Canadian Film Weekly (May 8, 1946)

Page 14 Canadian FILM WEEKLY — May 8, 1946 NFB Non-Theatrical Pattern production, the National Film Board of Canada is in a better position to schedule the year's work well in advance than it has been at any time in the past six years. Films are allocated among various well-defined production units, each of them working in a particular area such as agriculture, labor, international relations, education, etc. This is not in order to classify and narrow down the various subject fields, but rather to work as closely and efficiently as possible with specialized distribution channels, and to maintain specialized liaison among the various Federal government departments. A considerable number of films have already been commissioned for the present fiscal year by the Dominion departments of agriculture, labor, health and welfare, and veterans’ affairs. Other film subjects are under discussion and still others are expected to arise throughout the year. In addition, the NFB will finance, from its own production vote, a certain number of films to fill specific informational needs and meet requests with a national application. One significant development is in the field of classroom films, where for the first time in Canada it is possible to schedule an integrated program combining all I N the first year of peacetime Opy. 10M, KING YEATURLS 2) %1 Will Supplement Growth of Trade Union and Rural Circuits With Increased Film and Projection Service the visual media: films, filmstrips, displays, collotypes, photo-murals, graphic material. This program is being drawn up in consultation with a national educational committee (Canadian Newfoundland Educational Association) and will provide not only for the production of new films for classroom use but also for a survey of all existing teaching films that are available, and assess their usefulness to schools in Canada. In other fields as well, the treatment and style of films will be conditioned closely by the board’s opportunity to reach specialized audiences. As the board gains access to these, both urban and rural, adult and juvenile, it will be possible to apply special film techniques more effectively. ‘(PSE National Film Board pro duction schedule for 1946-47 shows a general tendency towards specific films for particular audiences, rather than a large number of general subjects. Certainly the latter will continue to be of great importance, as in the program of films scheduled for release in ° ote ° o Regwiered U S Parent Ofce WORLD KIGHTS RESERVED \ the three theatre series, World in Action, Canada Carries On and Les Reportages; but as other non-theatrical audiences of all kinds are becoming more and more familiar with the use of visual media for discussion and study purposes, it means that new opportunities are growing for experiment and development in effective film making. Parallel with the shift in emphasis in film production is a re-grouping of Canadian nontheatrical distribution channels and methods, with a view to meeting the new needs of the post-war period. As already stated, the pattern now emerging in Canada is more flexible and varied than in wartime. The basis of distribution policy in Canada becomes the recognition of the numerous specialized needs of various groups in the community. This stands in contrast to the wartime development when unity of purpose was reflected in government-sponsored programs shown uniformly on a nation-wide scale. Peacetime conditions make possible an increased attention to the needs of By Jimmy Hatlo WHERE'S THE MANAGER? WE WANT OUR MONEY « BACK ? WE SEEN THIS PITCHER TWICE BEFORE ALREADY: 27% diverse interest groups and therefore requires the planning of specialized programs. The distribution machinery of the rural, industrial and trade union circuits of the board must now be supplemented to a greater degree by 16 mm. regional film libraries and projection services maintained by the _ individual community, meeting the demands of private and public organizations which are realizing the value of visual education to promote their objective. This new puttern of distribution in the field calls for a corresponding change in structure of those film board departments concerned with the planning of programs and © the preparation and _ collection of supplementary study materials. The new structure may be described under three headings: program planning and promotion, field co-ordination, and contributory services. 4 Mae function of program plan ning and promotion is fulfilled primarily by National Film Board distribution officers who are assigned to major subject areas, such as health, welfare, rehabilitation, vocational training, reconstruction and housing, labor, industry, agriculture, science schools, women’s interests, cultural activities and community centres. In each of these fields there are major problems of current concern, incapable of solution without public education which both informs and leads to positive action. It is the responsibility of the distribution officers to co-operate with government agencies and private organizations in planning programs which use films and other visual media for this purpose. The plans developed by the distribution officers can become effective only when carried through to action at the community level. It is the function of the field co-ordinator to supervise the field staff in this implementation and to secure through a reporting system a comprehensive picture of activities in the field. Essential to the work of program planning are contributory services such as research into available films and supplementary materials, facilities for previewing films on loan from outside sources and statistical analyses of field reports. A number of units have been set up to provide these services, such as a master classification of all films ayailable, a preview service, utilization methods, supplementary study materials, and statistics.