (Gilles Groulx, 1964). In celebration, the NFB has announced a nation wide competition for French language filmmakers. 2418 Johnson, Brian D. A nation's home movies. Maclean's 100 no 30 (27 July 1987) 46. 2 ill, En. 2419 National Film Board productions on social studies for the secondary school. CM: A Reviewing Journal of Canadian Materials for Young People 15 no 5 (September 1987) 180182.1 ill, En. 2420 National Film Board films. Canadian Home Economics Journal / Revue canadienne d'economie rurale 37 no 4 (Fall 1987) 200. En. 2421 Foreign sales up for Film Board. Cinema Canada no 145 (October 1987) 61. En. Notes the best sales year ever for the international marketing division of the National Film Board (NFB) of Canada. Looks at sales to markets in Brazil, Argentina, France, and Japan. 2422 Nature films for children. CM : A Reviewing Journal of Canadian Materials for Young People 15 no 6 (November 1987) 222-223. 2 ill, En. 2423 Annual report shows NFB in need of funds. Cinema Canada no 147 (December 1987) 42-43. En. Francois Macerola, government film commissioner and chair of the National Film Board (NFB) of Canada, expressed concern that the NFB is becoming overly commercialized and explains that an increase in government financing is needed in order to competently satisfy the NFB's mandate as a public producer and distributor of Canadian films with a cultural emphasis. The article also outlines the various areas that absorbed the NFB's budget in 1986-87, noting the corporation's decrease in revenues from the previous year. Notes, however, the increase in both the number of NFB productions that were presented with film awards and in the number of test print approvals completed by the corporation in 1986-87. 2424 National Film Board of Canada news. Cinema Canada no 147 (December 1987) 47. En. Updates current events within the National Film Board (NFB) of Canada including the home video release of Norman Summer (1962), an episode in the 13-part series Canada at War (1962); the presentation of the Canadian Broadcasting Corporation's (CBC) Pioneer Award to Rex Tasker, the founder of the NFB's Atlantic production centre and its first executive producer, at the Atlantic Film Festival in Halifax, Nova Scotia ; the winning of ten Gemini Award nominations; and the signing of an exclusive distribution contract with the Canadian Video Factory. 2425 Helga to helm. Cinema Canada no 147 (December 1987) 48.1 ill, En. Announces that Helga Stephenson has been appointed to the board of directors of the National Film Board (NFB) of Canada for a three-year term.

2426 Boileau, Jean-Marc. Les documentaires de 1'ONF: une source intarissable. L'Education populaire (decembre 1987) 50-51. fr. Portrait de la section franchise de 1'Office national du film (ONF) du Canada. 2427 Pratley, Gerald. Gone are the good old days of National Film Board of Canada - Denys Arcand. Cinema India-International 5 no 3 (1988) 72-77. ill, En. 2428 Halas, John. National Film Board of Canada. Novum Gebrauchsgraphik 59 no 1 (January 1988) 14-17. 8 ill, En, fr, Ge. Provides a brief history of the National Film Board (NFB) of Canada with a look at the differences between the old and new generation of Canadian film designers. Briefly sums up the filmic style of the individuals and productions considered to be of the new generation including Paradise (Ishu Patel, 1984), Every Child (Eugene Fedorenko, 1979), The Boy and the Snow Goose (Gayle Thomas, 1984), The Big Snit (Richard Condie, 1985), Getting Started (Richard Condie, 1979), Lady Fishbourne's Complete Guide to Better Table Manners (Janet Perlman, 1976), and Champignons (Pierre Veilleux, 1984) and filmmakers Suzanne Gervais, Sheldon Cohen, and David Verrall. Bilan de 1'histoire de 1'Office national du film (ONF) du Canada qui met en relief les differences entre la vieille et la nouvelle generation de cineastes canadiens. L'auteur jette une regard sur le style des productions de la nouvelle generation dont Paradise (Ishu Patel, 1984), Every Child (Eugene Fedorenko, 1979), The Boy and the Snow Goose (Gayle Thomas, 1984), The Big Snit (Richard Condie, 1985), Getting Started (Richard Condie, 1979), Lady Fishbourne's Complete Guide to Better Table Manners (Janet Perlman, 1976) et Champignons (Pierre Veilleux, 1984) et sur les cineastes Suzanne Gervais, Sheldon Cohen et David Verrall. 2429 Thompson, Patricia. Peep and the village. Cinema Canada no 148 Qanuary 1988) 4-5. 9 ill, En. Reports on Kaj Pindal's Peep and the Big Wide World (1988) and Eugene Fedorenko and Rose Newlove's Village of Idiots (1988), two National Film Board (NFB) of Canada animation projects currently in production. Includes brief biographies of Fedorenko, Newlove, and Pindal, and an interview with Michael Scott, the producer of the two films. Describes the computer animation techniques used in Peep and the Big Wide World and the photograph and drawing collage techniques charateristic of Village of Idiots. 2430 NFB series reckons with Canada's political economy. Halifax Chronicle-Herald (2 February 1988) E2. En. 2431 Animation for the nation: the National Film Board's Studio A is on top of the celluloid world and it has the Oscar nominations to prove it. Montreal Gazette (20 February 1988) Dl, 7. ill, En. 2432 Cinemas and libraries across the country may soon carry shorts. Montreal Gazette (20 February 1988) D7. En. 2433 The NFB : Where animated films are more than cartoons for kids. Vancouver Sun (24 February 1988) B6. ill, En.

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2434 NFB animations still earn notice. Calgary Herald (24 February 1988) D6. En.

2446 NFB chief to step down. Globe and Mail (2 November 1988) C5. En.

2435 Film flap: Squabbles delayed local showing of award-winning mini-series. Winnipeg Free Press (27 February 1988) 21. ill, En.

2447 NFB head Macerola leaving to oversee studio project. Montreal Gazette (3 November 1988) C12. En.

2436 NFB tackles US video market. Globe and Mail (6 April 1988) C5. En. 2437 On the right track: Film Board director chugging along in a dimly lit setting. Montreal Gazette (30 April 1988) Dl. ill, En. 2438 Big week for NFB brings US awards and Yugoslav fete. Montreal Gazette (7 June 1988) B9. En. 2439 NFB all bedecked. Cinema Canada no 154 (JulyAugust 1988) 51. En. Announces awards received by the National Film Board (NFB) of Canada at the May 1988 American Film and Video Festival in New York City, New York, including Beverly Shaffer's To a Safer Place (1987) which won the Emily Award for best film. 2440 National Film Board is out in force with 10 festival premieres. Montreal Gazette (31 August 1988) D12. En. 2441 Morisset, Jean. A propos de «L'Americanite»: promenade dans une Amerique en quete de Quebec. Sequences no 135-136 (septembre 1988) 38-43. 6 ill, fr. Jean Morisset nous amene a decouvrir quelques films de la serie «L'Americanite» de 1'Office national du film (ONF) du Canada: Voyage en Amerique avec un cheval emprunte (1987) de Jean Chabot, Le Voyage au bout de la route ou La ballade du pays qui attend (1988) de Jean-Daniel Lafond et Oscar Thiffault (1987) de Serge Giguere. II decrit la ligne directrice de cette serie qui se concentre sur le Quebec et ses relations avec son voisin, les Etats-Unis. Cette serie est un projet collectif: cinq ou six cineastes y ont participe. Morisset etudie la position de chacun de ces films par rapport a la serie tout en etablissant des paralleles entre chaque oeuvre. 2442 A muddled view of the Canadian identity. Globe and Mail (19 September 1988) Dll. ill, En. 2443 Dabby, Victor. Tourne selon le precede Imax : L'ONF mettra 1'empereur Qin sur pellicule. Le Soleil (27 septembre 1988) C6. fr. 2444 PBS screens Canada series. Cinema Canada no 156 (October 1988) 68. En. Announces that the four-part series Canada: True North (National Film Board of Canada, 1987-1988) will be televised on the Public Broadcasting System (PBS) network 12,19, 26 September and 3 October 1988. 2445 NFB on Vision-TV. Cinema Canada no 157 (November 1988) 48. En. Announces that Vision TV plans to televise a 15-week series of award-winning social documentaries by the National Film Board (NFB) of Canada.

2448 Demission de Macerola, commissaire de 1'ONF. Le Soleil (4 novembre 1988) Cl. fr. 2449 Petrowski, Nathalie. La succession ouverte a 1'ONF. Le Devoir (25 novembre 1988) 11. fr. 2450 Macerola says goodbye NFB, hello Lavalin. Cinema Canada no 158 (December 1988) 34-35. En. Announces that Francois N. Macerola plans to leave the National Film Board (NFB) of Canada to take the position of executive director of operations of the new production centre of Prodevco Lavalin in Montreal, Quebec. 2451 Les 50 ans de 1'ONF. Montreal, Quebec : Edition Saint-Martin; Les Entreprises Radio-Canada, 1989.168 p, ill, fr. Propos recueillis en 1989 lors d'une serie d'emissions radiophoniques presentee au reseau FM de la radio de Societe Radio-Canada (SRC) pour marquer les 50 ans de 1'Office national du film (ONF) du Canada. L'animateur, le journaliste Richard Gay, s'est entretenu avec neuf personnalites de 1'ONF. Le producteur Jacques Bobet decrit 1'histoire de 1'institution alors que Jean-Marc Garand discute de la production documentaire et que Carol Faucher aborde la production des films de fiction. Robert Forget, producteur, parle du cinema d'animation tandis que Paul Cowan, realisateur, se penche sur la production de langue anglaise. Anne Claire Poirier, cineaste, fait un bilan du role de la femme a 1'ONF. Maurice Vallee traite de la distribution; Marcel Carriere, chef des services, discute des services techniques et, enfin, Jacques Godbout, realisateur, decrit 1'evolution de 1'ONF. 2452 Office national du film du Canada. 50e anniversaire, 1939-1989. Montreal, Quebec : 1989. 33 p, fr. Dans ce document, on dresse un portrait de 1'Office national du film (ONF) du Canada. En premier lieu, les auteurs donnent un bref historique de 1'organisme et decrivent les differents roles que 1'ONF joue tant sur la scene nationale qu'internationale (recherche et innovation technique, education et developpement regional) comme ambassadeur du Canada a 1'etranger. 2453 Rodger, Andrew. Some factors contributing to the formation of the National Film Board of Canada. Historical journal of Film, Radio and Television 9 no 3 (1989) 259-268. bibl, En. Provides a history of the National Film Board (NFB) of Canada in an institutional context. Begins by examining the Canadian Government Motion Picture Bureau, describing in detail the bureau's formation, mandate, modes of operation, and internal structure. Focuses on the roles of Ross McLean, John Grierson, and the Canadian high commissioner to London, England Vincent Massey in terms of the bureau, and discusses their concerns regarding issues of the cinematic representation of Canadian interests in Britain and the need for improvement

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both in the number and quality of Canadian films. McLean believed that Canadian films were ignoring important Canadian subject matter and failing to target potential audiences in Britain. In order to rectify this problem, and to establish greater coordination and centralized control of publicity in Britain, changes in the Canadian Government Motion Picture Bureau were implemented. The result was a series of changes, such as the formation of the Imperial Relations Trust in 1937, the formation of the National Film Society of Canada in 1935, and the formation of the Canadian Film Committee resulting from a conference, funded by Imperial Relations Trust grants, and involving the National Film Society and the Canadian Association for Adult Education. Emphasizes the role of McLean, Grierson, and Massey in these changes and on the subsequent passing of legislation on 2 May 1939 which created the NFB. States that although Grierson was a pivotal figure in the creation of the NFB, he was not working in isolation and that it was departmental concerns, specifically the selling of Canada and Canadian goods in Britain, that set the stage for Grierson's influence. 2454 Morris, Peter. "Praxis into process" : John Grierson and the National Film Board of Canada. Historical Journal of Film, Radio and Television 9 no 3 (1989) 269-282. bibl, En. Discusses a number of issues regarding the National Film Board (NFB) of Canada that are not explicitly treated in established histories of the NFB. Examines, for instance, why the NFB long survived the completion of John Grierson's tenure while other organizations he established did not, and concludes that the Canadian socio-cultural system provided Grierson's ideas with a supportive environment. Responds to the contradiction between Grierson's stance as an independent visionary and his argument for a collectivist mode of film production, and raises the question as to why, considering the radical nature of Grierson's writings, there was little apparent radicalism in the early NFB documentaries. Addresses these issues by closely analysing Grierson's 1938 Report on Government Film Activities in which he offers recommendations for film production and a policy for film propaganda, his published and unpublished writings in which he postulates a classical, Hegelian philosophy of the state and propaganda, and his 1944 Film Policy for Canada and a memorandum entitled Relations with the United States Film Industry, both in which Grierson posits his views and recommendations regarding the relationship between the Canadian film industry and that of the United States. 2455 Jones, D. B. Assessing the Film Board, crediting Grierson. Historical Journal of Film, Radio and Television 9 no 3 (1989) 301-308. bibl, En. Introduces a new perspective on the accomplishments of the National Film Board (NFB) of Canada and John Grierson's contributions to these accomplishments by developing and applying a quantitative categorical model for historical assessment. The model consists of ten variably quantitative indicators of artistic achievement: productivity, variety, excellence, consistency, technical virtuosity, global recognition, number of great artists, production of "classics," provocativeness, and access. Examines the work of the NFB and Grierson's particular influence in terms of these categories, concluding that although Grierson contributed enormously to the board's success, there

were other factors, such as the sense of purpose instilled by World War II and the Canadian obsession with national identity, that helped to shape the NFB. Also specifies limitations inherent in such a quantitative assessment of the NFB, such as the inevitability of personal bias, the suggestive rather than conclusive nature of this mode of criticism, and the necessity of using the subject of the assessment as an informational source. 2456 Castillon, Pierre de. Office national du film du Canada : 50 ans de parcours. Cinema 89 no 453 (Janvier 1989) 7-8.1 ill, fr. Entretien avec le directeur du bureau a Paris (France) de 1'Office national du film (ONF) du Canada, Pierre Ducharme, a 1'occasion de 50e anniversaire de 1'ONF. 2457 NFB deficit near record. Globe and Mail (5 January 1989) C5. En. 2458 Film captures human tragedy : Impoverished squatters focus of hard-hitting NFB effort. Halifax Chronicle-Herald (25 January 1989) L6. ill, En. 2459 Happy Birthday NFB. Vancouver Sun (26 January 1989) Dl, 4. ill, En. 2460 CBC shows best of NFB. Cinema Canada no 160 (February-March 1989) 47. En. Announces plans by the Canadian Broadcasting Corporation (CBC) to celebrate the National Film Board (NFB) of Canada's 50th anniversary with the NFB Thursday Night Movie Series, which will showcase the best of the NFB. 2461 NFB : Studio D shuffles staff. Cinema Canada no 160 (February-March 1989) 49. En. Discusses the decision of the National Film Board (NFB) of Canada to disband Studio D, the award-winning women's studio, due to reduced federal government funding. Explains that the NFB plans to integrate the six filmmakers on staff at Studio D into other departments during April 1989, and use the Studio D budget of $795,000 to fund freelance women filmmakers. 2462 Verrall, Bob. Which way to the future? Cinema Canada no 160 (February-March 1989) 9-11.1 ill, En. Bob Verrall comments on the state of the National Film Board (NFB) of Canada. Argues that policy changes introduced by Francis Fox in 1984 have threatened the quality of future NFB productions due to the cuts in annual appropriations, the direction of more public resources into private production, an increase in the use of freelancers, and the reduction of staff to skeleton crews. The scaling down of the 16 mm film libraries does not concern Verrall because of the distribution advantages gained by the conversion to videocassettes. 2463 NFB disbands women's studio. Montreal Gazette (13 February 1989) 85. ill, En. 2464 Film Board disbanding Studio D women's unit. Toronto Star (13 February 1989) Bl. En.

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2465 NFB women's unit disbanded. Vancouver Sun (13 February 1989) B8. En.

2485 The National Film Board at 50. Toronto Star (29 April 1989) Fl. ill, En.

2466 Film Board disbands women's unit. Calgary Herald (13 February 1989) E6. En.

2486 NFB faces challenge in new era. Calgary Herald (29 April 1989) Fl. En.

2467 NFB disbands women's unit. Globe and Mail (14 February 1989) A18. En.

2487 Public welcomed behind the scenes at the NFB studio: World-renowned film agency marks 50 years. Montreal Gazette (30 April 1989) A4. ill, En.

2468 Canada's NFB wins honorary Oscar. Vancouver Sun (15 February 1989) B5. En. 2469 NFB to receive an Oscar. Montreal Gazette (15 February 1989) C9. En. 2470 NFB caps a great week. Montreal Gazette (17 February 1989) Cl. En. 2471 Masse kicks off Film Board bash. Calgary Herald (17 February 1989) C2. En. 2472 NFB launches anniversary celebration. Globe and Mail (17 February 1989) C9. En. 2473 NFB won't trumpet horn alone for 50th anniversary celebrations. Winnipeg Free Press (18 February 1989) 28. ill, En. 2474 N.F.B. productions : Social studies. CM : A Reviewing Journal of Canadian Materials for Young People 17 no 2 (March 1989) 59.1 ill, En. 2475 NFB film irks Quebeckers. Globe and Mail (3 March 1989) C3. En. 2476 Director fights NFB charging age bias. Montreal Gazette (17 March 1989) C7. En. 2477 Film-maker accuses NFB of discrimination. Calgary Herald (17 March 1989) C7. En. 2478 50 years of film. Vancouver Sun (25 March 1989) Dl, 11. En. 2479 US critic heaps praise on the NFB. Montreal Gazette (28 March 1989) E6. En. 2480 Fulford, Robert. Little chutzpah in aid of the NFB. Financial Times 77 no 43 (10 April 1989) 46. En. 2481 NFB to investigate discrimination charge. Globe and Mail (12 April 1989) C9. En. 2482 Cultural program reductions to come into effect next year. Globe and Mail (29 April 1989) All. En. 2483 The NFB at 50. Globe and Mail (29 April 1989) Cl, 3. ill, En. 2484 A new generation sets the cameras rolling. Globe and Mail (29 April 1989) C3. ill, En.

2488 N.F.B. productions : Economics. CM: A Reviewing Journal of Canadian Materials for Young People 17 no 3 (May 1989) 108-109. 4 ill, En. 2489 Godbout, Jacques. Les 50 ans de 1'ONF, ou le retour des vases chinois ? La Revue de la Cinematheque no 1 (maijuin 1989) 16-18. fr. Quelle est la fonction de 1'Office national du film en 1989? II y a 50 ans, cette institution avait pour tache de representer le Canada et de garder ce pays uni. Mais dans les annees 1970, avec la hausse du nationalisme au Quebec, le gouvernement a oriente differemment la tache de 1'ONF. Qu'en est-il maintenant, alors que sur fond de proces ideologique, 1'art cinematographique laisse place a la commercialisation et que la technologic audiovisuelle evolue sans cesse? Jacques Godbout dresse ses conclusions : si 1'ONF n'est plus une institution et ne possede plus sa place dans le milieu commercial, elle doit tout de meme justifier sa presence en termes artistiques. 2490 Knelman, Martin. Unhappy anniversary. Toronto Life 23 no 8 (May 1989) 31-32. ill, En. 2491 NFB open house is a hit: Anniversary highlights Film Board's successes. Montreal Gazette (1 May 1989) D5. ill, En. 2492 O'Farrell, Elaine. Film Board celebrates 50th. Windspeaker 7 no 9 (5 May 1989) 10. ill, En. 2493 50 years old and struggling in the reel world. Montreal Gazette (7 May 1989) F2. ill, En. 2494 NFB salute applauded in NY. Vancouver Sun (8 May 1989) B6. En. 2495 NFB is feted by New York museum. Montreal Gazette (8 May 1989) C5. En. 2496 Michie, Laurence. National Film Board turns 50 amid fight for survival. Variety 335 (10 May 1989) 107. ill, En. 2497 The NFB at 50. Halifax Chronicle-Herald (13 May 1989) WB1-2. ill, En. 2498 Pogrow, Gary. The NFB at 50: How the West was won. Reel West 4 no 4 Qune-July 1989) 11-12,14-15. 4 ill, En. Describes John Grierson's efforts to ensure films produced by the National Film Board (NFB) of Canada were shown in communities throughout Western Canada. Gary Pogrow discusses the rise and decline of film councils, the

222

Film and Government / Cinema et gouvernement

founding of a film festival in Yorkton, Saskatchewan, the importance of animated filmmaking in Western Canada, and the problematic evolution from documentaries to feature films. Pogrow concludes by exploring funding difficulties experienced by filmmakers in the region. 2499 Jean, Marcel. Entretien avec Robert Forget. 24 Images no 43 (ete 1989) 30.1 ill, fr. Entretien avec Robert Forget, directeur du studio francais d'animation a 1'Office national du film (ONF) du Canada. II discute, entre autres choses, de I'animation traditionnelle face a 1'avenement de 1'image de synthese et de la nouvelle technologic. 2500 Jean, Marcel. Les douze meilleurs films d'animation produits a 1'ONF. 24 Images no 43 (ete 1989) 32-33. 7 ill, fr. Une liste des douze meilleurs films d'animation produits a 1'Office national du film (ONF) du Canada selon le vote d'une douzaine de personnes du milieu cinematographique. 2501 Rolff, Ray. The National Film Board of Canada is 50. Sightlines 22 no 3 (Summer 1989) 32-33.1 ill, En. Describes the gathering of former National Film Board (NFS) of Canada employees for its 50th anniversary celebration in Montreal, Quebec, and the renaming of the board's headquarters in a dedication to Norman McLaren. Wesley Greene, president and founder of the International Film Bureau in Chicago, Illinois, recalls the NFB where he was head of distribution from 1941 to 1946. Recalls the initial commission of John Grierson to start the NFB, and his hiring of McLaren and Stuart Legg, who made the board's first film, in 1941. Discusses the importance of the 1989 tribute to the NFB at the Museum of Modern Art in New York City, New York, which included Colin Low's Corral (1954) and McLaren's Neighbours (1952). Also mentions that an award in the name of John Grierson was established by the American Film and Video Association and presented at the American Film and Video Festival to a first time producer of a documentary work. 2502 From a female perspective: Studio D celebrates 15 years. Montreal Gazette (12 June 1989) A9. ill, En. 2503 NFB wants its films in stores. Vancouver Sun (14 June 1989) C7. En. 2504 Divine mission: Choosing who will direct Canadian culture. Globe and Mail (24 June 1989) Dl-2. ill, En. 2505 CLA honours NFB. Feliciter 35 no 7-8 Quly-August 1989) 10. En. 2506 N.F.B. productions : Development education. CM: A

Reviewing Journal of Canadian Materials for Young People 17 no 4 (July 1989) 156-158. 3 ill, En.

2507 Pennefather to examine technical infrastructure at NFB. Cinema Canada no 165 (July-August 1989) 23. En. Joan Pennefather, National Film Board (NFB) of Canada interim film commissioner, announces at an address to the Parliamentary Committee on Communications, Culture, Citizenship and Multiculturalism, plans for a review of

the NFB's technical infrastructure, and the establishment of two awards of $50,000 each to be presented annually to Canadian filmmakers demonstrating exceptional achievement in script development. 2508 Johnson, Brian D. Screen shadows : At 50, the NFB's birthday glow is tarnished. Maclean's 102 no 29 (17 July 1989) 42-44. 2 ill, En. Examines the troubled state of the National Film Board (NFB) of Canada at the time of its 50th anniversary. The federal government's 1984 National Film and Video Policy which called for drastic cut-backs to the NFB's budget has resulted in the reduction of regular staff and the increased use of freelance personnel, the closure of film libraries, the selling of technical services, the channelling of resources into research for private industry, the closure of distribution offices, and an expensive and ineffective bureaucracy. Describes some positive results of the NFB's increased availability to the private sector : the production of Denys Arcand's Le Declin de I'empire americain (1986) and Jesus de Montreal (1989), and the implementation of the Alternative Drama program, which was responsible for the production of Giles Walker's 90 Days (1985) and John N. Smith's Sitting in Limbo (1986), Train of Dreams (1987), and Welcome to Canada (1989). 2509 National Film Board battling to survive Tory belttightening. Toronto Star (24 July 1989) A9. En. 2510 Studio D. Reel West 4 no 5 (August-September 1989) 32. En. 2511 Blais, Roger. Du National Film Board a 1'Office national du film. Sequences no 141-142 (septembre 1989) 13-22. 30 ill, fr. Historique de 1'Office national du film (ONF) du Canada depuis sa creation a Ottawa (Ontario) au debut de la Deuxieme Guerre mondiale jusqu'a son demenagement a Montreal (Quebec), en 1956, en passant par la reconnaissance d'une unite francophone en 1951. Roger Blais, qui participa a cette aventure des 1945, raconte comment John Grierson a joue un role cle pour la creation de 1'ONF et en quoi il influenza sa destinee. De plus, 1'auteur explique le role propagandiste de I'etablissement a travers quelques faits saillants de la periode de guerre. Avec le depart de Grierson apres la guerre, les commissaires se succedent et les tensions augmentent entre les francophones et les anglophones, meme si les talents affluent et que les creations sont de plus en plus originales. C'est avec la nomination de Guy Roberge a la tete de 1'ONF, en 1957, qu'on obtient un equilibre tant souhaite et que 1'equipe franchise en arrive a pouvoir travailler de facpn independante. 2512 Pratley, Gerald. The eyes of Canada: The National Film Board at fifty. Sight and Sound 58 no 4 (Fall 1989) 229233.13 ill, En. States that the 50th year of the National Film Board (NFB) of Canada is one of its most desperate, in that the NFB faces the threat of dissolution by a Conservative government determined to privatize as many crown corporations and government agencies as possible. Describes the proliferation of retrospectives, tributes, open houses, and parties, and the marked increase in celebratory media attention in honour of the NFB's 50th anniversary, and

Canada discusses some of the board's most noteworthy productions in the areas of animation, short subject, and feature filmmaking. Contends, however, that the NFB's recent emphasis on co-production with the private sector has resulted in an increase in commercial feature films in which the distinct identity of the NFB is effaced. Examines difficulties faced by the NFB with regard to reaching audiences, and cites the indifference of the Canadian Broadcasting Corporation (CBC) towards NFB productions as a chief cause of such problems. States that the NFB has made progress in the video market, noting that most of their films are now available on video cassette, and maintains that the NFB has made an overwhelming contribution to Canadian film culture. Reveals the views of veteran NFB filmmaker Colin Low regarding the board's archives and the recent development of Imax and Omnimax film technology. 2513 Bobet, Jacques. Avoir cinquante ans. Sequences no 141-142 (septembre 1989) 23-29.19 ill, fr. En pla^ant les industries culturelles sur le terrain du libreechange, 1'auteur, Jacques Bobet, demontre 1'importance de 1'Office national du film (ONF) du Canada. II temoigne de la notoriete mondiale de cet organisme et des lettres de noblesse acquises grace au documentaire. Apres avoir rappele la periode ou 1'ONF formait des cineastes « sur le tas », Bobet deplore le fait qu'il s'agisse aujourd'hui d'une institution repliee sur elle-meme. II conclut, apres un survol de 1'histoire canadienne marquee par un conflit continuel avec les Etats-Unis, que 1'industrie culturelle est la seule industrie fiable permettant le developpement d'une identite certaine. 2514 Bonneville, Leo. C'etait il y a cinquante ans... Sequences no 141-142 (septembre 1989) 3. fr. Cet editorial parle de 1'importance de 1'Office national du film (ONF) du Canada au Canada et dans le monde entier, malgre la diminution de 1'aide apportee par le gouvernement canadien. L'auteur profite du cinquantieme anniversaire de 1'ONF pour en faire 1'eloge tout en souhaitant que cette institution subisse une cure de rajeunissement.

223

Article sur le cinquantieme anniversaire de 1'Office national du film (ONF) du Canada, fete en 1989. En tra^ant 1'histoire de 1'ONF, 1'auteur conclut que 1'oeuvre magistrale de 1'ONF doit etre continuee par une nouvelle generation de jeunes cineastes et documentaristes. 2522 Forget to head French program at NFB. Cinema Canada no 168 (November 1989) 15. En. Robert Forget, head of the French animation studio at the National Film Board (NFB) of Canada, has been appointed head of French language programming at the NFB. 2523 Joan Pennefather chairperson of the NFB. Cinema Canada no 168 (November 1989) 5.1 ill, En. Joan Pennefather has been confirmed in the position of government film commissioner and chair of the National Film Board (NFB) of Canada after holding the position on an interim basis. 2524 So this is how taxpayers' money is spent. Winnipeg Free Press (9 November 1989) 7. En. 2525 Cinematic search poses telling problems for weary programmer. Globe and Mail (15 November 1989) C9. En. 2526 "My ambition is to get NFB into next century" : Joan Pennefather faces tough job in an age when new technology is changing way films are made. Montreal Gazette (18 November 1989) HI. ill, En. 2527 NFB films raise questions concerning "distinct culture." Globe and Mail (24 November 1989) C6. En. 2528 NFB makes sound tech breakthroughs. Reel West 5 no 1 (December 1989-January 1990) 24-25. En. 2529 Criticisms of NFB branded too harsh, and too soft. Montreal Gazette (16 December 1989) E17. En.

2515 NFB film honors fieldman's work. Calgary Herald (15 September 1989) C6. En.

Telefilm Canada / Telefilm Canada

2516 Pennefather gets top job at film board. Montreal Gazette (16 September 1989) AID. En. 2517 Masse names Pennefather as new NFB boss. Vancouver Sun (16 September 1989) H12. ill, En.

2530 Telefilm Canada to promote. Cinema Canada no 104 (February 1984) 21. En. Discusses the imminent official announcement regarding Telefilm Canada's structure and goals, with parallels drawn between it and the short-lived Film Canada.

2518 Former NFB fieldman surprised to see himself featured on big screen. Montreal Gazette (16 September 1989) H8. ill, En.

2531 Greenberg, James. Telefilm Canada's Larny sees record production for '83-'84. Variety 314 (14 March 1984) 5 (2). En.

2519 NFB to centralize Toronto operations. Globe and Mail (26 September 1989) A22. En.

2532 Neault, Jean-Charles. Le cinema canadien fait la cour aux producteurs d'Hollywood. L'Actualite 9 no 4 (avril 1984) 144.1 ill, fr. Article sur Roland Ladouceur, directeur executif du Film Canada Center, une agence de promotion de films et de lieux de tournages canadiens. L'article nous informe que le Quebec, malheureusement, n'est pas adequatement represente par Film Canada Center malgre les intentions de Roland Ladouceur de promouvoir cette province.

2520 Masse picks Pennefather for NFB. Reel West 4 no 6 (October-November 1989) 30. En. 2521 Gauthier, Guy. L'Office national du film du Canada a cinquante ans. La Revue du cinema no 453 (octobre 1989) 6368. 6 ill, fr.

224

Film and Government / Cinema et gouvernement

2533 Telefilm explains policies. Cinema Canada no 106 (April 1984) 24. En. Telefilm Canada's executive director Andre Lamy and several staff members explain its policies regarding the Broadcast Program Development Fund in a meeting with independent producers 19 February 1984 in Vancouver, British Columbia. At the American Film Market in Los Angeles, California, 8-16 March, members of Telefilm Canada talked with American producers about the new fund, stressing that American interests would have to work with Canadians to benefit from the policy. Telefilm Canada employee Claude Daigneault notes that Canada will no longer act simply as a tax shelter for all-American productions, as in the past. European interests have also been informed. 2534 Producers must listen to broadcasters in planning productions. Cinema Canada no 107 (May 1984) 36. En. In a statement to the Canadian Film and Television Association, Peter Pearson, administrator of Telefilm Canada's Broadcast Progam Development Fund, warned independent producers that the fund's basis was in broadcast productions and not feature films. Producers wanting to benefit from the fund would have to listen to broadcasters' needs. He also warned that the fund would not invest in any subject it finds disagreeable. Telefilm Canada will also allocate money to broadcasters on a matching basis for the development of quality scripts. 2535 Telefilm Canada's rules spelled out, what and who qualify for government funds. Variety 315 (9 May 1984) 489. ill, En. 2536 Vitols, Paul. Western Vistas: Telefilm Canada as seen from the West. Cinema Canada no 108 (June 1984) 30. En. An interview with Donna Wong-Juliani, an officer for Telefilm Canada. Wong-Juliani states that Telefilm Canada accepts applications which have strong financial backing. This often depends on a producer's ability to attract investors and pre-sales. Explains that western producers have difficulties securing Telefilm Canada's support because eastern producers often resist involvement with experienced Eastern executive producers for fear of losing control of a project. 2537 Perreault, Luc. Telefilm devient-il un monstre?: Andre Lamy et Telefilm Canada. La Presse (7 juillet 1984) B18. ill, fr. 2538 Telefilm tallies up. Vancouver Sun (24 August 1984) D8. En. 2539 Telefilm releases projected Fund figures. Cinema Canada no 110 (September 1984) 44-45. En. Summarizes the recently released Telefilm Canada document entitled "Status of Applications," which provides funding figures on projects involved in the Broadcast Program Development Fund from 1 July 1983 through 30 June 1984. 2540 Telefilm releases projects. Cinema Canada no 111 (October 1984) 53-55. En.

Lists projects that have been accepted and contracted through Telefilm Canada's Broadcast Program Development Fund during its first year, from 1 July 1983 to 29 June 1984. Includes film titles, production company, producer, length, format, and category. 2541 Telefilm Canada Halifax-bound. Halifax Herald (19 October 1984) E4. En.

Chronicle-

2542 Niven heads Telefilm in Halifax. Halifax ChronicleHerald (23 October 1984) El. ill, En. 2543 At Telefilm "name of the game is a good project." Halifax Chronicle-Herald (24 October 1984) E3. En. 2544 Take back-seat, encourage investors, say producers to Telefilm. Cinema Canada no 112 (November 1984) 32. En. An overview of the advice given to Telefilm Canada by board members of the Canadian Association of Motion Picture Producers and the Canadian Film and Television Association at a meeting of the two associations in late September 1984. The advice was designed to help stimulate private investment in the film and video sector. 2545 Greenberg foresees access to fund for Pay-TV production. Cinema Canada no 112 (November 1984) 35. En. According to Harold Greenberg, president of the executive committee of First Choice Superchannel and president and chief executive officer of Astral Bellevue Pathe, the Telefilm Canada's Broadcast Program Development Fund will soon be available to Pay-TV networks. Greenberg comments on Canadian content regulations and film financing. 2546 Telefilm Canada takes a booster role : Seeks biggest bang for buck. Variety 317 (21 November 1984) 93 (2). En. 2547 Telefilm opens Halifax office. Cinema Canada no 113 (December 1984) 38. En. Telefilm Canada has opened a Halifax, Nova Scotia, office to service the Atlantic region. 2548 Telefilm takes stock of French-track market, distribution, FIRA. Cinema Canada no 113 (December 1984) 44-45. En. Three hundred film industry members met on 15 November 1984 to analyse Telefilm Canada's performance, and to meet with the new minister of Communications, Marcel Masse. The agenda included the particularities of the French language market, the importance of the Canadian distribution sector and the decision of the Foreign Investment Review Agency to allow Lorimar and Orion into Canada. 2549 Film/Video budget form ready. Cinema Canada no 113 (December 1984) 45. En. Telefilm Canada has created a standardized budget form for producers that should allow for the gathering of more reliable production statistics. 2550 Telefilm returns for first 14 months. Cinema Canada no 113 (December 1984) 53. En.

Canada

225

Notes the disbursements and returns made on Telefilm Canada's Broadcast Program Development Fund during the first 14 months of operation.

with filmmakers and discuss Telefilm Canada's policies and access its Broadcast Program Development Fund. Picard comments on prospects for Atlantic productions.

2551 Telefilm Canada / Telefilm Canada. Telefilm Canada Investments in the Production of Films and Television Programs / Investissements de Telefilm Canada dans la production de films et d'emissions de television. 1985 / 1986-. Annual. Former title: Telefilm Canada. Annual Report / Telefilm Canada. Rapport annuel, 1983 / 19841984 / 1985. Montreal, Quebec : Telefilm Canada / Telefilm Canada, 1985 / 1986-. ill, En, fr. Tables demonstrate the investments of Telefilm Canada in productions through the Broadcast Program Development Fund, the Feature Film Fund, and other projects, for the fiscal year running from 1 April to 31 March 31. English and French films are divided by the project categories drama, variety, children, documentary and others, and are listed by title, production company, director, and investment. An annual review of major events in production, distribution, and exhibition, explanations of modifications to the jurisdiction of funds and changes in funding structure, and a listing of films recognized with achievements of excellence precedes definitions of the financing programs, and total expenditures and revenues for that fiscal year Dans ces dossiers, on dresse la liste des differents montants investis par Telefilm Canada dans la production de films et d'emissions de television pendant les exercices financiers du ler avril au 31 mars. Ces fonds proviennent de differents programmes de subventions dont le Fonds de developpement d'emissions de television et le Fonds de financement de longs metrages. Les productions anglaises et franchises sont divisees en deux sections ainsi qu'en differentes categories : les emissions dramatiques, les emissions de varietes, les emissions pour enfants, les emissions documentaires et la categorie Autres. On y donne la liste des titres, des maisons de production, des realisateurs et des montants investis par Telefilm Canada pour chacun des projets. Les auteurs font un survol des principaux evenements de 1'annee dans le domaine de la production, de la distribution et de 1'exploitation. Us expliquent les differentes modifications survenues a la jurisprudence touchant la structure des organismes bailleurs de fonds et les lois qui s'y appliquent. Et enfin, on dresse une liste des films reconnus comme des modeles d'excellence selon des criteres bases sur leur programme de financement, le cout total de leurs depenses et leur revenu annuel pour 1'annee fiscale.

2554 Distribution mandate renovated. Cinema Canada no 114 (January 1985) 42. En. Andre Lamy of Telefilm Canada addresses the subject of distribution and the implications it has for his department.

2552 Desjardins, Claude ; Saby, Estelle. Pour Andre Lamy et Telefilm Canada, la rentabilite d'abord et avant tout. Qui fait quoi? no 12 (Janvier 1985) 18-20.1 ill, fr. Entretien avec le president-directeur general de Telefilm Canada, Andre Lamy, qui aborde la question de la coproduction, de la rentabilite economique et culturelle a Montreal (Quebec). 2553 Telefilm tours Atlantic region to get acquainted. Cinema Canada no 114 (January 1985) 30. En. Notes that Bill Niven, director of Telefilm Canada's new Maritime bureau, and Andre Picard, head of Telefilm Canada production in Montreal, Quebec, toured the Atlantic Canada region from 12-15 December 1984 to meet

2555 Telefilm annual report available. Cinema Canada no 114 (January 1985) 42. En. Announces that the first annual report from Telefilm Canada for the year ending 31 March 1984 has been released. Quotes figures from the report. 2556 It's on with the show at Telefilm Canada. Halifax Chronicle-Herald (22 January 1985) E2. ill, En. 2557 Telefilm Canada launches policy of backing promo campaigns from indie distributors, agents. Variety 317 (23 January 1985) 47 (2). En. 2558 MAP: The Marketing Assistance Program. Cinema Canada no 115 (February 1985) 34, 39. En. Examines the Marketing Assistance Program, a new initiative announced by Telefilm Canada. Cites the five objectives of the program and describes its strategy of paying one-half of the film exporters' costs at foreign markets. 2559 Masse's Telefilm decision expected middle of March. Cinema Canada no 116 (March 1985) 39. En. Notes the concerns raised in the Canadian film community regarding the delay in minister of Communications Marcel Masse's announcement of changes to Telefilm Canada's Broadcast Program Development Fund policies. 2560 Masse blitzes Paris, Telefilm opens shop. Cinema Canada no 116 (March 1985) 53. En. Notes that while on an official visit to Paris, France, federal minister of Communications Marcel Masse announced the opening of a Telefilm Canada office in the French capital. Telefilm Canada's Paris office will be headed by Roland Ladouceur. 2561 Durie to Telefilm. Cinema Canada no 116 (March 1985) 59. En. Announces that John Durie has been appointed director of Telefilm Canada's London, England office. 2562 LA office of Telefilm Canada: Hollywood "matchmaker." Montreal Gazette (2 March 1985) E5. En. 2563 Masse announces new Telefilm terms. Globe and Mail (16 March 1985) E7. En. 2564 Juneau explains Telefilm numbers. Globe and Mail (20 March 1985) 15. En. 2565 Telefilm deal called good for the CBC and private TV. Globe and Mail (26 March 1985) 7. En.

226

Film and Government / Cinema et gouvernement

2566 Bonneville, Leo. Andre Larny, directeur-general de Telefilm Canada. Sequences no 120 (avril 1985) 20-25.1 ill, fr. Entrevue avec Andre Lamy, president-directeur general de Telefilm Canada, qui a pour mandat d'aider le secteur prive de la production de films et de proposer a 1'industrie privee un mode de financement pour la production et la distribution d'emissions de television. II discute des criteres d'admissibilite, des budgets alloues, des conditions et des problemes de la coproduction en mettant en relief les marches nationaux et internationaux. Enfin, il parle des projets d'avenir de Telefilm Canada. 2567 Changes bolster Canadian content. Cinema Canada no 117 (April 1985) 26. En. On 15 March 1985 the minister of Communications, Marcel Masse announced changes to Telefilm Canada's Broadcast Program Development Fund which are expected to stimulate an increase in Canadian content. Highlights proposals. 2568 Raport and MAP get high marks as Telefilm goes to market abroad. Cinema Canada no 117 (April 1985) 41. En. Film distributors reveal the success of Telefilm Canada's Marketing Assistance Program (MAP) at the television market in Monte Carlo, Monaco, under coordinator Margo Raport. Through MAP, Telefilm Canada contributes to distributor's advertising costs at international markets. 2569 Czarnecki, Mark. Mixed reviews for Masse. Maclean's 98 no 13 (1 April 1985) 59.1 ill, En. Notes that the minister of Communications Marcel Masse revised Telefilm Canada's Broadcast Program Development Fund after public protests by Canadian artists. Newly released money will encourage more independent and regional productions, though the film industry is not satisfied with what they believe is only a partial solution to funding problems. 2570 Telefilm Canada's boss gets the ax from new regime. Variety 318 (24 April 1985) 1 (2). En. 2571 Disruption feared as Telefilm changes bosses. Cinema Canada no 118 (May 1985) 32,49. En. The resignations of Andre Lamy's, as executive director of Telefilm Canada and Peter Pearson as director of the Broadcast Program Development Fund is creating apprehension in the film industry, wondering who will be appointed to fill the positions and whether the smoothly operating new initiatives of Telefilm Canada will be disrupted. Minister of Communications Marcel Masse explains the reason for the changes. 2572 New TF policies reduce cash from CBC. Cinema Canada no 118 (May 1985) 39. En. At a meeting held in Toronto, Ontario, on 10 April 1985 private producers expressed their dissatisfaction with Telefilm Canada's new licencing arrangements, in which an additional Telefilm Canada contribution of 16 per cent in investment loans or loan guarantees is outweighed by a 16 per cent reduction in licence fees paid by the Canadian Broadcasting Corporation (CBC). Includes a response

from producer Bill McAdam, of Norfolk Productions and Peter Mortimer, executive director of the Association of Canadian Film and Television Producers. 2573 Special measures for West from Telefilm. Cinema Canada no 118 (May 1985) 49. En. Telefilm Canada is attempting to bolster the film industries in the Western provinces and Atlantic Canada with a special $2 million fund. Lists recent recipients of development funds for projects and scripts in Western Canada. 2574 Telefilm's Pearson resigns. Halifax Chronicle-Herald (3 May 1985) El. En. 2575 Allison, Kathryn. Telefilm's Broadcast Fund : A view from a number of angles... and production continues. Reel West 1 no 2 (June-July 1985) 3. En. 2576 CFTA fields Telefilm candidates. Cinema Canada no 119 (June 1985) 31. En. The Canadian Film and Television Association (CFTA) has sent the minister of Communications a list of candidates it would like to see considered as the new executive director of Telefilm Canada. Lists the CFTA's profile of an ideal candidate and notes some concern that the change in Telefilm's administration will affect current productions. 2577 Telefilm doubles Western monies. Cinema Canada no 119 (June 1985) 39. En. Telefilm Canada doubled its contribution to western film and television production in 1984. Mentions some of the 16 films produced with the $3 million invested by Telefilm Canada. 2578 Film Commissioners gather in Chicago. Cinema Canada no 119 (June 1985) 45. En. Notes the participation of Telefilm Canada and film officials from various Canadian governments at the annual meeting of the Association of Film Commissioners in Chicago, Illinois. 2579 Reactions to appointment. Cinema Canada no 120-121 (July-August 1985) 43, 51. En. States that the reaction of the Canadian film industry to the appointment of Peter Pearson as executive director of Telefilm Canada has been generally positive. 2580 Gilbertson, Rona. Vancouver Vistas. Cinema Canada no 120-121 (July-August 1985) 48-49. En. Provides news of current film related events in British Columbia, focussing on a meeting between Los Angeles, California based Telefilm Canada representatives Lorraine B. Good and Sam Wendel, and various independent producers, writers, and organizational bodies representing the Canadian film industry. The discussion addressed the role of Good and Wendel as information gatherers and liaisons for Canadian filmmakers. 2581 Fund depleted for English production. Cinema Canada no 120-121 (July-August 1985) 63. En. Notes that Telefilm Canada's Broadcast Program Devel-

Canada opment Fund has already committed all of its English language production funds, even though it is only three months into its current fiscal year. 2582 Telefilm ventures hit $140m. Globe and Mail (16 August 1985) E8. En. 2583 Promises outstripped funds, angry filmmakers charge. Globe and Mail (31 August 1985) 5. En. 2584 Film industry's boom bogs down: As Telefilm funds dry up, another bust looms large. Globe and Mail (31 August 1985) E3. ill, En. 2585 TF revamps procedures for Broadcast Fund use. Cinema Canada no 122 (September 1985) 38. En. Telefilm Canada has developed new procedures for allocating its Broadcast Program Development Fund in order to avoid repeating their present funding crisis where all monies have been allocated in the first quarter of the fiscal year. 2586 TF hires lobbyist Marshall. Cinema Canada no 122 (September 1985) 67. En. Telefilm Canada has hired Toronto, Ontario, producer Bill (William) Marshall as a consultant. Marshall's role will be to make members of Parliament, cabinet ministers and senior civil servants more aware of Canadian film production and its successes. Includes a brief outline of Marshall's background in the film industry.

227

2593 Telefilm Canada makes impact on East Coast. Halifax Chronicle-Herald (11 October 1985) E4. En. 2594 Slopen, Beverley. Telefilm flush, while books take a back seat. Quill and Quire 51 no 11 (November 1985) 20. En. Reports from the Trade Forum, held in conjunction with the Festival of Festivals in Toronto, Ontario, in September 1985. Argues that audience members from the publishing industry in Canada would have been frustrated by the pomposity of film producers. Explains the lag in Canadian film production after the collapse of the tax shelter legislation, and outlines the subsequent creation of Telefilm Canada and their Broadcast Program Development Fund. Claims that politicians do not find publishing as enchanting as film. States how frustrating it is for publishers to watch film producers spend public money while they often renege on contractual obligations with authors. 2595 TF shakeup due soon. Cinema Canada no 124 (November 1985) 51. En. Reports on the staff changes at the Telefilm Canada office in Montreal, Quebec. 2596 Adilman, Sid. Canada aims to scalp U.S. pic biz: Local control, Feature Film Fund loom. Variety 321 (27 November 1985) 1 (2). En. 2597 Broadcast Fund seeks more juice from TV: Puts squeeze on licensing fees. Variety 321 (27 November 1985) 75 (2). ill, En.

2587 Telefilm's shortfall upsets producers. Winnipeg Free Press (1 September 1985) 15. En.

2598 Telefilm in the East. Broadcaster 44 no 12 (December 1985) 17, 20. En.

2588 Telefilm incompetent, producers charge. Globe and Mail (6 September 1985) E3. En.

2599 Exports now on world MAP. Cinema Canada no 125 (December 1985) 39. En. Telefilm Canada had a succesful year with respect to exports of Canadian television and film products to international markets. Highlights the role of the film development agency's Marketing Assistance Program.

2589 Two-year report on Broadcast Fund positive. Cinema Canada no 123 (October 1985) 53. En. Telefilm Canada has released a statistical report demonstrating the effectiveness of its Broadcast Program Development Fund. The fund has provided over $43 million to 99 different film projects in 1984-85. 2590 QC reaction to initiatives. Cinema Canada no 123 (October 1985) 55. En. Quebec based distributors have reacted positively to Telefilm Canada's revised policy on film distribution. 2591 Telefilm revamps policies about domestic distribution and export. Cinema Canada no 123 (October 1985) 57. En. Telefilm Canada has responded to pressure from independent distributors to include television programs and video productions as eligible for funding programs. 2592 New financial analyst at Telefilm. Cinema Canada no 123 (October 1985) 66. En. Announces the appointment of Francine Forest as financial analyst at Telefilm Canada. Forest will be responsible for film proposals submitted to the Montreal, Quebec, and Halifax, Nova Scotia, offices.

2600 Telefilm trumpets Canadian film, TV successes. Winnipeg Free Press (6 December 1985) 35. En. 2601 Telefilm boasts of Canadian success. Globe and Mail (7 December 1985) F9. En. 2602 Telefilm mobilizes industry response. Cinema Canada no 127 (February 1986) 29. En. Reports on the Conference for the Future of the Canadian Film Industry organized by Telefilm Canada and held in Montebello, Quebec, in an effort to produce a common front of support for the Film Industry Task Force report and the recent policies of Telefilm Canada. 2603 Nichols, Bill; Marion, Joanne; Lachance, Francois. The Telefilm we need: Peter Pearson, prophet of profit. Cinema Canada no 127 (February 1986) 7-9.1 ill, En. Examines the role of Peter Pearson, Telefilm Canada's executive director, in the development of the Canadian film industry. Outlines the mandate of Telefilm Canada, arguing that this institution, among others, is largely

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responsible for establishing the norms and conditions that will define mainstream commercial Canadian cinema. Examines in detail, Pearson's interpretation of the Telefilm Canada mandate, and concludes that Pearson's vision of Canadian cinema is distinctly entrepreneurial and commercial. Includes a summary of a rejoinder from Pearson, who claims to have been misinterpreted. 2604 MAP marks first year with good sales. Cinema Canada no 128 (March 1986) 32. En. Discusses the success of the Marketing Assistance Program in helping Canadian producers both sell and syndicate their projects. 2605 Telefilm reorganizes into entertainment and corporate. Cinema Canada no 128 (March 1986) 32. En. Discusses the reorganization of Telefilm Canada into an entertainment business division and a corporate affairs division. 2606 Adilman, Sid. Canadian government sets $C33-mil or pics with home-owned distrib. Variety 322 (5 March 1986) 4 (2). En. 2607 Weatherbe, Stephen. Quick fix for the stix flix: A Western protest diverts film funds outward. Alberta Report 13 (17 March 1986) 46. ill, En. 2608 Green, Eric. Government funding agencies and the private sector: Part one ; Telefilm Canada and the West. Reel West I no 6 (April-May 1986) 20-22. En. 2609 Telefilm update. Reel West 1 no 6 (April-May 1986) 6. 1 ill, En. 2610 Adilman, Sid. Canadian indie prod, cost zooming; broadcast fund voices concern. Variety 322 (23 April 1986) 209 (2). ill, En. 2611 Cultural program reductions to come into effect next year. Globe and Mail (29 April 1986) All. En. 2612 An American offer. Maclean's 99 no 18 (5 May 1986) 69. En. Discusses the criticism directed at Telefilm Canada for allowing the Toronto-based company Spectrafilm to sell North American video cassette distribution rights for Sandy Wilson's My American Cousin (1985) to an American video distributor. 2613 Adilman, Sid. Canada takes 2d crack at pic funding: New rules due for unveiling. Variety 323 (7 May 1986) 447 (2). ill, En. 2614 TF Feature Fund still has hurdles to jump in Ottawa. Cinema Canada no 131 (June 1986) 41. En. Reports on the lack of guidelines Telefilm Canada has in distributing the $33 million Feature Film Fund. 2615 Telefilm reinstates administration fee. Cinema Canada no 131 (June 1986) 42. En. Reports on the mixed reaction from industry associations

on the reinstatement by Telefilm Canada of a 2.5 per cent administrative fees on its financial transactions. 2616 MacDonald details film fund terms to film producers. Media Magazine 5 no 7 (July-August 1986) 16. En. 2617 $165m fund aims to boost Canadian films. Winnipeg Free Press (18 July 1986) 29. En. 2618 Dussault, Serge. Ottawa consacre $ 165 millions au cinema canadien. La Presse (18 juillet 1986) Al. fr. 2619 Canadian film-makers to get Ottawa millions. Montreal Gazette (18 July 1986) Cl. En. 2620 Movie fund could start 150 new features rolling. Toronto Star (18 July 1986) D20. En. 2621 Feature Film Fund seen as boost to industry. Calgary Herald (18 July 1986) F6. En. 2622 Policies on the management of the Feature Film Fund. Reel West 2 no 2 (August-September 1986) 32-33. En. 2623 Telefilm Canada subventionnera 13 Festivals : en 1986-1987. La Presse (3 aout 1986) A58. fr. 2624 Distributors crucial for Feature Fund. Cinema Canada no 133 (September 1986) 49. En. Mentions the announcement of the federal government's Feature Film Fund and explains its financial aspects and eligibility criteria, including the necessity of filmmakers to acquire a guarantee of distribution in Canada. 2625 Telefilm gears up for fund functions. Cinema Canada no 133 (September 1986) 51. En. Mentions bureaucratic changes within Telefilm Canada and its administration of the Feature Film Fund. 2626 TF cheer. Cinema Canada no 134 (October 1986) 52. En. Mentions the release of Telefilm Canada's annual report for 1985-86, focussing on the Broadcast Program Development Fund, the Marketing Assistance Program and the newly instituted Feature Film Fund. 2627 Telefilm orders evaluation. Cinema Canada no 134 (October 1986) 54-55. En. Mentions the awarding of contracts to two management consulting firms to study the economic performance of Telefilm Canada's Broadcast Program Development Fund. 2628 Bergman, Michael. Legal Eye. Cinema Canada no 134 (October 1986) 64-65. En. Critique of Telefilm Canada's newly implemented Feature Film Fund, designed to increase Canadian productivity of feature films and Canadian control over film distribution. A brief precis outlines how the fund can be accessed and how this will encourage viewing the fund as a first and principal source of financing, rather than considering private investors primarily. Concludes that the fund does not address the problem of how to encourage private investment in the film industry.

Canada

229

2629 Telefilm Canada wants to reel in more features. Halifax Chronicle-Herald (20 October 1986) E2. ill, En.

Govt.: Production loss $C75-mil. Variety 325 (14 January 1987) 11 (2). En.

2630 Telefilm funding 16 percent from B.C.: But only two percent returns to province. Reel West 2 no 3 (November-December 1986) 10. En.

2644 Linnell set for TC London. Reel West 2 no 4 (February-March 1987) 20. En.

2631 Broadcast Fund report coming. Reel West 2 no 3 (November-December 1986) 42. En. 2632 Telefilm grants to festivals. Reel West 2 no 3 (November-December 1986) 47. En. 2633 Telefilm gets new chairman. Reel West 2 no 3 (November-December 1986) 6. En. 2634 Departures afflict Telefilm. Cinema Canada News Update no 1 (10 November 1986) 5. En. Four top level executives are resigning from Telefilm Canada's Canadian offices to join the private sector industry. No reasons have been given for the departures although it is implied that the appointment of Jean Sirios as the new president of Telefilm, and other politics may be involved. 2635 Telefilm hopes to fill seats with Canadian-made films. Montreal Gazette (21 November 1986) Dl. En. 2636 Telefilm chief seeks success at home. Calgary Herald (21 November 1986) F10. En. 2637 Adilman, Sid. Canada deals producers lavish hand : Aid to indies "tops" in world. Variety 325 (26 November 1986) 43 (2). En. 2638 Borger, Lenny. Coproductions with France in jump. Variety 325 (26 November 1986) 44. ill, En. 2639 Broadcast Fund to open to Pay-TV Licensed Programs. Cinema Canada no 136 (December 1986) 34-35. En. Mentions the federal government's intention to widen access to the Broadcast Program Development Fund to include productions intended for Pay-TV telecast.

2645 Sirois tries to explain fee increase. Reel West 2 no 4 (February-March 1987) 22. En. 2646 Telefilm may lose $17 million. Cinema Canada no 138 (February 1987) 33,44. En. Reports that Telefilm Canada will have $16.9 million in unspent funds by the end of the 1986-1987 fiscal year, noting that the agency may have to return this money to the government coffers. Looks at both the current organizational structure of Telefilm Canada and the process by which it selects the productions it will support. 2647 More money recommended for TF. Cinema Canada no 138 (February 1987) 34. En. Reports on a new survey, that proclaims the private sector is very satisfied with the functioning of Telefilm Canada and recommends that additional funds be given to the agency's Broadcast Program Development Fund, commissioned by Telefilm Canada and conducted by the DPA Group of Ottawa, Ontario. Notes that the survey also indicated that Telefilm Canada has a regional bias towards central Canada and notes the approximate length of time that it takes to process applications sent to the agency. 2648 Pearson plays active role in dealing. Reel West 2 no 4 (February-March 1987) 43. En. 2649 Pilon on board at Telefilm Canada. Cinema Canada no 138 (February 1987) 44. En. Reports that Lawrence Pilon joined Telefilm Canada on 12 January 1987 as the executive in charge of the agency's financial and legal affairs. 2650 Telefilm to subsidize more than $300m worth of production. Mediascene 6 no 2 (February 1987) 6. ill, En.

2640 Hollinger, Hy. Telefilm Fund ready to make "movies," not "films," sez Pearson. Variety 325 (3 December 1986) 3 (2). En.

2651 Adilman, Sid. Telefilm Canada fund confronts forces which are threatening to block indie producers' future. Variety 326 (15 April 1987) 182. En.

2641 Telefilm nominations. Cinema Canada News Update no 2 (9 December 1986) 2. En. Telefilm Canada is expanding its executive staff with the hiring of Denise Melillo as head of communications and Deborah Bernstein as manager of operations for the Toronto, Ontario, office. Provides career backgrounds.

2652 Sterloff says Telefilm Canada always follows market on deals. Reel West 2 no 5 (May-June 1987) 11-12,41.1 ill, En.

2642 Frittaion to TF. Cinema Canada no 137 Qanuary 1987) 44. En. Announces that Julia Frittaion has been hired by Telefilm Canada as the marketing officer in the international marketing sector, noting that her appointment becomes effective on 17 December 1986. 2643 Adilman, Sid. Telefilm Canada faces cutback by

2653 Pickets for Telefilm. Cinema Canada News Update no 5 (1 June 1987) 3. En. Independent filmmakers held a nation-wide demonstration on 28 May 1987 to protest Telefilm Canada's lack of support for filmmakers not aligned with a major production company. The protest was organized by the Independent Film and Video Alliance and the Association des realisateurs et realisatrices de films du Quebec. 2654 Communique ARRFQ. Cinema Canada no 5 (1 June 1987) 3. En.

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Reprints a communique from the Association des realisateurs et realisatrices de films du Quebec strongly criticizing Telefilm Canada's policies, which are destroying the young Canadian film industry by supporting the brokerage houses and lawyers instead of young creators. 2655 Communique Film Alliance. Cinema Canada News Update no 5 (1 June 1987) 3. En. Independent film and video makers are outraged at Telefilm Canada's lack of support for noncorporate, individually produced works. Following Telefilm's returning of $17.4 million to the federal treasury, letters of complaint have been sent to government officials and a nation-wide public protest has been organized. Lists the predominant issues of the demonstration. 2656 Committee hearing: Telefilm in entertainment industry. Cinema Canada News Update no 5 (1 June 1987) 6. En. Telefilm Canada addressed the a government committee on culture and communications on 5 May 1987 to answer questions from government members concerning their lack of support for independent young filmmakers, regional and women's productions, and markets for Canadian productions. 2657 Jean Sirois before the Standing Committee : TFC: Progress in production, need for private investors. Cinema Canada News Update no 5 (1 June 1987) 7. En. A reprint of the statement made by Telefilm Canada's chair of the board, Jean Sirois points out the contribution Telefilm has made to Canadian productions and viewing over the three years of the Broadcast Program Development Fund and in the past year with the Feature Film Fund. He comments on the complex environment in which Telefilm must operate and calls for increased flexibility in handling its funds. 2658 2nd deputy at Telefilm. Cinema Canada no 143 (JulyAugust 1987) 34. En. Announces that Louise Beaudoin has been appointed deputy director of Telefilm Canada. 2659 Broadcast Fund monies go public. Cinema Canada no 143 July-August 1987) 35. En. Lists productions which have received funds from Telefilm Canada's Broadcast Program Development Fund. 2660 Paquin, Jean. Coopers and Lybrand Management Review. Cinema Canada no 144 (September 1987) 26-31. En. A first draft publication of the Coopers and Lybrand Management Review, an independent assessment of the management structure of Telefilm Canada. The report, critical of Telefilm Canada's executive and administrative structure, recommends such managerial strategies for the crown corporation as the reduction of an overly bureaucratic process of decision making, the implementation of provisions which would increase the creative and financial input from independent producers, and the creation of stronger accountabilities for senior managers. 2661 Amiel, Barbara. High drama in the world of film. Maclean's 100 no 37 (14 September 1987) 7.1 ill, En.

2662 Telefilm Canada news. Reel West 3 no 1 (OctoberNovember 1987) 5. En. 2663 Telefilm releases figures. Cinema Canada no 145 (October 1987) 51,53. En. Notes the release of Telefilm Canada's annual report and financial statements for the fiscal year 1986-87. Gives a breakdown of Telefilm Canada's investments and notes that the returns on all investments are slim. Looks at the administration of the Feature Film Fund and the Broadcast Program Development Fund. 2664 Shortell, Ann. High drama behind the screen. Maclean's 100 no 43 (26 October 1987) 50, 52. 2 ill, En. Records a crisis at Telefilm Canada, in which it has run out of funds halfway into its fiscal year and Peter Pearson has resigned as executive director. Controversy surrounding Telefilm Canada's decision to use its financial power to shape the projects it funds, particularly by promoting Canadian content more aggressively, is discussed, taking into account opposition from producers and broadcasters. Charges of bureaucratic inefficiency and overspending on French language productions are investigated, along with Telefilm's role in the federal government's unclear postion on filmmaking, particularly in light of opposition by the American entertainment industry to the Canadian Department of Communications policy. 2665 Adilman, Sid. Telefilm Canada exceeds budget, putting 41 projects in question. Variety 329 (28 October 1987) 3 (2). En. 2666 Is Telefilm crisis a teapot tempest? Mediascene 6 no 11 (November 1987) 1-2. En. 2667 Alberta may top up film fund by $15m. Mediascene 6 no 11 (November 1987) 1-2. En. 2668 Telefilm monitored "intensely." Cinema Canada no 146 (November 1987) 29-30. En. Discusses the financial situation within Telefilm Canada that ultimately led to the resignation of executive director Peter Pearson. Looks at the check on Telefilm Canada's finances that led to a conflict between Pearson and the board of directors, particularly chair Jean Sirois. 2669 Middle-level staff loses four more. Cinema Canada no 146 (November 1987) 30. En. Notes the resignations of four staff members of Telefilm Canada. 2670 Lerch, Renate. Money woes thicken Telefilm plot. Financial Post 81 no 44 (2 November 1987) 8. En. 2671 Vallieres, Martin. Telefilm secoue des producteurs inquietes par la reforme. Les Affaires 59 no 44 (7 novembre 1987) 12-13. fr. 2672 Adilman, Sid. Fund snafu snarls Canadian lensing: 41 projects are adrift in limbo. Variety 329 (25 November 1987) 43 (2). En.

Canada 2673 Picard, Andre; Beath, Linda ; Forest, Francine; Dazzouzes, Martine; Scardocchio, Lisa; Bennie, Dorothy; Allaire, Francine; Court, Neil; Beriault, Gilles; Watt, Judy. Trouble at Telefilm. Cinema Canada no 147 (December 1987) 12-16. En. An overview of the ad hoc Committee report outlining problems at Telefilm Canada and their consequences, which was prepared by Telefilm Canada staff members. The report addresses the problems with Telefilm's decision making authority, operations and business affairs, misinformation, recruitment and training procedures, decision making mechanisms, monitoring of projects, communications systems, working conditions, support for projects, political pressure and favouritism, and the number of non-evaluation oriented duties. Includes an addendum that statistically outlines Telefilm Canada's unaudited forecast for the corporation's cash situation for the year ending 31 March 1988. 2674 Tadros, Connie. Sirois speaks. Cinema Canada no 147 (December 1987) 13-15. En. An interview with Jean Sirois, chair of the board of Telefilm Canada, in which Sirois addresses the discrepancy between Telefilm Canada's signed and approved $65 million commitment to projects, and the $163 million in total commitments announced at a Telefilm Canada press conference held 26 October 1987. Sirois also addresses allegations that this discrepancy may be the result of Telefilm Canada's faulty application process, the failure of the board of directors to monitor all Telefilm Canada decisions, the result of which is verbal overcommitment of funds, and the uncertainty as to the amount of control Telefilm Canada's board of directors may exercise over its executive. 2675 Budget fiasco or betrayal of Western Canada? Reel West 3 no 2 (December 1987-January 1988) 34. En. 2676 TFC figures elude committee. Cinema Canada no 147 (December 1987) 37-38. En. Discusses the statement made by officials of Telefilm Canada on 26 October 1987 that the agency had severely overcommitted its support for film and television producers, noting that this announcement was contradictory to the one made by the interim director of Telefilm Canada Judith McCann to member of Parliament Sheila Finestone on 20 October 1987. Notes that Jim Edwards, chair of a committee on communications and culture, has scheduled members of Telefilm Canada to appear before the committee on 17 November 1987 in order to explain the situation of the film and television funding corporation. Reports on a three-day hearing on the matter that took place in Toronto, Ontario, and was attended by members of the film and television industry. Cites comments, that ranged from harsh criticisms of Telefilm Canada's activities to concerns about the agency's well-being, from the participants in the hearings. 2677 Few answers, TFC returned $22 M. Cinema Canada no 147 (December 1987) 38. En. Looks at Telefilm Canada's inability to explain or give an oral description of its overcommitment to the production of film and television programs at the agency's meeting with members of a committee on communications and

231

culture on 17 November 1987. Notes that the committee has requested Telefilm Canada to submit a written list of all committed projects as of 30 October 1987. 2678 Cadrin-Rossignol, lolande. Open letter to Flora MacDonald. Cinema Canada no 147 (December 1987) 4. En. An open letter to federal minister of Communications Flora MacDonald from lolande Cadrin-Rossignol, the chair of the Association des realisateurs et realisatrices de films du Quebec, that expresses her group's dissatisfaction with management practises at Telefilm Canada. Questions the composition of Telefilm Canada's board of directors, the role of the executive director, and Telefilm Canada's review and selection procedures. 2679 Telefilm's not the only game in town. Mediascene 6 no 12 (December 1987) 4, 6. En. 2680 TFC in B.C. Cinema Canada no 147 (December 1987) 45. En. Discusses the effect Telefilm Canada's announcement that it has overcommitted available funds will have on the film industry in Western Canada, noting the possibility that B.C. Film may provide interim financing to certain local productions with the understanding that it will be reimbursed by Telefilm Canada in the next fiscal year. 2681 Macerola happy at Board. Cinema Canada no 147 (December 1987) 48.1 ill, En. Reports that Francois N. Macerola is not interested in the job of executive director of Telefilm Canada, noting that he is satisfied with his current position as government film commissioner and chair of the board at the National Film Board (NFB) of Canada. 2682 Tadros, Connie. Who's in charge at Telefilm...? : Policy vacuum draws in Broadcasters. Cinema Canada no 147 (December 1987) 5. En. Criticizes the management and accounting practises at Telefilm Canada, focussing on the policy vacuum created as a consequence of the failure of the corporation's board of directors to adequately monitor Telefilm Canada decisions. Also discusses the distortion of Telefilm Canada's mandate as a result of this vacuum, and notes Telefilm Canada's lack of leadership and vision. 2683 Caution, outrage follow tax news. Cinema Canada no 148 (January 1988) 30,44. En. Reports that film and television production across Canada is slowing because of the temporary discontinuation of funding by Telefilm Canada. 2684 Consultants to top Telefilm posts. Cinema Canada no 148 (January 1988) 32. En. Announces the appointment of Michele Fortin as interim executive director of Telefilm Canada and reports on recent staff resignations. 2685 Provinces take up Telefilm slack. Mediascene 7 no 1 Qanuary 1988) 6. En. 2686 Telefilm appoints Western manager: Bill Gray;

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Alberta lawyer. Reel West 3 no 3 (February-March 1988) 14. En. 2687 Telefilm updates: Staff and money. Cinema Canada no 149 (February 1988) 34. En. Reports that the nominees for the position of executive director of Telefilm Canada have not yet been announced. Lists production projects that were accepted by Telefilm Canada between 1 October and 31 December 1987. 2688 Telefilm: No statement. Reel West 3 no 3 (FebruaryMarch 1988) 42. En. 2689 Sirois confirms priority funding for "regions." Reel West 3 no 3 (February-March 1988) 43. En. 2690 Green, Eric R. An injustice must be corrected. Reel West 3 no 3 (February-March 1988) 6.1 ill, En. 2691 La politisation nuit a Telefilm, dit 1'Ottawa Citizen. Le Devoir (18 fevrier 1988) 12. fr. 2692 Telefilm Canada se retrouve sur la sellette. Le Devoir (19 fevrier 1988) 12. fr. 2693 Pearson, Peter. The Pearson papers : Pearson's letter of resignation to Flora MacDonald. Cinema Canada no 150 (March 1988) 33-37. En. A transcript of what is reported to be Peter Pearson's letter to Flora MacDonald, federal minister of Communications, tendering his resignation from the post of executive director of Telefilm Canada. In the letter Pearson discusses the achievements of Telefilm, outlines the many challenges faced by the crown corporation, documents the reasons for his resignation, and criticizes the conduct of Telefilm chair Jean Sirois. Pearson alleges that Sirois attacked senior personnel, directly interfered with the administration of programs, directly interfered with the administration of Telefilm, and improperly used Telefilm resources. 2694 Pearson, Peter. J'accuse : Diary entries point finger at Sirois. Cinema Canada no 150 (March 1988) 34-38. En. Excerpts from Peter Pearson's journal entries, records, and files that document the events surrounding the involvement of Telefilm Canada in a television production related to Rendez-vous '87. The excerpts indict the conduct of Telefilm chair Jean Sirois in relation to the Rendezvous '87 production and detail the events leading to Pearson's subsequent resignation as executive director of Telefilm Canada. 2695 Telefilm announces restructuring: Overcommitment reduced. Cinema Canada no 150 (March 1988) 62-63. En. Discusses the attempt of Telefilm Canada to re-establish control of its financial situation, management practises, and administration through the re-organization of its operation. Lists recently announced appointments at Telefilm Canada as part of its restructuring agenda. Notes the reduction by Telefilm Canada of its production overcommitment to $30 from $48 million for the 1987 fiscal year. 2696 Katadotis hotly contested. Cinema Canada no 150 (March 1988) 63-64. En.

Discusses the concerns raised by the Association des producteurs de films et de video du Quebec and the Canadian Film and Television Association over the appointment of Peter Katadotis as the interim director of production and development at Telefilm Canada. 2697 Michel Cote comments on Jean Sirois. Cinema Canada no 150 (March 1988) 65. En. Discusses comments made by ex-federal minister Michel Cote regarding the conduct of Telefilm Canada chair Jean Sirois, which imply that Sirois may be guilty of errors in judgement rather than of conflict of interest with regard to his business affairs. 2698 Opposition calls for TFC investigation. Cinema Canada no 150 (March 1988) 65. En. Reports on the demand made by the Liberal opposition communications critic and member of the Parliamentary Standing Committee on Communications and Culture Sheila Finestone for a full parliamentary investigation into the finances of Telefilm Canada and the business affairs of its chair Jean Sirois. Finestone's demand follows a series of articles in the Ottawa Citizen regarding former Telefilm executive director Peter Pearson's 24-page letter of resignation to the minister of Communications Flora MacDonald, which cites specific job transgressions on the part of Sirois. 2699 The Graying of TFC-West. Cinema Canada no 150 (March 1988) 66. En. Announces the appointment of lawyer Bill Gray as head of the Western Canada office of Telefilm Canada located in Vancouver, British Columbia. Outlines Gray's experience in the film industry. 2700 Adilman, Sid. Telefilm Canada on target with budget projects : Business is sound. Variety 330 (2 March 1988) 55 (2). En. 2701 Investigation of Telefilm heads expected. Cinema Canada no 151 (April 1988) 33-34. En. Reports on the possibility that there will some form of inquiry by the federal Standing Committee on Communications and Culture into the business conduct and financial mismanagement of Jean Sirois, who recently resigned as chair of Telefilm Canada. 2702 Clark to Telefilm. Cinema Canada no 151 (April 1988) 38. En. States that Nancy L. Jamieson, former legislative assistant to the ex-prime minister Joe Clark, has been nominated to the board of Telefilm Canada for a five-year term. 2703 New executive director gets high marks from Lister Sinclair. Reel West 3 no 4 (May-June 1988) 23. En. 2704 DesRoches brings solid experience to TFC. Cinema Canada no 152 (May 1988) 33.1 ill, En. Briefly outlines the life and career of former Societe Radio-Canada (SRC) executive Pierre DesRoches who was appointed to the position of executive director of Telefilm Canada effective June 1988.

Canada 2705 Industry hurting as funds dry up : DesRoches welcome at TFC. Cinema Canada no 152 (May 1988) 33.1 ill, En. Examines the stabilized financial state of Telefilm Canada during the 1987-88 fiscal year while under the interim direction of Michele Fortin, and states that this, along with the appointment of Pierre DesRoches as the new executive director of Telefilm Canada, marks the end of a turbulent period in Telefilm Canada's history. Outlines the agency's proposed revenues from federal allocations for the upcoming fiscal year and discusses questions regarding policy and feature production that Telefilm Canada will address in the near future. 2706 Telefilm forecasts '88-89. Cinema Canada no 152 (May 1988) 34. En. A detailed breakdown of the Telefilm Canada budget for the 1988-89 fiscal year. 2707 Distributors fear money will be lost in red tape: New film fund a "disappointment." Globe and Mail (10 May 1988) A19. En. 2708 Dussault, Serge. Que fait-on avec 1'argent de Telefilm? Louise Beaudoin est allee voir a Cannes. La Presse (21 mai 1988) E14. fr. 2709 Funding follies : Producers rise above the trials of tax reform and Telefilm. Broadcaster 47 no 6 (June 1988) 1618. ill, En. 2710 Bovey top spot at Telefilm Canada. Cinema Canada no 153 (June 1988) 44.1 ill, En. Announces the replacement of Jean Sirois as chair of Telefilm Canada by Edmund Bovey. Briefly outlines Bovey's career. 2711 House makes Telefilm his new home. Cinema Canada no 153 Gune 1988) 44.1 ill, En. Reports that Bill House has left the Ontario Film Development Corporation to become the director of operations for Telefilm Canada in Ontario. 2712 The multi-million-dollar drama of Telefilm is not over yet. Globe and Mail (4 June 1988) Cl. En. 2713 Caddell, Ian. Telefilm Canada boss says extra cash may offset tax break loss. Variety 331 (8 June 1988) 41. En. 2714 Filmmakers rap new federal fund. Globe and Mail (9 June 1988) Cl. En. 2715 Levesque, Robert. Avec Edmund C. Bovey: Telefilm veut se refaire une image. Le Devoir (26 juillet 1988) 9. fr. 2716 A few words with Pierre Desroches: The new head of Telefilm Canada speaks up. Reel West 3 no 5 (September 1988) 36.1 ill, En. 2717 New export policy creates controversy. Cinema Canada no 155 (September 1988) 47. En. Discusses the possible consequences of the decision by

233 Telefilm Canada to lower the eligibility criteria for its export assistance programs.

2718 Telefilm takes on more staff. Cinema Canada no 155 (September 1988) 65. En. Announces recent appointments made by Telefilm Canada to fill positions in their Montreal, Quebec, Vancouver, British Columbia, and Los Angeles, California, offices. 2719 Telefilm appointments. Reel West 3 no 5 (September 1988) 7. En. 2720 Ayscough, Suzan. Film industry cool to new fund. This Week in Business I no 32 (3 September 1988) 16. En. 2721 $33.5m spent by "dry" federal film investment fund. Halifax Chronicle-Herald (22 September 1988) O7. En. 2722 Telefilm nearing end of movie funds. Globe and Mail (30 September 1988) Cll. En. 2723 Katadotis named to high Telefilm post. Reel West 3 no 6 (October 1988) 45. En. 2724 Fund hits bottom in October at TFC. Cinema Canada no 156 (October 1988) 61. En. Pierre DesRoches, executive director of the Feature Film Fund of Telefilm Canada, announces that funding will be depleted by 1 October 1988. 2725 Tough issues face Telefilm. Cinema Canada no 157 (November 1988) 33. En. Discusses objections to the policy and procedures of Telefilm Canada arising from the depletion of the yearly allocation of the Feature Film Fund by fall 1988. 2726 Distribution Fund ready in November. Cinema Canada no 157 (November 1988) 35. En. Discusses the new Feature Film Fund to be released 1 November 1988 by Telefilm Canada. Notes objections of film producers regarding the stringent eligibility rules for the fund. 2727 11 distributors join in Telefilm protest. Globe and Mail (30 November 1988) C7. En. 2728 McCann goes home. Cinema Canada no 158 (December 1988) 33.1 ill, En. Announces that Judith McCann, former deputy director of Telefilm Canada, is returning to her homeland to become executive commissioner of the New Zealand Film Commission. 2729 Magder, Ted. From no films to Telefilm: Feature films and the Canadian state. Transactions of the Royal Society of Canada 5 no 4 (1989) 205-220. bibl, En. Notes the abundance of contradictions in Canadian culture including government film policies. Ted Madger traces the history of Canada's feature film industry beginning with the passage of the Canadian Film Development Corporation Act in 1967 and its subsequent manifestation

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Film and Government / Cinema et gouvernement

Telefilm Canada, and concludes that politicians or bureaucrats alone cannot build a cultural space in the face of the power of multinational firms who are searching for the perfect global cultural product. 2730 Distribution Fund : "Closed shop" or viable industry? Cinema Canada no 159 (January 1989) 31. En. Examines the rift among Quebec film distributors caused by the Feature Film Fund policy of Telefilm Canada. Notes the support of the policy by the Association quebecoise des distributeurs et exportateurs de films et de video and the opposition to the policy by the newly formed Federation professionnelle des distributeurs et exportateurs de films du Quebec. 2731 Telefilm amends export program. Cinema Canada no 159 (January 1989) 32. En. Notes the major amendments to the Marketing Assistance Program approved by Telefilm Canada. 2732 Laverdiere moves to Telefilm. Cinema Canada no 159 (January 1989) 44. En. Announces the appointment of Louis Laverdiere to director of operations, Quebec region of Telefilm Canada, effective 26 January 1989. Also announces the promotions of Telefilm Canada employees Pierre DesRoches, Louise StLouis, Janet MacLellan, and Marilynne Anne Vince. 2733 Telefilm stresses its commitment to Western Canada. Reel West 4 no 2 (February-March 1989) 46. En. 2734 Montreal. Cinema Canada no 160 (February-March 1989) 51. En. Announces the appointment of Jean-Paul Pare as director of financing and administration at Telefilm Canada. 2735 Telefilm appointments. Reel West 4 no 2 (FebruaryMarch 1989) 9. En. 2736 Dawes, Amy. Canadian distributors draw from new $17-mil fund. Variety 334 (15 March 1989) 29. En.

deposait recemment son rapport annuel a la presse. Lumieres no 20 (automne 1989) 13. 5 ill, fr. Critique de 1'organisme gouvernemental Telefilm Canada. Julien Dusablon remet en question le pouvoir decisionnel de cet organisme qui exerce un controle au lieu de soutenir les producteurs et realisateur dans leur projet, enlevant ainsi tout dynamisme creatif et innovateur dans 1'industrie cinematographique canadienne. 2741 Telefilm creates new Paris job. Cinema Canada no 166 (September 1989) 8. En. Telefilm Canada has appointed Bill Niven to the newly created position of planning consultant at Telefilm's Paris, France, office. Ian Birnie will take over for Niven at Telefilm in Toronto, Ontario. 2742 Armstrong moves from CRTC to Telefilm. Cinema Canada no 166 (September 1989) 8. En. Robert Armstrong has been appointed associate director of planning and policies at Telefilm Canada. 2743 Telefilm report shows big increase in regional investment. Reel West 4 no 6 (October-November 1989) 28. En. 2744 Telefilm shifts Niven, hires two. Reel West 4 no 6 (October-November 1989) 29. En. 2745 TFC year end : A favorable report. Cinema Canada no 167 (October 1989) 38. En. Telefilm Canada's 1988-89 annual report indicates an increase in productions, financial returns, and regional projects. 2746 U.S. is leaving Canada out in the cold, but Telefilm has a scheme. Variety 337 (October 1989) 71. ill, En. 2747 Alberta filmmakers want bigger piece of Telefilm pie. Globe and Mail (13 December 1989) C14. En.

2737 Timmins, John. TFC strategy supports increased licence fees. Cinema Canada no 163 (May-June 1989) 22. En. Discusses the priorities of Telefilm Canada for 1989-90 including new selection criteria for film and television funding. The 49-page publication Strategy for the Administration of Telefilm Canada Funds identifies quality and Canadian content as top priorities. Notes that maximum funding will go to projects that meet Canadian content criteria over international co-productions. Outlines a commitment to a greater emphasis on promotional material, clarified foreign policies, and a decision to relinquish its position as the first party to recoup its investment.

2748 Lapp, Charles. Atlantic Provinces: "Paramount Law." Cinema Canada no 23 (November 1975) 12. En. Notes the progress of industry campaigns to repeal the Nova Scotia Theatres and Amusements Act's "Paramount Law," which forbids the operation of a 16 mm commercial theatre within a five-mile radius of a 35mm outlet.

2738 Lampron appointed Telefilm Paris director. Reel West 4 no 5 (August-September 1989) 37. En.

2749 Nova Scotia needs a policy on film. Halifax ChronicleHerald (9 February 1984) 13. En.

2739 Telefilm tightens up grants policy because of budget woes. Montreal Gazette (31 August 1989) B8. En.

2750 Nova Scotia Task Force. Cinema Canada no 105 (March 1984) 23. En. The Nova Scotia Task Force on the Film Industry has completed its public hearings. Composed of filmmakers and

2740 Dusablon, Julien. Un rapport muet: Telefilm Canada

Atlantic Canada / Provinces de 1'Atlantique

Quebec government representatives, the task force heard from filmmakers and producers, government departments involved in buying or sponsoring film, the Canadian Motion Picture Distributors Association's Millard Roth, local distributors and exhibitors, the National Film Board (NFB) of Canada, the Atlantic Film Festival Association, Mount Saint Vincent University in Halifax, Nova Scotia, and the public. Speculates on possible recommendations that could be announced. 2751 Film agency needed : Report. Halifax Chronicle-Herald (20 September 1984) E2. En. 2752 Nova Scotia dusts off proposal for film agency. Globe and Mail (17 November 1989) Cl. En.

Quebec 2753 Montreal and Sunday shows. Saturday Night 42 (17 September 1927) 1. En. 2754 Campbell, Brahm L. The Quebec Motion Pictures Act: Some constitutional notes. McGill Law Journal 11 (1965) 131-136. bibl, En. Questions the constitutionality of the Quebec Moving Pictures Act and the procedures of the resultant Board of Film Censors in light of the refusal of the board to permit the Quebec produced film La Terre a boire (Jean-Paul Bernier, 1964) to be exhibited in local theatres without certain changes and excisions. Applies Lord Watson's "pith and substance test" to the legislation to determine its constitutionality, provides background information regarding the drafting and passing of the act, analyses the legislation in terms of public and civil rights and the federal criminal code, and examines analogous legislation in Canada. Concludes that the comparison made between the basic principles of public law which are solely reserved to the federal power in Canada, and those which underlie the Quebec Moving Pictures Act raise serious doubts as to the constitutionality of this legislation. 2755 Bonneville, Leo. Les spectateurs humilies. Sequences no 44 (fevrier 1966) 2-3. fr. Editorial dans lequel Leo Bonneville appuie le memoire presente par le comite de culture cinematographique de 1'Office catholique national des techniques de diffusion. Bonneville lance un appel a cette commission et au gouvernement pour ameliorer la distribution des films etrangers doubles ou sous-titres en frangais. 2756 Lamothe, A. Sur la volonte creatrice: extraits d'un rapport presente au gouvernement du Quebec. Liberte 8 (mars-juin 1966) 31-33. fr. 2757 Bonneville, Leo. La nouvelle loi. Sequences no 52 (fevrier 1968) 2-3. bibl, fr. Dans cet editorial, Leo Bonneville commente la nouvelle Loi sur le cinema du Quebec qui a cree le 12 aout 1967, le Bureau du surveillance du cinema. Tout en soulignant les aspects positifs de cette nouvelle loi, 1'auteur deplore le

235

manque d'information sur les normes qui regissent le nouveau systeme de classification du Bureau qui divise les films en trois categories d'age, soit: 14 ans, 18 ans et pour tous. 2758 Bonneville, Leo. Du francais, s.v.p. Sequences no 63 (decembre 1970) 2-3. fr. Editorial sur le reamenagement des frais de visionnement annonce par le ministre des Affaires culturelles et le statut preferentiel accorde aux films quebecois. Leo Bonneville se felicite de cette initiative du gouvernement, mais reclame que des mesures soient prises pour que les films etrangers presentes sur les ecrans du Quebec le soient en frangais avec doublage ou sous-titrage. 2759 Frappier, Roger. Loi provisoirement permanente sur les mesures de 1'art collectif. Cinema Quebec 1 no 1 (mai 1971) 8. fr. Compte rendu de la presentation, en 1971, d'un projet de loi intitule Loi provisoirement permanente sur les mesures de I'art collectif. Cette loi veillerait a la survie et au maintien de la culture quebecoise au Quebec. On rappelle les differents facteurs qui menacent le cinema quebecois dont le controle financier etranger sur 1'industrie cinematographique quebecoise et la programmation unilingue de la majorite des salles quebecoises. 2760 Comite de redaction de Sequences. Lettre ouverte au ministre des Affaires culturelles. Sequences no 66 (octobre 1971) 2-3. fr. Le Comite de redaction de Sequences recommande la creation d'un conseil quebecois du cinema. Afin d'obtenir une loi-cadre favorisant le developpement d'une Industrie du cinema au Quebec, on explique la constitution possible d'une telle loi ainsi que les huit principales taches visant son elaboration. 2761 Pontaut, Alain. Suggestions pour une loi-cadre. Le Maclean 11 (octobre 1971) 60.1 ill, fr. Alain Pontaut propose que le gouvernement du Quebec s'inspire des lois d'autres pays pour 1'etablissement d'une loi-cadre pour le cinema dans cette province. 2762 Association feminine d'education et d'action sociale. Memoire presente au ministere des Affaires culturelles en prevision de la loi-cadre du cinema. Montreal, Quebec : ministere des Affaires culturelles, 1972. 24 p, fr. Memoire de 1'Association feminine d'education et d'action sociale presente au ministere des Affaires culturelles en prevision de la creation d'une loi-cadre du cinema. Dans cette brochure, 1'Association demande une attention speciale de la part du gouvernement, lors de 1'elaboration de cette loi, sur les points suivants: le respect de la dignite de la femme, le respect de 1'amour humain et 1'appreciation des valeurs familiales. De plus, 1'Association emet des recommandations touchant la composition d'un comite consultatif, la publicite et la programmation des cinemas, la formation cinematographique et 1'application des moyens d'obeissance a la loi. 2763 L'Office du film du Quebec. Cinema Quebec 1 no 7 (janvier-fevrier 1972) 22-23. fr. Depuis sa fondation en 1940,1'Office du film du Quebec a

236

Film and Government / Cinema et gouvernement

eu pour tache de produire et de diffuser les films et autres documents audiovisuels commandites par les ministeres du gouvernement du Quebec. En 1971, le directeur, Raymond-Marie Leger, affirmait la volonte d'elargir et de renforcer le role de cet organisme afin de satisfaire 1'enorme marche du monde de 1'enseignement quebecois. La production, le budget et la mise en marche sont abordes en detail. 2764 Le Bureau de surveillance du cinema. Cinema Quebec 1 no 7 (janvier-fevrier 1972) 26-27. fr. Description des activites du Bureau de surveillance du cinema du Quebec, cree par le gouvernement quebecois en 1967. Le but de cet organisme etait de rendre le cinema accessible a tous par la mise en place d'un systeme de classement de films par categories d'age. Certains reproches ont ete faits au Bureau concernant 1'afflux de films pornographiques dans les cinemas, la presence de publicites racoleuses dans les journaux et 1'absence de criteres precis pour le classement de films par categories d'age. 2765 Demers, Pierre. Vingt remarques. Cinema Quebec I no 7 (janvier-fevrier 1972) 28-29.1 ill, fr. Remarques que Demers a faites parvenir au Bureau de surveillance du cinema du Quebec concernant la situation alarmante vecue par la region du Saguenay (Quebec) au debut des annees 1970 et la diffusion du cinema. 2766 Bonneville, Leo. L'esprit de la loi. Sequences no 68 (fevrier 1972) 2-3. fr. L'auteur appuie les propos du president du Bureau de surveillance du cinema du Quebec, Andre Guerin, car il craint que la classification des films selon les categories pour tous, 14 ans et plus ainsi que 18 ans et plus n'entraine un desequilibre en ce qui a trait a 1'accessibilite des films et la population. 2767 Le SGME. Cinema Quebec 2 no 9 (1973) 12. fr. Description des trois fonctions distinctes du Service general des moyens d'enseignement: le service des moyens techniques d'enseignement, le service des bibliotheques d'enseignement et le service des cours par correspondance. On dresse aussi un bilan des demandes de productions presentees par le ministere de 1'Education entre 1969 et 1973. 2768 Le Bureau de surveillance du cinema. Cinema Quebec 2 no 9 (1973) 17-19. 2 ill, fr. Le Bureau de surveillance du cinema du Quebec a ete cree a la suite de 1'adoption de la Loi sur le cinema en 1967. On explique son role qui consiste a surveiller et non a censurer, puis on decrit les criteres de selection et le souci de protection du spectateur. On trouve egalement des statistiques sur le nombre et les categories de films examines par le Bureau en 1972. 2769 Godbout, Jacques. Le contexte canadien: (1) le cinema de papa Ottawa. Cinema Quebec 2 no 9 (1973) 24-25.2 ill, fr. Le cineaste Jacques Godbout raconte les difficultes auxquelles ont fait face les realisateurs quebecois dans leurs relations avec les agences gouvernementales du cinema. II

explique ainsi le role de quelques institutions cinematographiques dont la Societe de developpement de 1'industrie du cinema canadien, 1'Office national du film (ONF) du Canada et 1'Association professionnelle des cineastes du Quebec. 2770 Leger, Raymond-Marie. L'Office du film du Quebec. Cinema Quebec 2 no 9 (1973) 8-11. 4 ill, fr. Bilan de 1'annee 1972 a 1'Office du film du Quebec. L'auteur passe en revue les differentes realisations de 1'annee et explique pourquoi 1972 fut une annee de transition. On donne egalement un tableau qui decrit le bilan financier de 1'annee 1971-1972. 2771 Bonneville, Leo. Le rapport Gendron... et le cinema. Sequences no 72 (avril 1973) 2-3. fr. Critique du rapport Gendron qui explique davantage la situation actuelle plutot que d'y apporter des recommandations. Bonneville souligne qu'il est difficile, en 1973, d'avoir acces a la version franchise d'un film et il souhaite que les versions anglaise et francaise soient distributes en meme temps. 2772 Evanchuck, P. M. Children, commercials, and the animators. Motion (May-June 1973) 11-12. En. Discussion of the implications for animators of the recently introduced legislation on advertising directed at children. Notes that Quebec legislation forbids animated designs or cartoons in children's ads. Also mentions that federal legislation banning all advertising to children is pending. 2773 Leger, Raymond-Marie. Stendhal, Mendes-France, Chris Marker, le general Petion et 1'Office du film du Quebec. Culture vivante no 28 (juin 1973) 21-27. fr. Impressions sur la participation de 1'Office du film du Quebec aux festivals internationaux et sur son role au Quebec. 2774 Bonneville, Leo. Le bureau de surveillance attaint de francomanie. Sequences no 75 (Janvier 1974) 2-3. fr. L'auteur critique 1'attitude du Bureau de surveillance du cinema du Quebec qui exige des titres frangais aux productions en langues anglaises traduites sans toutefois assurer la distribution de plus de films traduits en frangais. 2775 Une loi-cadre sur le cinema des la prochaine session: les affaires culturelles s'engagent. Le Devoir (28 fevrier 1974) 5. fr. 2776 Leger, Raymond-Marie. Congres de 1'APFQ: une legon d'opiniatrete. Cinema Quebec 3 no 6-7 (avril-mai 1974) 17-19.1 ill, fr. Allocution de Raymond-Marie Leger, directeur de 1'Office du film du Quebec, lors du congres annuel de 1'Association des producteurs de films du Quebec de 1974. Leger se proclame en faveur d'une loi regissant le cinema quebecois. 2777 II serait temeraire de deposer cet ete le projet d'une loi sur le cinema, estime Hardy. Le Devoir (22 juin 1974) 11. fr.

Quebec

237

2778 Loi modifiant la loi sur le cinema. Cinema Quebec 3 no 8 (22 octobre 1974) 6-7, 9,11-13. fr. Texte qui reproduit 1'avant-projet de loi-cadre sur le cinema prepare par le ministere des Affaires culturelles du Quebec.

2786 Rousseau, Jean. Office des communications sociales appuie les cineastes. Le Devoir (3 decembre 1974) 4. fr.

2779 Vallieres, Pierre. Les cineastes occupent le bureau de surveillance : exigeant le depot de la loi-cadre. Le Devoir (23 novembre 1974) 3. fr.

2788 Vallieres, Pierre. Hardy se heurte aux cineastes au salon des metiers d'art. Le Devoir (9 decembre 1974) 1. fr.

2780 Vallieres, Pierre. Hardy refuse de rencontrer les cineastes : pas de loi-cadre avant le printemps 75. Le Devoir (25 novembre 1974) 3. fr. 2781 Vallieres, Pierre. Douze ans d'histoire d'une loicadre du cinema dont le depot parait de plus en plus hypothetique. Le Devoir (27 novembre 1974) 10. ill, fr. 2782 Daigneault, Claude. Ce que pourrait contenir la loi. Le Soleil (30 novembre 1974) D3. ill, fr. 2783 En avril dernier, a 1'Assemblee nationale: Hardy repondait a Burns en ces termes... Cinema Quebec 4 no 1 (decembre 1974) 11-12. fr. Extrait des propos echanges entre M. Burns et Denis Hardy, ministre des Affaires culturelles du Quebec, en avril 1974 a 1'Assemblee nationale au sujet de 1'absence d'une loi-cadre sur le cinema. 2784 Demers, Pierre. Les pionniers du cinema quebecois (I): Michel Vergnes et le Service de Cine-Photographie. Cinema Quebec 3 no 4 (decembre-janvier 1974) 28-34. 4 ill, fr. Rencontre avec Michel Vergnes, directeur adjoint de 1'Office du film du Quebec, qui retrace 1'histoire de la cinematographic quebecoise a partir de la fondation du Service de Cine-Photographie en 1940, qui devint 1'Office du film du Quebec en 1961, jusqu'aux evenements du debut des annees 1970. On aborde, entre autres, la periode 1945-1950 ou on realise les premiers longs metrages quebecois, tandis que les annees 1950-1960 sont marquees par 1'apparition du court metrage avec Les Raquetteurs (1958) de Michel Brault et Gilles Groulx et du long metrage direct avec Pour la suite du monde (1964) de Brault, Marcel Carriere et Pierre Perrault. On s'attarde sur quelques pionniers du cinema quebecois comme 1'abbe Maurice Proulx et Albert Tessier, et on commente les origines du cinema quebecois en expliquant 1'apport du clerge et du ministere de 1'Agriculture. Discussions autour de la censure exercee par le gouvernement de Maurice Duplessis sur les films de 1'Office national du film (ONF) du Canada. 2785 Tadros, Jean-Pierre. L'urgence d'agir. Cinema Quebec 4 no 1 (decembre 1974) 7,9. fr. Commentaires sur les evenements qui se sont deroules du 22 novembre au 2 decembre 1974, alors que des realisateurs de 1'executif de 1'Association des realisateurs et realisatrices de films du Quebec ont occupe les locaux du Bureau de surveillance du cinema pour protester centre 1'inaction du gouvernement quebecois en matiere de cinema. L'auteur rappelle les reclamations de ces realisateurs et presse les autorites a agir.

2787 Daigneault, Claude. Brault ne veut pas d'une loi qui n'aurait qu'un cadre. Le Soleil (7 decembre 1974) D3. ill, fr.

2789 Prince, Vincent. Pour une loi-cadre du cinema. La Presse (9 decembre 1974) A4. fr. 2790 Daigneault, Claude. Roger Fournier: le divertissement plutot que la satire. Le Soleil (21 decembre 1974) D3. ill, fr. 2791 Dussault, Serge. Andre Guerin, et la contestation necessaire... La Presse (28 decembre 1974) B7. ill, fr. 2792 Boily, Jacqueline; Becotte, Jean-Guy. Le role des salles paralleles de la region de Quebec, leurs besoins et leurs attentes. Quebec, Quebec : Association des cinemas paralleles du Quebec, 1975. ii, 6 p, fr. Memoire presente par des membres de 1'Association des cinemas paralleles du Quebec, lors de la reforme de la loicadre sur le cinema. Dans ce memoire, on decrit les besoins des salles paralleles de la region administrative de Quebec. 2793 Seguin, Micheline. Memoire de 1'ICEA sur le pro jet de loi no 1 sur le cinema. Montreal, Quebec : Institut canadien d'education des adultes, 1975.11 p, fr. Document presentant la position de 1'Institut canadien d'education des adultes face au projet de loi no 1 sur le cinema. L'Institut donne ses recommandations sur trois points : 1'autonomie des structures d'application de la loi, la promotion de la production cinematographique et la participation du public aux decisions. On recommande, entre autres choses, de confier la mise en application de la loi a 1'Office du film du Quebec. En plus, ce dernier aurait sous sa tutelle des organismes tels que la Cinematheque du Quebec, le Bureau de surveillance et 1'Institut quebecois du cinema. L'Institut canadien d'education des adultes recommande aussi la creation d'un conseil consultatif mandate et influent, qui permettrait au public de participer aux decisions reliees au cinema. Enfin, il deplore la disparition du Bureau de surveillance ainsi que le pouvoir ministeriel en matiere de classification des films. 2794 Bonneville, Leo. Les mirages de la loi-cadre. Sequences no 79 (Janvier 1975) 2-3. fr. L'auteur critique le retard de la mise en vigueur de la loicadre sur le cinema, attendue depuis longtemps, qui favoriserait tant la presentation de films en version franchise que celle des films quebecois. 2795 Une loi-cadre pour le cinema quebecois en 1975 ou un nouveau traite de capitulation face a Ottawa. L'Action nationale 64 no 6 (fevrier 1975) 450-451. fr. Article relatif a une loi-cadre pour le cinema dont 1'objectif serait d'empecher 1'anglicisation du peuple quebecois par le bais du cinema.

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Film and Government / Cinema et gouvernement

2796 Spry, Robin. Beyond Words! The Quebec filmmakers occupation of the censorship office. Cinema Canada no 18 (March-April 1975) 36-43.11 ill, En. Recounts in detail the events leading up to the occupation of the Bureau de surveillance du cinema in Montreal, Quebec, the provincial censorship office, by the Association des realisateurs et realisatrices de films du Quebec (AFRQ) in the fall of 1974. Describes the occupation as a manoeuvre to force the Quebec government to follow through with film and culture legislation, that was first promised in 1962, to protect the film profession from government control and the uncontrolled distribution of foreign films and to promote and secure the quality of the Quebec film industry. Discusses the details of the occupation, noting the support for the AFRQ by Montreal's television and print media, and documenting the response to the occupation by the federal government and the Canadian public, confrontations between minister of Cultural Affairs Denis Hardy and members of the AFRQ, and the support for the AFRQ by other Quebecois and Canadian film organizations and industry related unions. Includes excerpts from a document written by the Syndicat general du cinema et de la television (SGCT) representing the technical category of the National Film Board (NFB) of Canada on 4 December 1974 which outlines reasons for the SGCT's and NFB's support of the AFRQ action. 2797 Bonneville, Leo. Les cochons de payants. Sequences no 80 (avril 1975) 2-3. fr. S'appuyant sur le montant des taxes que le contribuable quebecois paye deja pour le cinema, la television et 1'audiovisuel, 1'auteur commente le role que le spectateur devrait jouer dans la structure administrative d'un eventuel Institut quebecois du cinema. 2798 Tadros, Jean-Pierre. Le grand viol du cinema quebecois. Cinema Quebec 4 no 2 (avril 1975) 5, 7. fr. Editorial sur le projet de loi sur le cinema, depose le 8 avril 1975 a 1'Assemblee nationale de Quebec. L'auteur remarque que le milieu cinematographique et les citoyens quebecois ne pourront placer un seul mot dans ce projet. Tadros deplore le fait qu'avec cette loi le ministere des Affaires culturelles du Quebec aura sous sa tutelle tout organisme interesse par le cinema. 2799 Roy, Michel. Huit associations de cineastes refusent le dialogue avec Hardy. Le Devoir (16 avril 1975) 14. fr. 2800 Quebec: Another Frankenstein. Time (Canada) 105 no 17 (28 April 1975) 12. En. Describes an act introduced by Quebec's National Assembly in April 1975, which calls for large government subsidies to aid the film industry, and which places restrictions and obligations on imported English language films released in the province. 2801 Veronneau, Pierre. Lettre du Quebec : les comptes de ma mere Loi. Cinema 75 no 198 (mai 1975) 12-13. fr. Opinions sur la loi-cadre proposee par le gouvernement quebecois en mars 1975. L'auteur constate que cette loi, en plus d'etre trop dirigiste, sera desastreuse pour le cinema culturel mais beneficiera surement au cinema commercial.

2802 Les explications du ministre. Cinema Quebec 4 no 4 (2 mai 1975) 10-11.1 ill, fr. Entrevue avec le ministre des Affaires culturelles, Denis Hardy, ou celui-ci repond a des questions concernant le projet de loi sur le cinema depose a 1'Assemblee nationale du Quebec le 8 avril 1975. II discute, entre autres, de 1'Office du film du Quebec, de ITnstitut quebecois du cinema et de sous-titrage en franc,ais. 2803 Fournier, Guy. Une premiere lecture du projet de loi. Cinema Quebec 4 no 4 (2 mai 1975) 12-16. fr. Le producteur Guy Fournier livre ses impressions a la suite d'une premiere lecture du projet de loi sur le cinema depose le 8 avril 1975. II explique trois scenarios possibles pour les modifications apportees au projet de loi. 2804 Tadros, Jean-Pierre. Classification et pressions politiques. Cinema Quebec 4 no 4 (2 mai 1975) 17-18.1 ill, fr. Le projet de loi sur le cinema depose le 8 avril 1975 preconise le remplacement du Bureau de surveillance du cinema par un service de classification des films qui releverait directement du ministre des Affaires culturelles. L'auteur croit qu'un tel changement n'ameliorera pas la distribution des visas d'exploitation. 2805 Revendications des proprietaires de salles. Cinema Quebec 4 no 4 (2 mai 1975) 19-20. fr. Memoire presente au ministre des Affaires culturelles, Denis Hardy, par 1'Association des proprietaires de cinemas du Quebec le 15 avril 1975. Les proprietaires expriment en premier lieu leur deception face au projet de loi sur le cinema depose a 1'Assemblee nationale le 8 avril 1975. II donnent ensuite la liste de leurs revendications. Enfin, ils affirment 1'importance d'une cooperation entre tous les secteurs du cinema pour elaborer une politique globale. 2806 Rapport provisoire de 1'Office des communications sociales. Cinema Quebec 4 no 4 (2 mai 1975) 21-22. fr. Rapport provisoire de 1'Office des communications sociales qui a participe aux rencontres de 1'industrie cinematographique avec le ministre des Affaires culturelles, Denis Hardy. L'Office des communications sociales explique son role et le but de ce rapport. II propose egalement une serie d'amendements au projet de loi sur le cinema depose le 8 avril 1975. Enfin, on trouve une liste d'observations relatives au projet. 2807 Tadros, Jean-Pierre. Vers un cinema «politique». Cinema Quebec 4 no 4 (2 mai 1975) 4. fr. Editorial ou 1'on critique le projet de loi sur le cinema depose a 1'Assemblee nationale par le ministre des Affaires culturelles, Denis Hardy, le 8 avril 1975. 2808 Texte du projet de loi no 1. Cinema Quebec 4 no 4 (2 mai 1975) 5-10. fr. Reproduction du texte du projet de loi sur le cinema depose a 1'Assemblee national le 8 avril 1975 par le ministre des Affaires culturelles du Quebec, Denis Hardy. 2809 Bonneville, Leo. Faisons confiance. Sequences no 81 (juillet 1975) 2-3. fr.

Quebec Suite a 1'acceptation en 1975 de la nouvelle Loi sur le cinema, 1'auteur souleve les trois principaux points qui, selon lui, restent a ameliorer: 1'autonomie du Service d'information et de classification, la censure et la protection des interets des consommateurs. 2810 Veronneau, Pierre. Lettre du Quebec : un bilan sans addition. Cinema 75 no 201-202 (septembre-octobre 1975) 4445.1 ill, fr. Description de la Loi sur le cinema, issue a Quebec le 18 juin 1975. L'auteur critique cette loi parce qu'elle ne favorisera pas la production de films au Quebec; elle pourrait meme la decourager. 2811 Hardy, Denis. Loi du cinema: les explications du ministre Hardy. Cinema Quebec 4 no 6 (automne 1975) 48-50. 1 ill, fr. Reproduction de 1'allocution du ministre des Affaires culturelles, Denis Hardy, lors des debats de 1'Assemblee nationale du mercredi 18 juin 1975 sur le projet de loi sur le cinema. 2812 Godin, Gerald. Le dumping de la charogne: la « scrap » du film porno. Le Maclean 15 no 10 (octobre 1975) 70.1 ill, fr. Gerald Godin donne son opinion sur la loi 63 sur le cinema. II supplite le gouvernement de commencer a controler la circulation de mauvais films americains et etrangers dans la province du Quebec pour faire place a notre propre industrie. 2813 Marsolais, Gilles. Quebec: ambigui'tes et inquietudes. Ecran 76 44 (15 fevrier 1976) 14-15. fr. Reactions des milieux cinematographiques face a la nouvelle Loi sur le cinema votee par le parlement quebecois au printemps 1975. 2814 Tadros, Jean-Pierre. Des lois et des cadres. Cinema Quebec no 41 (printemps 1976) 19-26. 5 ill, fr. Article en trois parties sur la Loi sur le cinema. Dans les premiere et deuxieme parties 1'auteur explique 1'organisation, le fonctionnement et le role de la Direction generale du cinema et de 1'audiovisuel et de 1'Institut quebecois du cinema. Dans la derniere partie, les cineastes de 1'Association des realisateurs et realisatrices de films du Quebec font la critique de la loi du cinema. Ainsi, ils racontent leur lutte depuis la fin des annees 1960 jusqu'a la moitie des annees 1970 pour obtenir une loi du cinema et discutent de 1'importance de 1'enjeu en expliquant la situation du cinema quebecois. 2815 Lefebvre, Jean Pierre. Commission d'enquete sur le cinema organise 4: un cinema quebecois? Cinema Quebec no 41 (printemps 1976) 27-29.1 ill, fr. Apres avoir donne ses impressions sur la loi du cinema, 1'auteur explique son pessimisme quant a 1'avenir du cinema quebecois. II denonce le fait qu'une grande partie des films projetes sur les ecrans quebecois soient etrangers. 2816 Nos gouvernements et les marches etrangers: A) pour la DGCA (Quebec) inventer des formules de promotion. Cinema Quebec no 42 (printemps 1976) 6,8.1 ill, fr. Analyse de la politique de la Direction generale du

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cinema et de 1'audiovisuel relative aux marches etrangers. On explique les efforts de cet organisme pour inventer de nouvelles formules qui permettraient au cinema quebecois de percer a 1'etranger. 2817 Theriault, Jacques. L'institut du cinema est toujours en gestation. Le Devoir (6 avril 1976) 10. fr. 2818 Tadros, Connie. Chaos in Quebec. Cinema Canada no 32 (November 1976) 11. En. Notes the inertia and confusion affecting the Direction generale du cinema et de 1'audiovisuel, the 60 per cent reduction in government sponsored films, and the lack of funding for the Cinematheque quebecoise. 2819 Dagenais, Angele. Quel interet portera au cinema le nouveau gouvernement? Le Devoir (26 novembre 1976) 13. fr. 2820 Pourchelle, Pierre; D'Astous, Michel. Images du Quebec : des bricoleurs geniaux! Antennes no 6 (1977) 9-11. fr. Entretien avec Michel Brule, de la nouvelle Direction generale du cinema et de 1'audio-visuel au ministere des Communications. II parle de la situation de 1'industrie cinematographique quebecoise, de son avenir, de son passe et des interventions gouvernementales qui en favorisent 1'essor. 2821 Quebec institute set to go. Cinema Canada no 34-35 (February 1977) 13. En. Outlines the completion of the Institut quebecois du cinema in terms of membership and finances. 2822 Institut complete. Cinema Canada no 36 (March 1977) 9. En. Announces the appointment of Souci Gagne to the board of the Institut quebecois du cinema. Gagne fills the seat left vacant by Michel Brule who moved on to the Direction generale du cinema et de 1'audio-visuel. Also mentions the nomination of Yvon Desrochers as director of the institute. 2823 Homier-Roy, Rene. Cinema. Nous 4 no 11 (avril 1977) 12. fr. Critique de Rene Homier-Roy sur la nouvelle Loi sur le cinema. II estime que la Loi doit etre refaite car elle ouvre davantage les portes du Quebec aux films etrangers au detriment de 1'industrie cinematographique quebecoise. Aussi, il maintient qu'il est important de subventionner davantage la production quebecoise. 2824 Tadros, Connie. Cash for Quebec. Cinema Canada no 40 (September 1977) 8.1 ill, En. Announces four different aid programs for Quebec filmmakers equalling $2 million to be granted by the Institut quebecois du cinema. 2825 Ministere des communications et Direction generale du cinema et de 1'audiovisuel. Pour une politique du cinema au Quebec. Quebec, Quebec: ministere des Communications, 1978. 324 p, fr.

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Film and Government / Cinema et gouvernement

Etude preliminaire a 1'elaboration d'une politique du cinema. D'abord, on examine les problemes et les besoins de 1'industrie cinematographique quebecoise. Puis, on considere les lois regissant ce domaine en vue de leur remaniement futur, si necessite il y a. Enfin, les auteurs proposent certains elements de solution pour les secteurs public et prive de l'industrie. Une liste chronologique des longs metrages quebecois de 1937 a 1978 complete ce document. 2826 Office des communications sociales. Rapport d'une rencontre de consultation sur le document de travail « Vers une politique du cinema au Quebec ». Montreal, Quebec : 1978. 7 p, fr. Dans ce document, les auteurs analysent quelques elements du livre bleu sur le cinema, soit: 1'evaluation des films, la classification, le cinema pour enfants, le controle de la publicite, 1'education cinematographique et la presentation des films en fran