Relevant bibliographies by topics / National Film Board of Canada. French Production

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Academic literature on the topic 'National Film Board of Canada. French Production'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "National Film Board of Canada. French Production"

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Field, Russell. "Representing “The Rocket”: The Filmic Use of Maurice Richard in Canadian History." Journal of Sport History 41, no. 1 (2014): 15–28. http://dx.doi.org/10.5406/jsporthistory.41.1.15.

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Abstract In the late 1950s, a team of French-Canadian filmmakers at the National Film Board of Canada (NFB) began working in the new techniques of cinema verité (direct cinema). They focused their cameras on moments of everyday life, capturing folkloric elements of Québécois culture as well as sporting moments. One figure who appears in a number of productions is Maurice “The Rocket” Richard, star forward with the National Hockey League’s Montreal Canadiens and an iconic figure in French-Canadian society at a time when nationalist sentiments were bubbling to the surface. This paper examines tw
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2

Freeman, Hugh. "Beautiful Dreamers. A Rediscovery of Love and Compassion (Blue Dolphin Film Distributors)." Psychiatric Bulletin 15, no. 4 (1991): 250–51. http://dx.doi.org/10.1192/pb.15.4.250.

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The National Film Board of Canada has a highly honourable record of making or promoting movies which would have been unlikely to survive through the millstones of commercial production. Although the credits of most films are of such Byzantine complexity that it is virtually impossible to work out who was responsible for anything, ‘Beautiful Dreamers’ seems to have resulted from a partnership between the Board, other public bodies, and commercial companies, and since a story set in a Canadian mental hospital in 1880 does not strike one as immediately bankable, that may have been just as well.
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Lipschutz, Ronnie D. "Film Review: Marie-Monique Robin (Director) The World According to Monsanto Ottawa, Ontario: National Film Board of Canada & various French and Belgian collaborators, 2008. 109 minutes." Organization & Environment 23, no. 1 (2010): 99–100. http://dx.doi.org/10.1177/1086026609358970.

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Herbert, Eugenia W. "A Time There Was/En ceTemps-là. National Film Board of Canada Production, 2009. 87 min. Color. Written and Directed by Donald McWilliams. $17.95. DVD." African Studies Review 55, no. 1 (2012): 229–30. http://dx.doi.org/10.1353/arw.2012.0009.

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Mahmud Abiodun, Osho. "NOLLYWOOD MOVIES AND VALUE CHANGES AMONG YOUTHS IN NIGERIA: A CALL FOR POLICY REFORM." GOMBE JOURNAL OF ADMINISTRATION AND MANAGEMENT (GJAM) 7, no. 1 (2025): 115–27. https://doi.org/10.64290/gjam.v7i1.1259.

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This study investigates the regulatory gaps in Nollywood content production and their implications for youth development and national values in Nigeria. The primary objectives are to examine the current roles of existing regulatory bodies such as the National Film and Video Censors Board (NFVCB) and the National Broadcasting Commission (NBC), to identify policy gaps in media and cultural governance, and to propose actionable reforms for content regulation aimed at protecting Nigerian youth. Methodologically, the study adopts a qualitative approach, relying on documentary analysis of official r
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Graham, Catherine. "The Audience-driven Aesthetic of Recent Canadian Political Plays." Canadian Theatre Review 115 (June 2003): 57–61. http://dx.doi.org/10.3138/ctr.115.012.

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The 1996 National Film Board film, Fermano, His Life on Stage, features an important discussion between playwright David Fennario and the former artistic director of Montréal’s Centaur Theatre, Maurice Podbrey. In it Podbrey notes Fennario’s success at the Centaur theatre with such political plays as On the Job and Balconville. There can be little doubt about the political impact of Balconville in 1970s Québec: it was and remains one the most important works in the history of English-Canadian theatre history in that province. Produced at Montreal’s Centaur Theatre two years after the election
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Kaldjian, Paul. "“General, your tank needs a driver”: Three Films on Israel’s Refuser Movement - Raised to Be Heroes (Canada/Israel/Palestine) 2006 40 min. In English and Hebrew w/English subtitles. Director: Jack Silberman; Producer: Tracey Friessen. A National Film Board of Canada Production. US Distributor: Bullfrog Films, 372 Dautrich Road, Reading, PA 19606 (610 779-8226; fax: 620 370-1978; video@bullfrogfilms.com; www.bullfrogfilms.com). - Refuseniks (Israel/Palestine) 2006 56 min. Director/Producer: Sonja de Vries; Distributor: Reel Revolution Films, PO Box 1345, Prospect, KY 40059 (520 228-7123; info@reelrevolution.org; www.reelrevolution.org). - At the Green Line (Canada/lsrael/Palestine) 2005 53 min. In English and Hebrew. Director: Jesse Atlas; Distributor: Filmwest Associates, 2400 Hayman Road, Kelowna, BC V1Z Z18 Canada (1-888-982-3456; fax: 1-800-570-5505; info@filmwest.com; www.filmwest.com)." Review of Middle East Studies 43, no. 1 (2009): 60–65. http://dx.doi.org/10.1017/s2151348100000136.

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Gil, Ricard, and Jingyi Xing. "Political backlash and consumer boycotts: Evidence from the NFB relocation and movie demand in Canada." Canadian Journal of Economics/Revue canadienne d'économique, August 6, 2024. http://dx.doi.org/10.1111/caje.12730.

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AbstractIn this paper, we investigate the impact of the announcement in 1952 of a change in Canadian cultural policy, namely the reorganization of the National Film Board (NFB) and the move of its headquarters from Ottawa to Montréal, on movie demand. Using weekly box office revenue data for a subsample of movie theatres in Toronto and Montréal from 1945 to 1955, we estimate the impact of this policy change with a triple difference estimator and find that the NFB headquarters move in Canada was followed by a decrease in movie attendance for movies produced in anglophone countries and an increa
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9

Sulz, David. "The Hockey Sweater: 30th Anniversary Edition by R. Carrier." Deakin Review of Children's Literature 4, no. 3 (2015). http://dx.doi.org/10.20361/g2689p.

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Carrier, Roch. The Hockey Sweater: 30th Anniversary Edition. Illus. Sheldon Cohen. Trans. Sheila Fischman. Toronto: Tundra Books, 2014. PrintWhat can one say about “The Hockey Sweater”? Could we simply say it is “most beloved”? No, that was used by Ken Dryden. How about “undeniably a Canadian classic” or “iconic depiction of a truly Canadian experience”? Nope, both done ( by Stephen Harper and Justin Trudeau respectively). Maybe, “will always stand the test of time”? That was taken by Cassie Campbell-Pascall. Could we even go all out and call it the “Bible” of “the Canadian religion”? Roy MacG
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Champion, Katherine M. "A Risky Business? The Role of Incentives and Runaway Production in Securing a Screen Industries Production Base in Scotland." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1101.

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IntroductionDespite claims that the importance of distance has been reduced due to technological and communications improvements (Cairncross; Friedman; O’Brien), the ‘power of place’ still resonates, often intensifying the role of geography (Christopherson et al.; Morgan; Pratt; Scott and Storper). Within the film industry, there has been a decentralisation of production from Hollywood, but there remains a spatial logic which has preferenced particular centres, such as Toronto, Vancouver, Sydney and Prague often led by a combination of incentives (Christopherson and Storper; Goldsmith and O’Re
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Dissertations / Theses on the topic "National Film Board of Canada. French Production"

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York, Christine. "Voices and Silences: Exploring English and French Versions at the National Film Board of Canada, 1939-1974." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31195.

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Voices and Silences: Exploring English and French Versions at the National Film Board of Canada, 1939-1974 Abstract The National Film Board of Canada (NFB) is unique as a state-sponsored filmmaking institution for its bilingualism: it has consistently produced and distributed films in English and French and made versions of some of those films in the opposite language. This doctoral thesis fills a gap in existing literature on the NFB and in translation studies by taking the versions as its object of study. The corpus is drawn from the vast body of audiovisual productions made by the NFB betw
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Mak, Monica. "Racial diversity's journey to constancy : initiatives for redressing the colour imbalance in documentary filmaking at the National Film Board of Canada." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32928.

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This thesis explores the National Film Board's Cultural Diversity in Action Initiatives (1997-- ) whose aim is to redress the under-representation of filmmakers of colour in the English Program's documentary film production streams. Focusing on how these strategies and objectives have broadly tried to promote racial diversity (for instance, one way is through the goal of having one of four filmmakers be a person of colour), this thesis proposes that these initiatives represent the NFB's most prominent and socially progressive raison d'etre for the late 1990s and the new millennium.
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Books on the topic "National Film Board of Canada. French Production"

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Froger, Marion. Le cinéma à l'épreuve de la communauté: Le cinéma francophone de l'Office national du film, 1960-1985. Presses de l'Université de Montréal, 2009.

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2

Véronneau, Pierre. Résistance et affirmation: La production francophone à l'ONF, 1939-1964. Cinémathèque québécoise/Musée du cinéma, 1987.

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3

Alan, Bibby, Krepakevich Jerry, Bibby Productions, and National Film Board of Canada., eds. The long walk [videorecording] / director, Alan Bibby ; a Bibby Production Ltd. and National Film Board of Canada co-production. National Film Board of Canada, 1998.

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4

Gerry, Flahive, McMahon Kevin, McMahon Michael, National Film Board of Canada., Primitive Features (Firm), and TVOntario, eds. Intelligence [videorecording] / director, Kevin McMahon ; produced by Primitive Features, in co-production with the National Film Board of Canada. National Film Board of Canada, 1998.

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5

Ann, Patten Lesley, CTV Televison, National Film Board of Canada., and Rising Productions, eds. Loyalties [videorecording] / directed, written and produced by Lesley Ann Patten ; produced by Rising Productions Limited in co-production with the National Film Board of Canada in association with CTV Television Inc. National Film Board of Canada, 1999.

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6

Defying the law [videorecording] / produced by Norflicks Productions in co-production with the National Film Board of Canada ; director, Marta Nielsen Hastings. National Film Board of Canada, 1997.

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Book chapters on the topic "National Film Board of Canada. French Production"

1

Aufderheide, Patricia. "Copyright, Self-Censorship, Fair Use, and Documentary Film." In The Oxford Handbook of American Documentary. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197554647.013.0005.

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Abstract Among the many governmental policies that profoundly affect the choices that documentary filmmakers can make, copyright policy looms large. This article discusses the role of exceptions and limitations to copyright monopoly for documentarians, particularly fair use, and particularly in the US context. Copyright especially plays a part in decisions about what to include in a documentary, and researchers have been active in connecting that cultural creation to policy decisions, especially in countries where grant access is crucial or there are institutions dedicated to documentary produ
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2

Marshall, Bill. "Worlds Within; In the World." In Cinéma-monde. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414982.003.0016.

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This epilogue underscores the fact that 'cinéma-monde' always came with a question mark: it was a hypothesis, a heuristic device, conjuring up a 'what would happen if' we looked at Francophone film production through a slightly different lens. Moving forward from this mapping of the possibilities of cinéma-monde while at the same time highlighting the persistence of the national, the essay proposes that one way to take ‘monde’ seriously is to situate Francophone film production within world history. An example taken is Chloé Leriche’s Avant les rues (2016, Canada), filmed in an Atikamekw commu
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