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Richard Leiterman
14 Cinema Canada
And as our eyes pull back from the glitter and the silver screen, we see Leiterman who is the Man who makes real the directors’ fantasies. Where does one start and the other stop? Where lies the film maker in the documentary (lest we forget the event that is film content). And we see merely shadows, who are like a sieve through which a life process flows, giving it shape and form. Men baring witness again and again to an event years past, and showing it to our group of awe inspired, media overloaded voyeurs.
So now the Man is on to bigger and better things, the dramatic feature. Reality puts on the mask of craft and control, a process of adding to the frame, rather than selections from everything. Where is the Man midst all this organization and technology? He is where he has always been, making his feelings concrete, translating objects, ideas, actors, light and perspective to evoke a feeling, a very archemical process, if you think about it.
So, Mr. Leiterman, what is the answer ...?
What did you say the question was?
Tony Westman
OTTAWA
The National Film Archives acquires the Canadian Film Archives
In October, after lengthy negotiations, the National Film Archives in Ottawa
acquired the Canadian Film Archives (a division of the Canadian Film Institute).
The Canadian Film Archives is a comprehensive collection of over 5,000 films, 7,000 books, 800 periodicals, 110,000 stills and some 80,000 files on film and television.
The collection includes films like the 30-second film completed in 1895 entitled The Kiss, one of the first motion pictures ever made.
The Canadian Film Institute, a non-profit organization established in 1935 will now concentrate on the distribution of its film library and exhibition (such as the National Film Theatre and Filmexpo) and _ publication programs.
Recently, the CFI had financial problems and found it difficult to maintain its archives collection and reference library without increased government support.
The Canadian Film Institute started its archives in 1964 with Peter Morris as Curator because there was no government agency doing so. It was only in 1972 that the NFA commenced its archives. The two agencies were duplicating each other’s archives and that is why it was decided to absorb the CFA into the NFA. Also, archives work — namely cataloguing and conserving and transferring nitrate stock to safety film is an expensive and long range project, and its nice to have government support for it.
But, the chief of the National Film Archives, Sam Kula said, “all the information files and books won’t be physically moved from the Canadian Film Institute until we can offer the same level of service that was offered by the CFI”’.
The acquisition of the Canadian