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Journal articles on the topic 'Canadian Television plays'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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8

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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11

Mizrach, Steven. "Natives on the Electronic Frontier." M/C Journal 3, no. 6 (2000). http://dx.doi.org/10.5204/mcj.1890.

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Introduction Many anthropologists and other academics have attempted to argue that the spread of technology is a global homogenising force, socialising the remaining indigenous groups across the planet into an indistinct Western "monoculture" focussed on consumption, where they are rapidly losing their cultural distinctiveness. In many cases, these intellectuals - people such as Jerry Mander -- often blame the diffusion of television (particularly through new innovations that are allowing it to penetrate further into rural areas, such as satellite and cable) as a key force in the effort to "a

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12

Edge, Marc. "Public Benefits or Private? The Case of the Canadian Media Research Consortium." Canadian Journal of Communication 38, no. 1 (2013). http://dx.doi.org/10.22230/cjc.2013v38n1a2498.

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The broadcasting regulator Canadian Radio-Television and Telecommunications Commission established its Public Benefits program in the late 1970s. It eventually came to require a minimum 10 percent of the value of acquired broadcasting licences to be devoted to worthwhile initiatives. A portion of a CAD $230-million Public Benefits package in 2000 was devoted to funding a Canadian Media Research Consortium (CMRC) established between several universities. Mandated to “focus on the development of Canadian data for use in media planning,” the CMRC issued its first report in 2003, which was critici

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Brown, Adam, and Leonie Rutherford. "Postcolonial Play: Constructions of Multicultural Identities in ABC Children's Projects." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.353.

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In 1988, historian Nadia Wheatley and indigenous artist Donna Rawlins published their award-winning picture book, My Place, a reinterpretation of Australian national identity and sovereignty prompted by the bicentennial of white settlement. Twenty years later, the Australian Broadcasting Corporation (ABC) commissioned Penny Chapman’s multi-platform project based on this book. The 13 episodes of the television series begin in 2008, each telling the story of a child at a different point in history, and are accompanied by substantial interactive online content. Issues as diverse as religious diff

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14

Mullins, Kimberley. "The Voting Audience." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2716.

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   Political activity is expected to be of interest to a knowledgeable electorate, citizenry or ‘public’. Performance and entertainment have, on the other hand, been considered the domain of the ‘audience’. The line between active electorate and passive audience has been continually blurred, and as more political communication is designed along the lines of entertainment, the less likely it seems that the distinction will become clearer any time soon. The following article will attempt to thoroughly evaluate the contemporary implications of terms related to ‘public’ and ‘audi

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Mullins, Kimberley. "The Voting Audience." M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.23.

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Political activity is expected to be of interest to a knowledgeable electorate, citizenry or ‘public’. Performance and entertainment have, on the other hand, been considered the domain of the ‘audience’. The line between active electorate and passive audience has been continually blurred, and as more political communication is designed along the lines of entertainment, the less likely it seems that the distinction will become clearer any time soon. The following article will attempt to thoroughly evaluate the contemporary implications of terms related to ‘public’ and ‘audience’, and to suggest

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16

Taylor, AB, A. Chan, and EM Saewyc. "Role models and well-being among trans and non-binary youth." European Journal of Public Health 31, Supplement_3 (2021). http://dx.doi.org/10.1093/eurpub/ckab164.600.

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Abstract Background It is important for young people to see themselves represented in stories, on television and in different job opportunities, so they can have an awareness of what is possible. While we often hear the words “representation matters,” research on how representation affects health outcomes of trans and non-binary (TNB) youth is lacking. In this presentation, we will use the Social Cognitive Theory to identify how the presence of role models relates to social and health outcomes of TNB youth across Canada. Methods The 2019 online Canadian Trans Youth Health Survey included 1,519

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17

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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18

Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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19

Taylor, Nick. "LEGO and the Infrastructural Limits of Open Play." M/C Journal 26, no. 3 (2023). http://dx.doi.org/10.5204/mcj.2945.

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LEGO and Adult Hobbyism For much of its history, LEGO has been regarded as a – if not the – children’s toy. Partially through The LEGO Group (TLG)’s own careful deployment of research on constructivist learning, the building system’s recombinatory logic, bright colours, and foot-destroying durability have become associated with paradigmatic notions of what children’s play is and does (Giddings; Maddalena). And yet the world of adult LEGO hobbyism is complex, rich, and worthy of scholarly attention in its own regard. As recent headlines about the popularity of toys among adults have indicated,

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20

Blackwood, Gemma. "<em>The Serpent</em> (2021)." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2835.

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The Netflix/BBC eight-part limited true crime series The Serpent (2021) provides a commentary on the impact of the tourist industry in South-East Asia in the 1970s. The series portrays the story of French serial killer Charles Sobhraj (played by Tahar Rahim)—a psychopathic international con artist of Vietnamese-Indian descent—who regularly targeted Western travellers, especially the long-term wanderers of the legendary “Hippie Trail” (or the “Overland”), running between eastern Europe and Asia. The series, which was filmed on location in Thailand—in Bangkok and the Thai town of Hua Hin—is set

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21

Brien, Donna Lee. "A Taste of Singapore: Singapore Food Writing and Culinary Tourism." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.767.

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Introduction Many destinations promote culinary encounters. Foods and beverages, and especially how these will taste in situ, are being marketed as niche travel motivators and used in destination brand building across the globe. While initial usage of the term culinary tourism focused on experiencing exotic cultures of foreign destinations by sampling unfamiliar food and drinks, the term has expanded to embrace a range of leisure travel experiences where the aim is to locate and taste local specialities as part of a pleasurable, and hopefully notable, culinary encounter (Wolf). Long’s foundati

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22

Karl, Irmi. "Domesticating the Lesbian?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2692.

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   Introduction There is much to be said about house and home and about our media’s role in defining, enabling, as well as undermining it. […] For we can no longer think about home, any longer than we can live at home, without our media. (Silverstone, “Why Study the Media” 88) For lesbians, inhabiting the queer slant may be a matter of everyday negotiation. This is not about the romance of being off line or the joy of radical politics (though it can be), but rather the everyday work of dealing with the perception of others, with the “straightening devices” and the violence th

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Davies, Alex, and Alexandra Lara Crosby. "Art Is Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3003.

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Magic and art are products of human connection with the universe, offering answers to questions of meaning and working in interstices between fiction and reality. Magic can and does permeate all forms of media and is depicted as both entertaining and dangerous, as shaping world views, and as practised by a vast array of individuals and groups across cultures. Creative practices in cinema, radio, and installation art suggest that deceptive illusions created through magic techniques can be an effective means of creating compelling and engaging media experiences. It is not surprising, then, that

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24

Moore, Christopher Luke. "Digital Games Distribution: The Presence of the Past and the Future of Obsolescence." M/C Journal 12, no. 3 (2009). http://dx.doi.org/10.5204/mcj.166.

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A common criticism of the rhythm video games genre — including series like Guitar Hero and Rock Band, is that playing musical simulation games is a waste of time when you could be playing an actual guitar and learning a real skill. A more serious criticism of games cultures draws attention to the degree of e-waste they produce. E-waste or electronic waste includes mobiles phones, computers, televisions and other electronic devices, containing toxic chemicals and metals whose landfill, recycling and salvaging all produce distinct environmental and social problems. The e-waste produced by games

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Nolan, Huw, Jenny Wise, and Lesley McLean. "The Clothes Maketh the Cult." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2971.

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Introduction Many people interpret the word ‘cult’ through specific connotations, including, but not limited to, a community of like-minded people on the edge of civilization, often led by a charismatic leader, with beliefs that are ‘other’ to societal ‘norms’. Cults are often perceived as deviant, regularly incorporating elements of crime, especially physical and sexual violence. The adoption by some cults of a special uniform or dress code has been readily picked up by popular culture and has become a key ‘defining’ characteristic of the nature of a cult. In this article, we use the semiotic

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Molnar, Tamas. "Spectre of the Past, Vision of the Future – Ritual, Reflexivity and the Hope for Renewal in Yann Arthus-Bertrand’s Climate Change Communication Film "Home"." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.496.

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About half way through Yann Arthus-Bertrand’s film Home (2009) the narrator describes the fall of the Rapa Nui, the indigenous people of the Easter Islands. The narrator posits that the Rapa Nui culture collapsed due to extensive environmental degradation brought about by large-scale deforestation. The Rapa Nui cut down their massive native forests to clear spaces for agriculture, to heat their dwellings, to build canoes and, most importantly, to move their enormous rock sculptures—the Moai. The disappearance of their forests led to island-wide soil erosion and the gradual disappearance of ara

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Tofts, Darren, and Lisa Gye. "Cool Beats and Timely Accents." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.632.

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Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” tha

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