With its beginnings rooted in the languages and cultures of the French and English, Canadian cinema has, over time, become more representative, reflecting the interests and aspirations of Canada's many diverse communities and identities. In One Hundred Years of Canadian Cinema, George Melnyk offers a twenty-first-century perspective on a fascinating film tradition, the distinctness of which has attracted the attention of the global cinematic community.Melnyk's historical survey is comprehensive in its cinematic scope. He examines the achievement of dramatic, documentary, and experimental filmmaking from the earliest days until the present, giving due attention to the cinemas of Quebec and to the cultural, political, and theoretical trends that have shaped contemporary film in Canada. Following an interpretive approach, Melnyk explores the beginnings of a national cinema in the silent era at the end of the nineteenth century; the dynamics of the industry in the 1920s, which provide a model for the industry's overall development; the rise of the NFB; the birth of a successful feature-film industry in Quebec in the forties; the tax-shelter era of the seventies; Canada's achievements in animation; and the important contributions of key feature films and their directors in articulating insights into the cultural grammars found in Canadian society throughout the past century.Drawing on the insights of scholars, critics, and filmmakers to provide a coherent appraisal of the state of the film industry and Canada's cinematic art as it enters its second century, Melnyk weaves the history of English and French Canada together in an attempt to understand the achievements and, ultimately, the failures of a 'national cinema'. From Neighbours to Crash, Pour la suite du monde to Atanarjuat, and Goin' Down the Road to Maelström, Melnyk argues passionately that Canadian cinema has never been a singular entity, but has continued to speak in the languages and in the voices of Canada's diverse population. It is only through an ongoing and deepening exploration of diversity in Canadian film that its survival and evolution can be ensured.

One Hundred Years of Canadian Cinema

Arts & Photography

Melnyk, George

History & Criticism

University of Toronto Press

With its beginnings rooted in the languages and cultures of the French and English, Canadian cinema has, over time, become more representative, reflecting the interests and aspirations of Canada's many diverse communities and identities. In One Hundred Years of Canadian Cinema, George Melnyk offers a twenty-first-century perspective on a fascinating film tradition, the distinctness of which has attracted the attention of the global cinematic community.
Melnyk's historical survey is comprehensive in its cinematic scope. He examines the achievement of dramatic, documentary, and experimental filmmaking from the earliest days until the present, giving due attention to the cinemas of Quebec and to the cultural, political, and theoretical trends that have shaped contemporary film in Canada. Following an interpretive approach, Melnyk explores the beginnings of a national cinema in the silent era at the end of the nineteenth century; the dynamics of the industry in the 1920s, which provide a model for the industry's overall development; the rise of the NFB; the birth of a successful feature-film industry in Quebec in the forties; the tax-shelter era of the seventies; Canada's achievements in animation; and the important contributions of key feature films and their directors in articulating insights into the cultural grammars found in Canadian society throughout the past century.
Drawing on the insights of scholars, critics, and filmmakers to provide a coherent appraisal of the state of the film industry and Canada's cinematic art as it enters its second century, Melnyk weaves the history of English and French Canada together in an attempt to understand the achievements and, ultimately, the failures of a 'national cinema'. From Neighbours to Crash, Pour la suite du monde to Atanarjuat, and Goin' Down the Road to Maelström, Melnyk argues passionately that Canadian cinema has never been a singular entity, but has continued to speak in the languages and in the voices of Canada's diverse population. It is only through an ongoing and deepening exploration of diversity in Canadian film that its survival and evolution can be ensured.

Co-ops in capitalist and communist nations are assessed for strengths and drawbacks. A fascinating look at co-operative forms as diverse as the kibbutz in Israel, the Kolkhoz of the former Soviet Union, the Basque co-ops in Spain, and the Hutterite communities of Western Canada. "A fascinating social history of co-operatives, from monastery to commune."--Choice

The Search For Community: From Utopia to a Co-operative Society

Business & Money

Economics

Black Rose Books

SEARCH FOR COMMUNITY

Politics & Social Sciences

Social Sciences

The essays in New Moon at Batoche look back at 30 years of Western Canadian identity and alienation through literature, politics, history and personal confession.

New Moon at Batoche: Reflections on the Urban Prairie

Literature & Fiction

Banff Centre Pr

Transformative Cinema of Alejandro Jodorowsky, The

Alejandro Jodorowsky is a theatre director, writer of graphic novels and comics, novelist, poet, and an expert in the Tarot. He is also an auteur filmmaker who garnered attention with his breakthrough film El Topo in 1970. He has been called a "cult" filmmaker, whose films are surreal, hallucinatory, and provocative. The Transformative Cinema of Alejandro Jodorowsky explores the ways in which Jodorowsky's films are transformative in a psychologically therapeutic way. It also examines his signature style, which includes the symbolic meaning of various colors in which he clothes his actors, the use of his own family members in the films, and his casting of himself in leading roles. This total involvement of himself and his family in his auteur films led to his psycho-therapeutic theories and practices: metagenealogy and psychomagic. This book is the only the second book in the English language in print that deals with all of Jodorowsky's films, beginning with his earliest mime film in 1957 and ending with his 2019 film on psychomagic. It also connects his work as a writer and therapist to his films, which themselves attempt to obliterate the line between fantasy and reality.

Humor & Entertainment

Movies

Bloomsbury Academic

The events of September 11, 2001, left 3000 Americans dead and resulted in the "War on Terror," which Canada joined. After the initial shock and disbelief over what had happened, personal and public responses ranged from deep sympathy for the victims to an acknowledgement that the U.S. had finally tasted the kind of horror that many other countries in the world have experienced. A debate ensued in Canada about the kind of response the country should undertake, about the explanations for the events and the implications new security and surveillance measures would have for established freedoms and the values of civil society. This volume collects this wide range of reaction and opinion about the impact of September 11th on Canada and provides readers with a variety of insights into the emotional, intellectual and institutional challenges that face Canada. The response of Canadians recorded here offers hope that out of the tragedy of September 11th and its aftermath in Afghanistan will come positive developments that enhance our common humanity. The smoke gushing from the World Trade Center towers and billowing down Manhattan streets and rising up from the walls of the Pentagon brought new anxieties to everyone in the world on September 11, 2001. For Canadians it was a tragedy striking our closest neighbor and our largest economic and most intimate military partner. Although Canadians died in the World Trade Center, along with people from many other countries, cultures and different religions, Canadians first saw these events as an attack on America. But as the knowledge of Bin Laden and his network clarified, an understanding grew that it was western culture, which forms a large portion of the diverse Canadian cultural mix, that was really the target. It was not just an attack on the United States of America; it was part of a plan by one group holding a distorted view of Islam to cleanse the world - Canada included.

Canada and September 11: Impact and Response

Kassam, Karim-Aly

Perras, Lynne

Politics & Government

Brush Education

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