Cinema Canada (Nov 1975)

Page scan 00030 from Cinema Canada

Record Details:

Title:
Cinema Canada
Date:
Nov 1975
Volume:
Cinema Canada (Nov 1975)
Leaf #:
00030
Language:
English
Collection:
Hollywood Studio System, Canada, and Global Cinema
Format:
Periodicals
Contributor:
Media History Digital Library, Canadian Media Magazines Project, Paul Moore and Jessica Whitehead
Coordinator:
Media History Digital Library
Description:

Cinema Canada

Earlier Title: Canadian Cinematography (1961-67)

Cinema Canada (1967-89) was the primary trade journal for film and television production in Canada. The magazine originated as Canadian Cinematography (1961-67), published by the Canadian Society of Cinematographers, but was renamed to appeal to a wider readership and to recognize a degree of maturity of the national film production industry. Cinema Canada hosted a new slate of stridently nationalist film critics, scholars and writers. The magazine’s emergence coincided with a threshold, of sorts, when a national cinema became recognizable in character as having an independence from Hollywood genres, even if output remained relatively small in quantity. The publication’s archives are housed at the Toronto International Film Festival’s Film Reference Library.

– Paul Moore, 2024

Date Added:
August 15, 2024
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wo takes Awards, the film opened simultaneously in Toronto, Montreal and Quebec City in October. In the following two interviews, Jutra speaks of his film, his critics and the film industry. ES Sk i Rs ae TTS CAR BOE ELE Se ST OL ANE Sy An Interview by Peter Wronski On September 15, Claude Jutra’s new film, Pour le meilleur et pour le pire, was screened for the first time in Canada at the Stratford International Film Festival. The next morning I was driving with Jutra back to Malton airport. I had a Nagra in the car and I asked him if he’d mind if we taped an interview on the way. I drove while Jutra changed tapes and ran the machine. Was last night the first time Pour le meilleur et pour le pire was shown? Jutra: To an audience, yes. It was also shown at the film market in Cannes. What was the reception like in Cannes? Jutra: It was bad in general. You say Quebec people love their own films but it’s not quite true. There are some newspaper people, among others, who are kind of eager to find films to pan, and they are panning this one. What about the reception last night in Stratford? Jutra: Last night it was wonderful. I hope all audiences will react as the one did last night. I was very pleased. Why did you decide to split time in the film? Jutra: I was just having fun; fooling around with time. It was the little touch of symbolism where one day is supposed to represent a whole married life. There is nothing more to it than that. Who or what is the mad woman who makes those mysterious appearences in the film? Jutra: Well, on one hand she is a symbol, on the other she is also a very real person. I had a crazy woman running Peter Wronski is a second year student at the University of Toronto in Film and Political Science and a film critic for the Varsity Review. He has made several short 16mm films. november 1975/31