Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46

My first rendezvous with Canadian cinema was in the late 1970s and early 1980s as a young immigrant arriving in Canada from war-torn Lebanon. I remember taking two courses on Canadian film at York University, both of which gave me the impression that this cinema only began to materialize sometime in...

Full description

Autores:
Tipo de recurso:
Book
Fecha de publicación:
2007
Institución:
Universidad de Bogotá Jorge Tadeo Lozano
Repositorio:
Expeditio: repositorio UTadeo
Idioma:
eng
OAI Identifier:
oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/16023
Acceso en línea:
https://www.jstor.org/stable/j.ctv6gqtgt
http://hdl.handle.net/20.500.12010/16023
https://doi.org/10.2307/j.ctv6gqtgt
Palabra clave:
Working class in motion pictures
National Film Board of Canada
Trabajadores en el cine
Cine -- Canada -- Historia
National Film Board of Canada - Historia
Rights
License
Abierto (Texto Completo)
id UTADEO2_fa7b42d970c6ce1337520607f6fb7d06
oai_identifier_str oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/16023
network_acronym_str UTADEO2
network_name_str Expeditio: repositorio UTadeo
repository_id_str
dc.title.spa.fl_str_mv Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
title Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
spellingShingle Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
Working class in motion pictures
National Film Board of Canada
Trabajadores en el cine
Cine -- Canada -- Historia
National Film Board of Canada - Historia
title_short Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
title_full Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
title_fullStr Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
title_full_unstemmed Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
title_sort Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
dc.subject.spa.fl_str_mv Working class in motion pictures
National Film Board of Canada
topic Working class in motion pictures
National Film Board of Canada
Trabajadores en el cine
Cine -- Canada -- Historia
National Film Board of Canada - Historia
dc.subject.lemb.spa.fl_str_mv Trabajadores en el cine
Cine -- Canada -- Historia
National Film Board of Canada - Historia
description My first rendezvous with Canadian cinema was in the late 1970s and early 1980s as a young immigrant arriving in Canada from war-torn Lebanon. I remember taking two courses on Canadian film at York University, both of which gave me the impression that this cinema only began to materialize sometime in the 1970s with the making of films like Goin’ Down the Road, Paperback Hero, and Mon Uncle Antoine, along with several others. Of course, there were occasional references to a John Grierson and an NFB (National Film Board of Canada), but I do not recall any substantive talk on a serious Canadian cinema that existed before the making of these celebrated films. As a young film enthusiast in Sidon, a coastline city on the eastern Mediterranean, I had the privilege of sampling all kinds of films, including some shown in local cultural clubs and libraries. This allowed me to view and appreciate documentary films at a relatively young age. Frequently, this also gave me the opportunity to linger after the screenings to listen to some very heated discussions about the films and their social and political significance. Within a setting engulfed in political strife and a Middle East in constant turmoil, to be directly engaged in politics was part of life, even for a well-pampered middle-class kid like myself. As a result, appreciating how politics unswervingly impacted culture and how culture impacted politics came to me as part of a natural learning process and experience. This politically charged background, however, put me in an awkward position once I began to study film in a Canadian university setting.
publishDate 2007
dc.date.created.none.fl_str_mv 2007
dc.date.accessioned.none.fl_str_mv 2020-11-25T15:06:56Z
dc.date.available.none.fl_str_mv 2020-11-25T15:06:56Z
dc.type.coar.spa.fl_str_mv http://purl.org/coar/resource_type/c_2f33
format http://purl.org/coar/resource_type/c_2f33
dc.identifier.isbn.none.fl_str_mv 978-55238-99
dc.identifier.other.none.fl_str_mv https://www.jstor.org/stable/j.ctv6gqtgt
dc.identifier.uri.none.fl_str_mv http://hdl.handle.net/20.500.12010/16023
dc.identifier.doi.none.fl_str_mv https://doi.org/10.2307/j.ctv6gqtgt
identifier_str_mv 978-55238-99
url https://www.jstor.org/stable/j.ctv6gqtgt
http://hdl.handle.net/20.500.12010/16023
https://doi.org/10.2307/j.ctv6gqtgt
dc.language.iso.spa.fl_str_mv eng
language eng
dc.rights.coar.fl_str_mv http://purl.org/coar/access_right/c_abf2
dc.rights.local.spa.fl_str_mv Abierto (Texto Completo)
dc.rights.creativecommons.none.fl_str_mv https://creativecommons.org/licenses/by-nc-nd/4.0/
rights_invalid_str_mv Abierto (Texto Completo)
https://creativecommons.org/licenses/by-nc-nd/4.0/
http://purl.org/coar/access_right/c_abf2
dc.format.extent.spa.fl_str_mv 298 páginas
dc.format.mimetype.spa.fl_str_mv application/pdf
dc.publisher.spa.fl_str_mv University of Calgary Press
institution Universidad de Bogotá Jorge Tadeo Lozano
bitstream.url.fl_str_mv https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16023/1/UofC_FilmingPolitics_2007.pdf
https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16023/2/license.txt
https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16023/3/UofC_FilmingPolitics_2007.pdf.jpg
bitstream.checksum.fl_str_mv f5a74013be970b836baa35e757bc404f
abceeb1c943c50d3343516f9dbfc110f
c321cf4b3baf2766b415c7b3d9506a12
bitstream.checksumAlgorithm.fl_str_mv MD5
MD5
MD5
repository.name.fl_str_mv Repositorio Institucional - Universidad Jorge Tadeo Lozano
repository.mail.fl_str_mv expeditio@utadeo.edu.co
_version_ 1814213541963497472
spelling 2020-11-25T15:06:56Z2020-11-25T15:06:56Z2007978-55238-99https://www.jstor.org/stable/j.ctv6gqtgthttp://hdl.handle.net/20.500.12010/16023https://doi.org/10.2307/j.ctv6gqtgtMy first rendezvous with Canadian cinema was in the late 1970s and early 1980s as a young immigrant arriving in Canada from war-torn Lebanon. I remember taking two courses on Canadian film at York University, both of which gave me the impression that this cinema only began to materialize sometime in the 1970s with the making of films like Goin’ Down the Road, Paperback Hero, and Mon Uncle Antoine, along with several others. Of course, there were occasional references to a John Grierson and an NFB (National Film Board of Canada), but I do not recall any substantive talk on a serious Canadian cinema that existed before the making of these celebrated films. As a young film enthusiast in Sidon, a coastline city on the eastern Mediterranean, I had the privilege of sampling all kinds of films, including some shown in local cultural clubs and libraries. This allowed me to view and appreciate documentary films at a relatively young age. Frequently, this also gave me the opportunity to linger after the screenings to listen to some very heated discussions about the films and their social and political significance. Within a setting engulfed in political strife and a Middle East in constant turmoil, to be directly engaged in politics was part of life, even for a well-pampered middle-class kid like myself. As a result, appreciating how politics unswervingly impacted culture and how culture impacted politics came to me as part of a natural learning process and experience. This politically charged background, however, put me in an awkward position once I began to study film in a Canadian university setting.298 páginasapplication/pdfengUniversity of Calgary PressWorking class in motion picturesNational Film Board of CanadaTrabajadores en el cineCine -- Canada -- HistoriaNational Film Board of Canada - HistoriaFilming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46Abierto (Texto Completo)https://creativecommons.org/licenses/by-nc-nd/4.0/http://purl.org/coar/access_right/c_abf2http://purl.org/coar/resource_type/c_2f33Khouri, MalekORIGINALUofC_FilmingPolitics_2007.pdfUofC_FilmingPolitics_2007.pdfVer libroapplication/pdf2421111https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16023/1/UofC_FilmingPolitics_2007.pdff5a74013be970b836baa35e757bc404fMD51open accessLICENSElicense.txtlicense.txttext/plain; charset=utf-82938https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16023/2/license.txtabceeb1c943c50d3343516f9dbfc110fMD52open accessTHUMBNAILUofC_FilmingPolitics_2007.pdf.jpgUofC_FilmingPolitics_2007.pdf.jpgIM Thumbnailimage/jpeg17087https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16023/3/UofC_FilmingPolitics_2007.pdf.jpgc321cf4b3baf2766b415c7b3d9506a12MD53open access20.500.12010/16023oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/160232021-02-25 17:39:06.068open accessRepositorio Institucional - Universidad Jorge Tadeo Lozanoexpeditio@utadeo.edu.coQXV0b3Jpem8gYWwgU2lzdGVtYSBkZSBCaWJsaW90ZWNhcyBVbml2ZXJzaWRhZCBkZSBCb2dvdMOhIEpvcmdlIFRhZGVvIExvemFubyBwYXJhIHF1ZSBjb24gZmluZXMgYWNhZMOpbWljb3MsIHByZXNlcnZlLCBjb25zZXJ2ZSwgb3JnYW5pY2UsIGVkaXRlIHkgbW9kaWZpcXVlIHRlY25vbMOzZ2ljYW1lbnRlIGVsIGRvY3VtZW50byBhbnRlcmlvcm1lbnRlIGNhcmdhZG8gYWwgUmVwb3NpdG9yaW8gSW5zdGl0dWNpb25hbCBFeHBlZGl0aW8KCkV4Y2VwdHVhbmRvIHF1ZSBlbCBkb2N1bWVudG8gc2VhIGNvbmZpZGVuY2lhbCwgYXV0b3Jpem8gYSB1c3VhcmlvcyBpbnRlcm5vcyB5IGV4dGVybm9zIGRlIGxhIEluc3RpdHVjacOzbiBhIGNvbnN1bHRhciB5IHJlcHJvZHVjaXIgZWwgY29udGVuaWRvIGRlbCBkb2N1bWVudG8gcGFyYSBmaW5lcyBhY2Fkw6ltaWNvcyBudW5jYSBwYXJhIHVzb3MgY29tZXJjaWFsZXMsIGN1YW5kbyBtZWRpYW50ZSBsYSBjb3JyZXNwb25kaWVudGUgY2l0YSBiaWJsaW9ncsOhZmljYSBzZSBsZSBkZSBjcsOpZGl0byBhIGxhIG9icmEgeSBzdShzKSBhdXRvcihzKS4KCkV4Y2VwdHVhbmRvIHF1ZSBlbCBkb2N1bWVudG8gc2VhIGNvbmZpZGVuY2lhbCwgYXV0b3Jpem8gYXBsaWNhciBsYSBsaWNlbmNpYSBkZWwgZXN0w6FuZGFyIGludGVybmFjaW9uYWwgQ3JlYXRpdmUgQ29tbW9ucyAoQXR0cmlidXRpb24tTm9uQ29tbWVyY2lhbC1Ob0Rlcml2YXRpdmVzIDQuMCBJbnRlcm5hdGlvbmFsKSBxdWUgaW5kaWNhIHF1ZSBjdWFscXVpZXIgcGVyc29uYSBwdWVkZSB1c2FyIGxhIG9icmEgZGFuZG8gY3LDqWRpdG8gYWwgYXV0b3IsIHNpbiBwb2RlciBjb21lcmNpYXIgY29uIGxhIG9icmEgeSBzaW4gZ2VuZXJhciBvYnJhcyBkZXJpdmFkYXMuCgpFbCAobG9zKSBhdXRvcihlcykgY2VydGlmaWNhKG4pIHF1ZSBlbCBkb2N1bWVudG8gbm8gaW5mcmluZ2UgbmkgYXRlbnRhIGNvbnRyYSBkZXJlY2hvcyBpbmR1c3RyaWFsZXMsIHBhdHJpbW9uaWFsZXMsIGludGVsZWN0dWFsZXMsIG1vcmFsZXMgbyBjdWFscXVpZXIgb3RybyBkZSB0ZXJjZXJvcywgYXPDrSBtaXNtbyBkZWNsYXJhbiBxdWUgbGEgVW5pdmVyc2lkYWQgSm9yZ2UgVGFkZW8gTG96YW5vIHNlIGVuY3VlbnRyYSBsaWJyZSBkZSB0b2RhIHJlc3BvbnNhYmlsaWRhZCBjaXZpbCwgYWRtaW5pc3RyYXRpdmEgeS9vIHBlbmFsIHF1ZSBwdWVkYSBkZXJpdmFyc2UgZGUgbGEgcHVibGljYWNpw7NuIGRlbCB0cmFiYWpvIGRlIGdyYWRvIHkvbyB0ZXNpcyBlbiBjYWxpZGFkIGRlIGFjY2VzbyBhYmllcnRvIHBvciBjdWFscXVpZXIgbWVkaW8uCgpFbiBjdW1wbGltaWVudG8gY29uIGxvIGRpc3B1ZXN0byBlbiBsYSBMZXkgMTU4MSBkZSAyMDEyIHkgZXNwZWNpYWxtZW50ZSBlbiB2aXJ0dWQgZGUgbG8gZGlzcHVlc3RvIGVuIGVsIEFydMOtY3VsbyAxMCBkZWwgRGVjcmV0byAxMzc3IGRlIDIwMTMsIGF1dG9yaXpvIGEgbGEgVW5pdmVyc2lkYWQgSm9yZ2UgVGFkZW8gTG96YW5vIGEgcHJvY2VkZXIgY29uIGVsIHRyYXRhbWllbnRvIGRlIGxvcyBkYXRvcyBwZXJzb25hbGVzIHBhcmEgZmluZXMgYWNhZMOpbWljb3MsIGhpc3TDs3JpY29zLCBlc3RhZMOtc3RpY29zIHkgYWRtaW5pc3RyYXRpdm9zIGRlIGxhIEluc3RpdHVjacOzbi4gRGUgY29uZm9ybWlkYWQgY29uIGxvIGVzdGFibGVjaWRvIGVuIGVsIGFydMOtY3VsbyAzMCBkZSBsYSBMZXkgMjMgZGUgMTk4MiB5IGVsIGFydMOtY3VsbyAxMSBkZSBsYSBEZWNpc2nDs24gQW5kaW5hIDM1MSBkZSAxOTkzLCBhY2xhcmFtb3MgcXVlIOKAnExvcyBkZXJlY2hvcyBtb3JhbGVzIHNvYnJlIGVsIHRyYWJham8gc29uIHByb3BpZWRhZCBkZSBsb3MgYXV0b3Jlc+KAnSwgbG9zIGN1YWxlcyBzb24gaXJyZW51bmNpYWJsZXMsIGltcHJlc2NyaXB0aWJsZXMsIGluZW1iYXJnYWJsZXMgZSBpbmFsaWVuYWJsZXMuCgpDb24gZWwgcmVnaXN0cm8gZW4gbGEgcMOhZ2luYSwgYXV0b3Jpem8gZGUgbWFuZXJhIGV4cHJlc2EgYSBsYSBGVU5EQUNJw5NOIFVOSVZFUlNJREFEIERFIEJPR09Uw4EgSk9SR0UgVEFERU8gTE9aQU5PLCBlbCB0cmF0YW1pZW50byBkZSBtaXMgZGF0b3MgcGVyc29uYWxlcyBwYXJhIHByb2Nlc2FyIG8gY29uc2VydmFyLCBjb24gZmluZXMgZXN0YWTDrXN0aWNvcywgZGUgY29udHJvbCBvIHN1cGVydmlzacOzbiwgYXPDrSBjb21vIHBhcmEgZWwgZW52w61vIGRlIGluZm9ybWFjacOzbiB2w61hIGNvcnJlbyBlbGVjdHLDs25pY28sIGRlbnRybyBkZWwgbWFyY28gZXN0YWJsZWNpZG8gcG9yIGxhIExleSAxNTgxIGRlIDIwMTIgeSBzdXMgZGVjcmV0b3MgY29tcGxlbWVudGFyaW9zIHNvYnJlIFRyYXRhbWllbnRvIGRlIERhdG9zIFBlcnNvbmFsZXMuIEVuIGN1YWxxdWllciBjYXNvLCBlbnRpZW5kbyBxdWUgcG9kcsOpIGhhY2VyIHVzbyBkZWwgZGVyZWNobyBhIGNvbm9jZXIsIGFjdHVhbGl6YXIsIHJlY3RpZmljYXIgbyBzdXByaW1pciBsb3MgZGF0b3MgcGVyc29uYWxlcyBtZWRpYW50ZSBlbCBlbnbDrW8gZGUgdW5hIGNvbXVuaWNhY2nDs24gZXNjcml0YSBhbCBjb3JyZW8gZWxlY3Ryw7NuaWNvIHByb3RlY2Npb25kYXRvc0B1dGFkZW8uZWR1LmNvLgoKTGEgRlVOREFDScOTTiBVTklWRVJTSURBRCBERSBCT0dPVMOBIEpPUkdFIFRBREVPIExPWkFOTyBubyB1dGlsaXphcsOhIGxvcyBkYXRvcyBwZXJzb25hbGVzIHBhcmEgZmluZXMgZGlmZXJlbnRlcyBhIGxvcyBhbnVuY2lhZG9zIHkgZGFyw6EgdW4gdXNvIGFkZWN1YWRvIHkgcmVzcG9uc2FibGUgYSBzdXMgZGF0b3MgcGVyc29uYWxlcyBkZSBhY3VlcmRvIGNvbiBsYSBkaXJlY3RyaXogZGUgUHJvdGVjY2nDs24gZGUgRGF0b3MgUGVyc29uYWxlcyBxdWUgcG9kcsOhIGNvbnN1bHRhciBlbjogaHR0cDovL3d3dy51dGFkZW8uZWR1LmNvL2VzL2xpbmsvZGVzY3VicmUtbGEtdW5pdmVyc2lkYWQvMi9kb2N1bWVudG9zCg==