Cinema Canada (Mar-Apr 1975)

ORGANISATIONS IMPORTANT: Due to _ restrictions/ limitations and other sordid facts of life (see Editorial), we have been forced to cut the section of the magazine on Film Organizations drastically for this issue. However, we would like to reassure our readers that Issue No. 19 will again include a comprehensive section on organizations. (Apologies to all, but bear with us, please.) Ed. csc Stan Clinton CSC receives Life Membership Stan Clinton CSC was the first film cameraman to work for the C.B.C. in 1952. In his years with the Corporation, he was instrumental in raising the quality of film from primarily newsreel work to the level of producing award-winning documentaries and dramas. Stan has trained many assistant cameramen — some of whom are today Directors of Photography. He always drew the most challenging assignments and always turned in the superb quality he was known for throughout the years — right up to his last day on the job. Born and educated in Scotland, Stan received his film training by apprenticing himself to a Director of Photography for two years without pay or expenses. He worked for years in London making features, documentaries, staff-training films, promotional and advertising films for public and private distribution. Most of these films were made with a very good 3-colour system. Among his documentaries was an hour-long history of radio and television detailing the components and construction of a set right up to the blowing of the cathode ray tube and including a programme on the finished set. However, the Second World War interrupted the development of television, and Stan worked with the Crown Film Unit, mostly on training films for Black Africans. After the War, he became a Director of Marleybone Studios which produced features as well as the Dick Barton series. In 1951, Stan came to Canada with the intention of starting a film production company with a friend. This did not come about because of distribution problems, the almost immovable privileges of existing producers, and because film production in Canada was a dead-end street at the time. So, he joined the C.B.C. in 1952 where he continued working until May of 1974, when he got on sickleave. Stan retired on December 31, 1974. He has been active in the CSC for Roy Tash, Harry Makin, Stan Clinton and Walter Wicks 66 Cinema Canada se ssssSSsSSF—> years, held the office of President longer than anyone else (three consecutive years), and his fellow colleagues decided to award him a Life Membership in recognition of his considerable contribution to the art of Cinematography in Canada. Carol Betts joins CSC Carol Betts recently became the first female member of the Canadian Society of Cinematographers. Both the Society (170 male members) and Ms. Betts were equally overjoyed, and sincerely hope that her membership will be the start of a fast-growing movement on the part of women taking more and more active roles in cinematography. (See Issue No. 16 for an article on Carol Betts). CFM CCFM in Winnipeg The most important developments and recent activities of the Council are reported in the “‘Film News’”’ section of this issue in the article on the Canadian Film Symposium III held in Winnipeg last month. Please refer to those pages for this information. Dac Se Dear Members: We had an excellent turnout at the General Meeting on the 12th of February, and are proceeding on a number of fronts. — Negotiations are underway with the Canadian Association of Motion Picture Producers re their becoming signatories, as a body, to the Guild basic agreement. — The Trainee Assistant Director Course is now underway with tours of industry facilities and workshops being done this month. The intensive seminars planned will be finalized within the next few weeks. — The Guild has been making representations to Governments on a num a