Bibliographies thématiques / National Film Board of Canada. French Production / Articles de revues
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Articles de revues sur le sujet « National Film Board of Canada. French Production »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 31 juillet 2025

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1

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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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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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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Hackett, Lisa J., and Jo Coghlan. "Why <em>Monopoly</em> Monopolises Popular Culture Board Games." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2956.

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Introduction Since the early 2000s, and especially since the onset of COVID-19 and long periods of lockdown, board games have seen a revival in popularity. The increasing popularity of board games are part of what Julie Lennett, a toy industry analyst at NPD Group, describes as the “nesting trend”: families have more access to entertainment at home and are eschewing expensive nights out (cited in Birkner 7). While on-demand television is a significant factor in this trend, for Moriaty and Kay (6), who wouldn’t “welcome [the] chance to turn away from their screens” to seek the “warmth and conne
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Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d
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Polain, Marcella Kathleen. "Writing with an Ear to the Ground: The Armenian Genocide's "Stubborn Murmur"." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.591.

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1909–22: Turkey exterminated over 1.5 million of its ethnically Armenian, and hundreds of thousands of its ethnically Greek and Assyrian, citizens. Most died in 1915. This period of decimation in now widely called the Armenian Genocide (Balakian 179-80).1910: Siamanto first published his poem, The Dance: “The corpses were piled as trees, / and from the springs, from the streams and the road, / the blood was a stubborn murmur.” When springs run red, when the dead are stacked tree-high, when “everything that could happen has already happened,” then time is nothing: “there is no future [and] the
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Goodall, Jane. "Looking Glass Worlds: The Queen and the Mirror." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1141.

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As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure b
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Collins, Steve. "Recovering Fair Use." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.105.

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IntroductionThe Internet (especially in the so-called Web 2.0 phase), digital media and file-sharing networks have thrust copyright law under public scrutiny, provoking discourses questioning what is fair in the digital age. Accessible hardware and software has led to prosumerism – creativity blending media consumption with media production to create new works that are freely disseminated online via popular video-sharing Web sites such as YouTube or genre specific music sites like GYBO (“Get Your Bootleg On”) amongst many others. The term “prosumer” is older than the Web, and the conceptual co
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