Cinema Canada (Jun-Jul 1977)

Page scan 00048 from Cinema Canada

Record Details:

Title:
Cinema Canada
Date:
Jun-Jul 1977
Volume:
Cinema Canada (Jun-Jul 1977)
Leaf #:
00048
Language:
English
Collection:
Global Cinema, Canada, and Hollywood Studio System
Format:
Periodicals
Contributor:
Media History Digital Library, Canadian Media Magazines Project, Conorr Norquay, 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:
May 23, 2025
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Since such is the case... Film production — whether professional or independent — fairly accurately reflects the concerns of its creators. Every film conveys directly social, political, economic and cultural determinisms which are the product of the society in which these films are created. One thing I find quite reassuring, nowadays, in Quebec’s independent filmmaking; the young people have stopped dreaming about vast and romantic films, featuring the comeliest stars and shot with the largest cameras. They want to make films which relate to people; they want to film life; they want to make the very daily business of living the topic of their work. Although there is still a lot of probing and hesitation, you can feel the orientation all the same. In that respect, Quebec filmmakers can only be inspired by the heroic struggle started some twenty years ago by Independent Views Three Programs of Short Canadian Independant Films* Program I (94-'2 minutes) 1. Life Times Nine (1973, 14 min., color) Produced by Insight Films 2. Le scrapeur (1976, 20 min., b&w, French) by Bruno Carriere 3. Logo & Je suis moi (1973, 6-1/2 min., color, French) designed and animated by Quebec Love 4, Sosoon (1974, 8 min., b&w) Computer animation by Georges Singer 5. Fracture (1973, 11 min., color, silent) by David Rimmer 6. Bridal Shower (1971, 23 min., color) by Sandy Wilson 7. Thought (1976, 4 min., b&w) Animated by Darcia Labrosse 8. Revisited (1974, 8 min., color) by Joyce Borenstein Program ITI (9-3 minutes) 1. Second Impressions (1975, 9 min., color) by Lorne Marin 2. Wild Sync (1972-3, 11 min., color) by Rick Hancox 3. Standard Time (1967, 8 min., color) by Michael Snow 4. How the Hell Are You ? (1972, 12 min., color) Anim. Veronika Soul 5. Black Forest Trading Post (1975-76, 4-1/2 min.. color) by Andrew Lugg such people as Brault, Groulx, Jutra and others, a struggle which made the first breach in the wall of tradition and constitutes the true beginnings of Quebec filmmaking. Besides, in fighting against hostile elements within the NFB, these pioneers were forced to act as craftsmen. It is easy to forget that Brault, Groulx and Carriére, as they filmed Les raquetteurs, fought a battle well worth keeping in mind today. For this was not a battle about a single film. It was a battle aimed at changing the rules of film production. What is more encouraging is that the young Quebec filmmakers have taken to the more vigorous tradition of Quebec cinema. If they are given the time and the means, they may be one day the pillars of a cinema which will bear witness to a society in transformation. Jean-Pierre Bastien 6. Hallowe’en (1976, 2-1/2 min., color) Erindale Class Project 7. Night of Samhain (1974. 13 min.. color) by Richard Patten 8. Les gens heureux n’ont pas d’histoire (1976, 33 min., b&w, French) by Paul Tana Program III (84 minutes) 1. Canadian Pacific (1974. 11 min., color. silent) by David Rimmer 2. Surreal (1975, 4 min., color) by Kim Cross. 3.Revival (1965, 12 min., b&w) by Don Shebib 4. At 99: A Portrait of Louise Tandy Murch (1974 24 min., color) by Deepa Saltzman 5. Symbiosis (1973, 3 min., color) Animated by David Cox 6. Wild Onions (9 min.) Animated by Greg Hill 7.Da Da Da (1975, 1-1/2 min., color) Animated by Peter Hudeki, Greg Miller 8.98. 3 KHz: Bridge at Electrical Storm (1966-1973, 12 min., color) by Al Razutis 9. Limited Engagement (1976, 6-1/2 min., b&w) by Tom Braidwood * organized by the National Film Board es Canada and the Art Gallery of Ontario distributed by the Canadian Pini AE Distribution Centre Summer 1977 / 49