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Relevant bibliographies by topics / Canadian Television plays

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Academic literature on the topic 'Canadian Television plays'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "Canadian Television plays"

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Kirkley, Richard Bruce. "John Hirsch and the Critical Mass: Alternative Theatre on CBC Television in the 1970s." Theatre Research in Canada 15, no. 1 (1994): 75–95. http://dx.doi.org/10.3138/tric.15.1.75.

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This article examines John Hirsch's attempts to bring Canadian theatre artists and stage plays to television during his tenure, as Head of CBC English Language Television Drama in the 1970s. When the CBC appointed John Hirsch, they gave him a strong mandate to strengthen the drama department's relationship with Canadian theatre by bringing some of the best plays and performances to television, and by recruiting new talent from the theatre. To fulfill this mandate, Hirsch initiated a bold, comprehensive strategy; yet a series of historical forces, ranging from financial and economic to cultural

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Kirkley, Richard Bruce. "A Catalogue of Canadian Stage Plays on English Canadian Television, 1952 to 1987." Theatre Research in Canada 15, no. 1 (1994): 96–108. http://dx.doi.org/10.3138/tric.15.1.96.

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Reid, Gregory J. "Face to Face: A Conversation With Vittorio Rossi." Theatre Research in Canada 21, no. 2 (2000): 177–94. http://dx.doi.org/10.3138/tric.21.2.177.

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With productions of nine of his plays behind him (including his translation of Eduardo de Filippo's Filumena for the Stratford Festival in 1997), playwright and actor Vittorio Rossi has become one of Canada's best-known dramatists of Italian origin. He began his writing career by winning the Best New Play Award at the Quebec Drama Festival twice: for "Little Blood Brother" in 1986 and for "Backstreets" in 1987. His first full-length play, The Chain, broke attendance records at Centaur Theatre, English Quebec's main stage. His most acclaimed drama, The Last Adam, won the Canadian Authors Associ

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Lothamer, Hailey. "Section 35 of the Canadian Constitution Act and Indigenous Self-Determination in Canada." Political Science Undergraduate Review 6, no. 1 (2021): 14–21. http://dx.doi.org/10.29173/psur183.

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This research paper analyzes the impacts of Section 35 of the Canadian Constitution on the enhancement of Indigenous rights in Canadian politics. As outlined in Section 35, Indigenous rights are recognized as pre-existing prior to the Constitution Act of 1982 and the identity of Aboriginal, Inuit and Métis peoples are defined. Academic literature, television broadcasts, and personal accounts of the implementation and effects of Section 35 were used to conduct this research and investigate the origins of this section in the Constitution. Notably, this analysis demonstrated that the inclusion of

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5

Owram, Douglas. "The Myth of Louis Riel." Canadian Historical Review 102, s1 (2021): s181—s198. http://dx.doi.org/10.3138/chr-102-s1-014.

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In recent years Louis Riel has become somewhat of a Canadian folk hero. At the official, scholarly, and popular levels the rebel hanged in 1885 has become the subject of much attention. Manitoba and Saskatchewan, the site of his two uprisings, have commemorated him in statue while the federal government which allowed his execution to take place in the 1880s has, in the 1980s, designated Batoche a national historic site. Canadian government money has also provided a half million dollar grant designed to allow the compilation and publication of all of Riel’s writings. Such scholarly and official

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6

Dean, David. "Theatre: A Neglected Site of Public History?" Public Historian 34, no. 3 (2012): 21–39. http://dx.doi.org/10.1525/tph.2012.34.3.21.

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Abstract Although theatrical representations of the past have been examined by theatre and performance studies scholars, public historians have preferred to focus on historical re-enactments in living history sites, museums, or on film and television. This article argues that theatre is a compelling site for representing and understanding the past through a case study of one of the most performed plays in recent Canadian repertoire, Vern Theissen's Vimy. Drawing on a survey of audience members and the author's experiences as an academic historian working with a national theatre company, it pro

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7

O'Neill, Brenda. "The Media’s Role in Shaping Canadian Civic and Political Engagement." Canadian Political Science Review 3, no. 2 (2009): 105–27. http://dx.doi.org/10.24124/c677/2009139.

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This article represents a modest attempt at establishing the role that the media plays in shaping political and civic engagement in Canada. The findings suggest that more focused attention to the media’s role would likely reap significant benefits in furthering our understanding of participation behaviour at the individual level. One of the questions framing this investigation is whether the media play a role in shaping the political and civic engagement of Canadians. The evidence suggests that they do. The media types employed by Canadians to follow politics and the frequency with which they

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MacMurraugh-Kavanagh, Madeleine, and Stephen Lacey. "Who Framed Theatre? The ‘Moment of Change’ in British TV Drama." New Theatre Quarterly 15, no. 1 (1999): 58–74. http://dx.doi.org/10.1017/s0266464x00012653.

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It has long been the received wisdom that television drama has become increasingly ‘filmic’ in orientation, moving away from the ‘theatrical’ as its point of aesthetic reference. This development, which is associated with the rejection of the studio in favour of location shooting – made possible by the increased use of new technology in the 1960s – and with the adoption of cinematic as opposed to theatrical genres, is generally regarded as a sign that the medium has come into its own. By examining a key ‘moment of change’ in the history of television drama, the BBC ‘Wednesday Play’ series of 1

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9

Stephenson, Jenn. "Hearing Hope: Metatheatrical Utopias in the ‘Staging’ of Radio Drama." New Theatre Quarterly 26, no. 1 (2010): 49–60. http://dx.doi.org/10.1017/s0266464x10000059.

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The radio play has long survived the competition from television in Britain, and also has a long tradition in the German-speaking world in the form of the Hörspiel – but its strength has lain precisely in demanding a visual contribution from the listener's imagination. What happens when a radio play is ‘staged’ before a live audience? In 2005, under commission from the Royal Festival Hall, the composer Carter Burwell proposed writing a sound score for new plays; and under the banner of Theatre of the New Ear, he recruited his long-time collaborators on film, Charlie Kaufman and Joel and Ethan

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10

Potvin Kent, Monique, and Clive Velkers. "Not Just Fun and Games: Toy Advertising on Television Targeting Children Promotes Sedentary Play." Journal of Physical Activity and Health 14, no. 10 (2017): 773–78. http://dx.doi.org/10.1123/jpah.2017-0044.

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Objective:To examine the volume of television toy advertising targeting Canadian children and to determine if it promotes active or sedentary play, targets males or females more frequently, and has changed over time.Methods:Data for toy/game advertising from 27 television stations in Toronto for the month of May in 2006 and 2013 were licensed from Neilsen Media Research (Montreal, Quebec, Canada). A content analysis was performed on all ads to determine what age group and gender were targeted and whether physical or sedentary activity was being promoted. Comparisons were made between 2006 and

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Books on the topic "Canadian Television plays"

1

1951-, Hoyes Mima, ed. 3-d English: Contemporary Canadian scripts. Prentice Hall Canada, 1994.

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2

Miller, Mary Jane. Rewind and search: Conversations with the makers and decision-makers of CBC television drama. McGill-Queen's University Press, 1996.

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Miller, Mary Jane. Turn Up the Contrast: Cbc Television Drama Since 1952. Univ of British Columbia Pr, 1988.

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CBC television drama. Y.U.L.L. Publications], 1985.

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5

Brown, Amy Kathleen. The CRTC's 2004 incentive scheme for Canadian English-language television drama: A triumph of rhetoric over reason in policy implementation. 2006.

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6

Turn up the Contrast: CBC Television Drama Since 1952. University of British Columbia Press, 2011.

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Turn up the Contrast: Cbc Television Drama Since 1952. University of British Columbia Press, 2007.

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Turn up the Contrast. University of British Columbia Press, 2007.

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9

Maher, Mary Z. Actors Talk About Shakespeare. Limelight, 2009. https://doi.org/10.5040/9798765197394.

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Bravo, Shakespeare. Even today, his plays challenge celebrated actors to hone their skills and electrify audiences. Imagine the process actors undergo to recreate these spellbinding roles on stage. In an interview with the author, Kevin Kline declared that playing Shakespeare “uses a different muscle group in your head.” Actors Talk About Shakespeare features personal interviews with a stellar collection of prominent American, Canadian, and British performers of Shakespeare onstage, including Kevin Kline, Kenneth Branagh, Derek Jacobi, Stacy Keach, Zoe Caldwell, Martha Henry, William Hutt, Ton

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Ali, Christopher. The Policies of Localism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040726.003.0003.

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Chapters 2 through 5 house the case studies for the book. Each chapter is sub-divided by country to give the reader a detailed understanding of the dynamics at play. Chapter 2 assesses the structural regulation of local television by focusing on a key issue in the debate over local television. It thus considers the FCC’s quadrennial ownership reviews in the United States, the fee-for-carriage debate in Canada, and Ofcom’s reviews of public service broadcasting in the United Kingdom. This chapter also introduces two key terms: public good and market failure. The chapter demonstrates how the loc

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Book chapters on the topic "Canadian Television plays"

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Alexandrowicz, Conrad. "Considering Gay Realisms in Canadian Theater." In The Oxford Handbook of Global Realisms. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197610640.013.37.

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Abstract In this chapter the author reviews in brief the history of realist representation in the theater, the criteria for which emerged in classical Greece, in particular in the fragmentary text that is the Poetics, by philosopher Aristotle. Realism is a relatively recent arrival on the scene of theatrical practice and remains only one style among many when considered globally. Despite vigorous and successful explorations in various expressive directions, it remains the dominant form of theatrical expression in North America, often following the procedures employed in film and television. Fo

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Goldstein, Jeffrey. "Introduction." In Why We Watch. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195118209.003.0001.

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Abstract Violent entertainment is never absent for long from the public agenda. Today violent entertainment is much in the news on both sides of the Atlantic and around the world. Much publicity has been given to studies of violence in children’s television, and to the fear that violent films and video games have given rise to recent murders by young boys in England, the Netherlands, Norway, and the United States. According to Market Focus: Toys (Feb. 1995), “if there is one issue confronting toymakers and entertainment producers right now, it is the level of violence that children are exposed

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Conference papers on the topic "Canadian Television plays"

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Mira Rico, Juan Antonio. "Defensive architecture and heritage education: analysis of the National Park Service and Parks Canada actions." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15263.

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Defensive architecture is a heritage typology of great interest for society due to various reasons, such as its monumentality, history, beauty or ability to fascinate thanks to cinema, literature or television. Like other cultural assets, its management is based on research, preservation, restoration, didactics, dissemination and participation following current approaches. In this sense, heritage education plays a fundamental role since it is a tool that connects cultural heritage with people. This fact becomes a key aspect to guarantee its knowledge, preservation, use and enjoyment over time.

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