Podcasts about national film board

Filmmakers Nova Ami and Velcrow Ripper live in Gibsons, B.C. Like most of us here in B.C., they have experienced wildfire smoke in their community every summer for the last few years. This started them reflecting on what they could add to the conversation as documentary filmmakers who've covered crises throughout their work. Their new film Incandescence weaves together on-the-ground footage with first-person accounts from first responders and people who have lost their homes to wildfire. Incandescence is produced and distributed by the National Film Board. It has its Vancouver premiere on April 11.

Bhaktimarga Swami, born in Chatham, Ontario, Canada, is also known as The Walking Monk for having trekked four times across Canada. Keeping with the spirit of pilgrimage, he also crossed the USA, Israel, Ireland, Guyana, Trinidad, Mauritius, and the Fiji Islands. Documentation of his Canadian walks is found in two films: The Longest Road, by the National Film Board of Canada, and Walking: The Lessons of the Road, by Michael Oesch. The Walking Monk's pilgrimages have also been covered by numerous international newspaper, radio, and television outlets. As a youth, Swami was a student of fine arts, but took to the life of a monk at age 20 in 1973. Although pursuing monastic ways, he maintains artistic expression through morality theatre which takes him around the globe as a playwright and director – an opportunity to work with talented youth in various communities. He has also published two books, The Saffron Path: Trekking the Globe with the Walking Monk, detailing his marathon walking adventures, and Poems .1, which explores spiritual, social, and walking culture. Bhaktimarga Swami is also an instructor of Bhakti yoga, a leader of musical mantra meditation called Kirtan, and a speaker on the science of the self based on the ancient teachings of the Gita. Title of Session: Spiritual Pilgrimage: Tales from Trails This event is hosted by ✨ Happy Jack Yoga University ✨ www.happyjackyoga.com ➡️ Facebook: /happyjackyoga ➡️ Instagram: @happyjackyoga Bhakti Yoga Conference at Harvard Divinity School Experience a one-of-a-kind online opportunity with 40+ renowned scholars, monks, yogis, and thought leaders! REGISTER FOR FREE: www.happyjackyoga.com/bhakti-... This conference is your opportunity to immerse yourself in the wisdom of sincere practitioners as they address the questions and challenges faced by us all. Expect thought-provoking discussions, actionable insights, and a deeper understanding of cultivating Grace in an Age of Distraction and incorporating Bhakti Yoga into your daily life.

In which we overview the story of the Black Nova Scotia once known as Africville, as well as briefly discussing Jeffrey Colvin's novel Africaville, which was inspired by the events. --- Support: Patreon (https://www.patreon.com/historiacanadiana); Paypal (https://www.paypal.com/paypalme/historiacanadiana) --- Further Readings Colvin, Jeffrey. Africaville: A Novel, HarperCollins, 2019. McRae, Matthew. "The Story of Africville," Canadian Museum for Human Rights, Feb. 23, 2017. Remember Africville. Directed by Shelagh Mackenzie, National Film Board, 1991.

On this latest's trip to the National Film Board's Archive, we pay tribute to a stalwart of the NFB's Animation Department since its inception whose contributions to Canadian cinema are too varied to list out. Veteran animator, producer, and director Robert Verrall sadly passed away on January 17th, 2025 and left a cinematic legacy few can measure up to. For this occasional spotlight series, we took a look at some of his earliest credited work to hopefully impart how significant a figure he was in his lifetime. Films covered for the podcast are Three Blind Mice (1945) and The Romance of Transportation in Canada (1952). Directed by George Dunning and Colin Low respectively. Links: https://collection.nfb.ca/film/three_blind_mice https://www.nfb.ca/film/romance_of_transportation_canada/ If you liked what you heard please and wish to support the show, please consider subscribing and leaving a nice review on your podcatcher of choice. Follow us on Twitter at https://twitter.com/CartoonNightPod?s=20 Chris' Twitter: https://twitter.com/Cinemacreep Sylvie's Twitter: https://twitter.com/sylvieskeletons Theme song by https://soundcloud.com/hvsyn Logo designed by https://www.rachelsumlin.com

Pat Mire, who founded Cinema on the Bayou Film Festival in 2006, joins Discover Lafayette, along with his wife, Rebecca Hudsmith, to discuss his career as a filmmaker celebrated for his authentic portrayals of Cajun culture. Since his early days as a filmmaker, Pat has been able to make a living solely by directing and producing films which resonate with audiences of all backgrounds and of various cultures. Cinema on the Bayou Festival was created in 2006 by chance, after the devastating damage wreaked by Hurricane Katrina upon New Orleans. "The National Film Board of Canada called me saying there was a US premiere of the documentary "Maroon," by famed Quebecois filmmaker Andre Gladu that was supposed to be playing at the New Orleans Film Festival. I was living in uptown New Orleans and we all had to leave. There was nobody living in New Orleans at that time in 2006.. And so I came here to Lafayette. There was no New Orleans. It was an opportunity. I decided we were going to pay for his hotel, fly him here, and pay a stipend. I said, I'm starting a film festival. That's how it started. I've worked with all the scholars here, including Barry Ancelet and Carl Brasseaux, to preserve our local culture." Since 2006, Cinema on the Bayou has presented hundreds of internationally acclaimed documentary, narrative fiction, animated and experimental films, with filmmakers in attendance from across the United States and around the world. The Festival is now unique among film festivals in the U.S. in that it also regularly screens a large number of French-language independent films and presents filmmakers from throughout the Francophone world.  Pointe Noire, a film the couple co-wrote and produced together, will premier on January 22, 2025, at the St. Landry Cinema in Opelousas as a feature film of the Cinema on the Bayou Film Festival. Local talent, Andrew Morgan Smith, a veteran composer from Youngsville, was the composer for the movie's score. Cinema On the Bayou runs from Jan. 22 - 29, 2025. For Pointe Noire's premiere on Jan. 22, doors will open at 6 p.m. at St. Landry Cinema, 1234 Heather Dr., Opelousas, with a Red Carpet wine reception. The film will screen at 7 p.m. Following the film screening and Q&A, the after-screening reception for all attendees will be held at Cite des Arts, 109 Vine St., Lafayette. There will be a cash bar along with complimentary boudin and king cake. Tickets for the opening night film screening and reception are $20 per person and cna be purchased in advance at www.cinemaonthebayou.com. All-Access passes for the festival can be purchased at:  https://cinemaonthebayou2025.eventive.org/passes/buy Pointe Noire, shot throughout the Acadiana area, stars Canadian film stars Roy Dupuis and Myriam Cyr, and features Michael Bienvenu and Zachary Richard.  It tells the story of filmmaker and crawfisherman Louis Leger (Roy Dupuis) and criminal defense attorney Dolores Arceneaux (Myriam Cyr), who join forces in the Cajun prairie community of Pointe Noire in an effort to save the life of Joel Richard (Michael Bienvenu), a falsely accused man on Louisiana's Death Row. What follows is a search to find out what really happened 30 years ago when two people were killed on the night of the traditional courir de Mardi Gras. Along the way, Louis and Dolores uncover a hauntingly beautiful, isolated community suffering from secrecy and deceit, yet ultimately striving to achieve its own form of folk justice.   Pat's documentaries have been broadcast nationally on PBS, the Discovery Channel, and many more platforms, and have earned prestigious awards including the American Anthropological Film Festival's Award of Excellence. "A film is told three ways. There are three films in one film. It's what you write, what you shoot and what you edit... post production That's, to me, the lace and embellishment. The negligee you put on the film at the end is so important." His first film, Dirty Rice,

CITR's 24 Hours of Radio Art in a snack-sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Tune in Friday night for more Grip Casino, Lorenzo Abattoir, Sunroof, Unexplained Sounds Group's ‘10th Annual Report – Anniversary Edition‘, and Xerxes The Dark, plus new 43V3RCH3M1CAL5, Alexandre David, Miguel A. Garcia / Coeval's ‘Laliguras‘, and National Film Board of Canada's animation founder and pioneering electronic music composer Norman McLaren.

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Bob and Dean share details about filming for a piece that focuses on Luigi Mangione, movies inducted by the National Film Board, and the new name for “Wicked’s” part two. They also talk about how Travis Kelce celebrated Taylor […]

Bryan and Dave go north for a look at The Christmas Martian, an utterly deranged Quebecois children's movie about unsupervised children in a remote Quebec town and the adult man from Mars who in any other context would be understood to be grooming this brother and sister. It's a film that was intended to be whimsical and zany but being the product of Tales For All producer, Rock Demers, it all just comes off as creepy and unsettling. Though, not quite as upsetting as The Peanut Butter Solution, a film we covered in 2023, it's still off-putting in a way that begs the question: who was this movie for? Produced by prolific Canadian producer, a man on a mission to make the lives of children genuinely better, Rock Demers, directed by one of the National Film Board's most talented cinematographer, Bernard Gosselin, and written by an author so-treasured by his native Canada that one of his works of fiction is quoted on their money, Roch Carrier, The Christmas Martian is remarkably artless and weird and we're going to tell you all about it. Support Bring Me The Axe on Patreon! ⁠⁠⁠⁠https://www.patreon.com/c/bringmetheaxepod⁠⁠⁠⁠ Buy Bring Me The Axe merch here: ⁠⁠⁠⁠https://www.bonfire.com/store/bring-me-the-axe-podcast/⁠

fWotD Episode 2759: Sydney Newman Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Saturday, 23 November 2024 is Sydney Newman.Sydney Cecil Newman (April 1, 1917 – October 30, 1997) was a Canadian film and television producer, who played a pioneering role in British television drama from the late 1950s to the late 1960s. After his return to Canada in 1970, Newman was appointed acting director of the Broadcast Programs Branch for the Canadian Radio and Television Commission (CRTC) and then head of the National Film Board of Canada (NFB). He also occupied senior positions at the Canadian Film Development Corporation and Canadian Broadcasting Corporation, and acted as an advisor to the Secretary of State.During his time in Britain in the 1950s and 1960s, he worked first with ABC Weekend TV, before moving across to the BBC in 1962, holding the role of Head of Drama with both organisations. During this phase of his career, he created the spy-fi series The Avengers and co-created the science-fiction series Doctor Who, as well as overseeing the production of groundbreaking social realist drama series such as Armchair Theatre and The Wednesday Play.The Museum of Broadcast Communications describes Newman as "the most significant agent in the development of British television drama." His obituary in The Guardian declared that "for ten brief but glorious years, Sydney Newman ... was the most important impresario in Britain ... His death marks not just the end of an era but the laying to rest of a whole philosophy of popular art."In Quebec, as commissioner of the NFB, he attracted controversy for his decision to suppress distribution of several politically sensitive films by French Canadian directors.This recording reflects the Wikipedia text as of 01:14 UTC on Saturday, 23 November 2024.For the full current version of the article, see Sydney Newman on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Danielle.

ABOUT THIS EPISODE: In this episode, you'll hear from three different authors: Lara Jean Okihiro, Janis Bridger, and Jordan Scott. Lara and Janis wrote the book Obaasan's Boots, and Jordan wrote My Baba's Garden. In the summer, these three authors participated in our Storied video On Writing About Family. These are their reflections on how writing about family can be one of the most complicated things, and how they each approached it in their work. Visit BC and Yukon Book Prizes: bcyukonbookprizes.com/ View the full Storied: On Writing About Family: https://vimeo.com/showcase/11316134?share=copy ABOUT THE AUTHORS: Lara Jean Okihiro is a writer, researcher, and educator of mixed Japanese Canadian heritage living in Toronto. Intrigued by the power and magic of stories, she earned a Master's (Goldsmiths College) and a Doctorate (University of Toronto) in English. Living abroad inspired her to learn about her family's experience of internment. Lara writes about dispossession, hoarding, social justice, and carrying the important lessons of the past into the future. Janis Bridger is an educator and writer who has many creative outlets and a love for the outdoors. She lives in Vancouver, Canada, close to where her Japanese Canadian grandparents lived before being interned. Janis earned a diploma in Professional Photography (Langara College), a Bachelor of Education and General Studies (Simon Fraser University) and a Master of Education (University of Alberta), specializing in teacher-librarianship. Social justice, diversity, and kindness are paramount in her life and embedded in her everyday teaching. Jordan Scott is a poet whose work includes Silt, Blert, DECOMP, and Night & Ox. Blert, which explores the poetics of stuttering, is the subject of two National Film Board of Canada projects, Flub and Utter: a poetic memoir of the mouth and STUTTER. Scott was the recipient of the 2018 Latner Writers' Trust Poetry Prize for his contributions to Canadian poetry. He is the author of I Talk Like a River, winner of the Boston Globe-Horn Book Award. He lives in the Comox Valley on Vancouver Island with his wife and two sons. ABOUT MEGAN COLE: Megan Cole the Director of Programming and Communications for the BC and Yukon Book Prizes. She is also a writer based on the territory of the Tla'amin Nation. Megan writes creative nonfiction and has had essays published in Chatelaine, This Magazine, The Puritan, Untethered, and more. She has her MFA in creative nonfiction from the University of King's College and is working her first book. Find out more about Megan at megancolewriter.com ABOUT THE PODCAST: Writing the Coast is recorded and produced on the territory of the Tla'amin Nation. As a settler on these lands, Megan Cole finds opportunities to learn and listen to the stories from those whose land was stolen. Writing the Coast is a recorded series of conversations, readings, and insights into the work of the writers, illustrators, and creators whose books are nominated for the annual BC and Yukon Book Prizes. We'll also check in on people in the writing community who are supporting books, writers and readers every day. The podcast is produced and hosted by Megan Cole.

ABOUT THIS EPISODE: In this episode, host Megan Cole talks to Jordan Scott. Jordan co-created My Baba's Garden with illustrator Sydney Smith, which is a won the 2024 Christie Harris Illustrated Children's Literature Prize. In their conversation, Jordan talks about collaborating with Sydney Smith, he also talks about how the book opened up opportunities to share stories of his Baba with his kids. Visit BC and Yukon Book Prizes: bcyukonbookprizes.com/ About My Baba's Garden: https://bcyukonbookprizes.com/project/my-babas-garden/ ABOUT JORDAN SCOTT: Jordan Scott is a poet whose work includes Silt, Blert, DECOMP, and Night & Ox. Blert, which explores the poetics of stuttering, is the subject of two National Film Board of Canada projects, Flub and Utter: a poetic memoir of the mouth and STUTTER. Scott was the recipient of the 2018 Latner Writers' Trust Poetry Prize for his contributions to Canadian poetry. He is the author of I Talk Like a River, winner of the Boston Globe-Horn Book Award. He lives in the Comox Valley on Vancouver Island with his wife and two sons. ABOUT MEGAN COLE: Megan Cole the Director of Programming and Communications for the BC and Yukon Book Prizes. She is also a writer based on the territory of the Tla'amin Nation. Megan writes creative nonfiction and has had essays published in Chatelaine, This Magazine, The Puritan, Untethered, and more. She has her MFA in creative nonfiction from the University of King's College and is working her first book. Find out more about Megan at megancolewriter.com ABOUT THE PODCAST: Writing the Coast is recorded and produced on the territory of the Tla'amin Nation. As a settler on these lands, Megan Cole finds opportunities to learn and listen to the stories from those whose land was stolen. Writing the Coast is a recorded series of conversations, readings, and insights into the work of the writers, illustrators, and creators whose books are nominated for the annual BC and Yukon Book Prizes. We'll also check in on people in the writing community who are supporting books, writers and readers every day. The podcast is produced and hosted by Megan Cole.

It's the most wonderful time of year! That's right it's the beginning of spooky season and that means it's our female focused series Hot Ghouls of Halloween and were talking all three Black Christmases (1974, 2006, 2019) with filmmaker and programer Dara Jade Moats. So three films, two hosts and one guest; tune in and find out it how it went. Dara Jade Moats a filmmaker whose chilling shorts have haunted festival screens across the country, earning her accolades like ‘Best Short Film' and ‘Best Blood Bath'. As a writer and film programmer, she brings a curated blend of genre thrills to life. Her cinematic journey includes roles as Associate Producer at the National Film Board of Canada and contributions to the Fantasia International Film Festival. T Today, she channels her expertise into programming for the Saskatoon Fantastic Film Festival, Blood in the Snow, Calgary Underground, and Cucalorus. She is currently working on bringing to life a body horror rom-com she has co-written and hopes to co-direct! IMDB  Letterboxd Celleuloid Adventure Girls and Other Work   Talk to us Goose www.howdyoulikethatmovie.com Twitter

"I was looking for justice, tangible justice. I was looking for something that said, 'We're not just going to repent. We're not just going to be sorry. We're going to do something and here it is.'" With great patience and grace, Adrian Jacobs from the Cayuga Nation, Six Nations Haudenosaunee Confederacy shares a beautiful and challenging opportunity for the Church to make real steps toward reconciliation.  Transcription here. Discussion resource here. "A Global Solution for the Six Nations of the Grand River" - lecture by Phil Monture at the University of Waterloo. "A Conflict in Caledonia" - a timeline from APTN News. "Six Miles Deep" - a documentary from the National Film Board of Canada Broken Walls - learn about Mohawk Christian musician and worship leader Jonathan Maracle and the incredible reconciling work he has done in his own life, and his decades-long ministry to all nations. Undercurrents is supported by Kindred Credit Union.

This episode, Adam and Nate will definitely hit their CanCon quota as they review Thirty Two Short Films About Glenn Gould (1993), the namesake of perhaps their favorite Simpsons episode, “22 Short Films about Springfield” (S7E21). This unconventional biopic about eccentric pianist Glenn Gould achieved escape velocity to find its way beyond the Canadian film world and into American media, from Siskel & Ebert to The Simpsons.Also in this episode:• A statistical analysis of title parodies on The Simpsons (where some of the spiciest movie references live!)• How this movie deconstructs the biopic genre through a series of mixed-media shorts • Our most Canadian episode yet, featuring Heritage Minutes, the National Film Board, an appreciation of Colm Feore, and the Genies!• Plus, check out our show notes for a complete list of Simpsons references, double feature suggestions, and further readingNext time, former Simpsons and showrunner Bill Oakley joins Adam and Nate as they continue their celebration of “22 Short Films about Springfield” (S7E21) and its parody of Pulp Fiction (1994).Follow us @simpsonsfilmpod on Instagram, TikTok, YouTube, Twitter, and Letterboxd.

We talk about new Lancet figures on Palestinian deaths, greenwashing, child services, TC Energy's ghost pipeline and other news. Stefan interviews Wency Leung, reporter at The Local, about the Green For Life trash company, and Leanne Allison about her new documentary on glacial lakes for the National Film Board.

For our annual celebration of all things queer at the National Film Board of Canada, we have a hell of a double feature for Pride month. You wouldn't think we could pair a hand-drawn, deadpan porno-parody tale of repressed Fox sexuality with a touching, empathetic, clay-on-glass portrait of queer romantic love within the developmentally-disabled community. But we found a way! It's a tonal mishmash of a double-feature - a classic NFB showcase for Pride month. #ToomasDidNothingWrong Films covered for the podcast are 2017's Manivald (01:05) directed by Chintis Lundgren, and 2010's John and Michael (27:21) directed by Shira Avni. Both produced by the NFB. Links: https://www.nfb.ca/film/manivald/ https://www.nfb.ca/film/john_and_michael If you like the show and wish to support us, please consider subscribing and leaving a nice review on your podcatcher of choice. Follow us on Twitter at https://twitter.com/CartoonNightPod?s=20 Chris' Twitter: https://twitter.com/Cinemacreep Sylvie's Twitter: https://twitter.com/sylvieskeletons Theme song by https://soundcloud.com/hvsyn Logo designed by https://www.rachelsumlin.com

The biggest event inside  Macstock Conference and Expo is the annual Macstock Film Festival, organized and hosted by Wally Cherwinski. An accomplished videographer in his own right, Wally shares his thoughts on why you (yes, you!) should be creating a submission and joining in the fun. No prizes, no judging and no pressure mean that anyone can be part of the Festival. Wally provides some tips on how to approach a subject, creating something from content you already have, and the emotional impact of preserving memories through video.  Visit Macstock Conference and Expo and use the MacVoices discount code MACVOICES to save $30 on your registration fee.   Today's edition of MacVoices is supported by MacVoices Live!, our weekly live panel discussion of what is going in the Apple space as well as the larger tech world, and how it is impacting you. Join us live at YouTube.com/MacVoicesTV at 8 PM Eastern 5 PM Pacific, or whatever time that is wherever you are and participate in the chat, or catch the edited and segmented versions of the show on the regular MacVoices channels and feeds. Show Notes: Chapters: 02:22 The MacStock Short Film Festival04:31 Learning from the MacStock Film Submissions06:53 Submission Guidelines for MacStock Film Festival11:36 Creating Professional Videos with iMovie Trailers13:53 Tips and Tricks for Video Editing22:18 The Fun and Engrossing Process of Video Editing25:55 Encouragement to Create and Submit Videos for MacStock Links: Video To Go by Wally Cherwinski in the Apple Books Store Guests: Wally Cherwinski is a Videographer based in Ottawa, Canada. Originally trained as a scientist, he spent a portion of his career in research and teaching at the University of Cambridge, England while doubling as a freelance photographer and writer. Later, he joined Canada's National Research Council and spent many years managing communications for the Canadian Space Program. Starting with 16mm film, he has written and directed numerous documentaries and television features, including projects with Canada's National Film Board. More recently, he has combined his passion for video with his love of travel. Wally has been a Mac user since the original 128K in 1984 and his Apple "museum" includes 28 Macs (not to mention Newtons, iPods, iPhones & iPads). He has delivered video workshops at Macworld, at Macintosh User Groups in Canada and on three MacMania cruises. He also writes a regular video column in the ScreenCastsOnline monthly magazine. You can connect with him on X, or view his Cirque du Mac videos (and others) on his YouTube channel. Support:      Become a MacVoices Patron on Patreon     http://patreon.com/macvoices      Enjoy this episode? Make a one-time donation with PayPal Connect:      Web:     http://macvoices.com      Twitter:     http://www.twitter.com/chuckjoiner     http://www.twitter.com/macvoices      Mastodon:     https://mastodon.cloud/@chuckjoiner      Facebook:     http://www.facebook.com/chuck.joiner      MacVoices Page on Facebook:     http://www.facebook.com/macvoices/      MacVoices Group on Facebook:     http://www.facebook.com/groups/macvoice      LinkedIn:     https://www.linkedin.com/in/chuckjoiner/      Instagram:     https://www.instagram.com/chuckjoiner/ Subscribe:      Audio in iTunes     Video in iTunes      Subscribe manually via iTunes or any podcatcher:      Audio: http://www.macvoices.com/rss/macvoicesrss      Video: http://www.macvoices.com/rss/macvoicesvideorss

Skwigly.com presents Animation One-To-Ones featuring Ben Mitchell in conversation with Torill Kove, director of the National Film Board of Canada/Mikrofilm short film 'Maybe Elephants'. Hailing from Norway and presently based in Canada, Torill has created such films as the Oscar-winning 'The Danish Poet' and the Oscar nominated 'My Grandmother Ironed the King's Shirts' and 'Me and My Moulton'. Her latest film 'Maybe Elephants' is rooted in family, memory and the fallible nature of both, telling the story of three sisters whose lives are uprooted when their parents relocate them from Norway to Nairobi. The film will screen at this year's Annecy International Animation Film Festival in the Short Films in Competition - Official 2 programme. Interview conducted by Ben Mitchell Produced, edited and presented by Ben Mitchell

The biggest event inside  Macstock Conference and Expo is the annual Macstock Film Festival, organized and hosted by Wally Cherwinski. An accomplished videographer in his own right, Wally shares his thoughts on why you (yes, you!) should be creating a submission and joining in the fun. No prizes, no judging and no pressure mean that anyone can be part of the Festival. Wally provides some tips on how to approach a subject, creating something from content you already have, and the emotional impact of preserving memories through video. Visit Macstock Conference and Expo and use the MacVoices discount code MACVOICES to save $30 on your registration fee. Today's edition of MacVoices is supported by MacVoices Live!, our weekly live panel discussion of what is going in the Apple space as well as the larger tech world, and how it is impacting you. Join us live at YouTube.com/MacVoicesTV at 8 PM Eastern 5 PM Pacific, or whatever time that is wherever you are and participate in the chat, or catch the edited and segmented versions of the show on the regular MacVoices channels and feeds. Show Notes: Chapters: 02:22 The Macstock Short Film Festival 04:31 Learning from the Macstock Film Submissions 06:53 Submission Guidelines for Macstock Film Festival 11:36 Creating Professional Videos with iMovie Trailers 13:53 Tips and Tricks for Video Editing 22:18 The Fun and Engrossing Process of Video Editing 25:55 Encouragement to Create and Submit Videos for Macstock Links: Video To Go by Wally Cherwinski in the Apple Books Store Guests: Wally Cherwinski is a Videographer based in Ottawa, Canada. Originally trained as a scientist, he spent a portion of his career in research and teaching at the University of Cambridge, England while doubling as a freelance photographer and writer. Later, he joined Canada's National Research Council and spent many years managing communications for the Canadian Space Program. Starting with 16mm film, he has written and directed numerous documentaries and television features, including projects with Canada's National Film Board. More recently, he has combined his passion for video with his love of travel. Wally has been a Mac user since the original 128K in 1984 and his Apple "museum" includes 28 Macs (not to mention Newtons, iPods, iPhones & iPads). He has delivered video workshops at Macworld, at Macintosh User Groups in Canada and on three MacMania cruises. He also writes a regular video column in the ScreenCastsOnline monthly magazine. You can connect with him on X, or view his Cirque du Mac videos (and others) on his YouTube channel. Support: Become a MacVoices Patron on Patreon http://patreon.com/macvoices Enjoy this episode? Make a one-time donation with PayPal Connect: Web: http://macvoices.com Twitter: http://www.twitter.com/chuckjoiner http://www.twitter.com/macvoices Mastodon: https://mastodon.cloud/@chuckjoiner Facebook: http://www.facebook.com/chuck.joiner MacVoices Page on Facebook: http://www.facebook.com/macvoices/ MacVoices Group on Facebook: http://www.facebook.com/groups/macvoice LinkedIn: https://www.linkedin.com/in/chuckjoiner/ Instagram: https://www.instagram.com/chuckjoiner/ Subscribe:      Audio in iTunes Video in iTunes Subscribe manually via iTunes or any podcatcher: Audio: http://www.macvoices.com/rss/macvoicesrss Video: http://www.macvoices.com/rss/macvoicesvideorss

Send a Text to the Moms“Chris had a "tumultuous" time several years ago, dealing with the onset of schizoaffective disorder, but has overcome addiction and homelessness and established stability for himself, while also being an extremely productive artist.His artist name, as well as his social media handle, is xoradmagical.He's done one film for the National Film Board of Canada and is working on another.He's prolific on TikTok, where he describes his posts as "a personal virtual diary that everybody is allowed to look at."Chris was diagnosed with schizoaffective disorder in 2017 at the age of 20. It's a mental health condition that includes hallucinations or delusions and mood disorder symptoms such as depression or mania.”(source: cbc.ca)Ever wonder what psychosis feels like. From someone who has experienced it and now has the insight so many of our loved ones do not have?We're lucky to have permission instead to repost this recording from The Schizophrenia Society of York University in Canada.SSY collaborated with the Schizophrenia Society of Canada (SSC) for this - their 4th annual panel event, "Duality of the Reality: Living with Psychosis." The purpose of this event is to hear real-life lived experiences and stories of success, hope, struggles and coping from individuals diagnosed with schizophrenia and psychosis.LINKS:cbc.ca story on Chris:https://www.cbc.ca/news/canada/new-brunswick/twins-pabineau-first-nation-tristan-grant-chris-1.6883003?fbclid=IwAR0fNDPFLO1ZQvP_iJb4PNFHuOEMpTDGOPD_c04nZ0bM9ZiE_U9KaI76--o_aem_th_AbJBg2jdgv7pP_Wze-PqjOWv_HtBzAM-gkYz3_qYXcLrl7TayaWPV6HkGS2XyPy4wesSchizophrenia Society of Canada:https://schizophrenia.ca/Schizophrenia Society of York Instagram:https://www.instagram.com/ssyyorku/?hl=enChristopher Grant linktree:https://linktr.ee/xoradmagicalMatthew Dickson Mind Aid:https://www.mindaid.ca/Mindy and her book: https://mindygreiling.com/Randye and her book: https://www.randyekaye.com/Miriam and her book: https://www.miriam-feldman.com/iMOM PodcastIf you need a mom friend right now, you've come to the right place.Listen on: Apple Podcasts SpotifyWant to know more?Join our facebook page Our websites:Randye KayeMindy Greiling Miriam (Mimi) Feldman

PEOPLE, NOW it is time for 'Part THREE' of this week's @EchoChamberFP https://www.instagram.com/echochamberfp/ and it's out of this world!!! We have an incredible new hybrid documentary, thanks to Door Number 3 Productions, National Film Board of Canada, Clique Pictures & AR:PR that explores the fascinating life of a Cree elder! THEN, although she was out at the CPH:DOX Copenhagen International Documentary Film Festival for the 'World Premiere' and other screenings of the Doc, the visionary behind this piece of work was kind enough to spare some time to talk on such topics as cultural repression, Indigenous lore, labelling, and the way we learn!!! This REALLY is one not to miss, I hope you enjoy it, as much as I did!!! Watch the conversation: HERE! https://youtu.be/wvqVYfbgFy8 'Wilfred Buck' is written & directed by Lisa Jackson. Inspired by the book 'I Have Lived Four Lives'. An elder member (Wilfred Buck) of the indigenous Cree people of Canada is our spiritual guide in a film that, like its charismatic protagonist, moves between past and present, and between Earth and the stars, to overcome the ghosts of colonisation. In 'Part Three' we have: Wilfred Buck Watch Review: Here. https://youtu.be/OfzvnRAL9W0 CPH:DOX Copenhagen International Documentary Film Festival, World Premiere: 18th March 2024 Theatrical Release Date: 12th February 2024 US Digital Release Date: 2nd April 2024 UK Digital Release Date: 8th April 2024 Director: Lisa Jackson Cast: Brandon Alexis, Raymond Chartrand, Ed Azure, Ethan Neckoway, Caine Robinson, Moe McGillivary Credit: Door Number 3 Productions, National Film Board of Canada (NFB) Genre: Documentary Running Time: 97 min Cert: 15 Website: Here. https://doornumber3.ca/wilfred-buck/ ------------ *(Music) 'I'm Housin' (Instrumental) by EPMD - 2020 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

Episode 120 Crosscurrents in Early Electronic Music of Canada, Part 1 Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 10:36 00:00 1.    Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. I chose a recording from a CD compilation spanning the first 45 years of electroacoustic music in Canada. The original version of Dripsody was monophonic. Le Caine produced this stereophonic version in 1967 for Folkways records. 2:12 10:36 2.    Maurice Blackburn / Norman McLaren, “Blinkity Blank” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Another early work of tape music from Canada, produced around the same time as “Dripsody.” As a member of the National Film Board of Canada, Blackburn created this soundtrack with Norman McLaren by hand drawing on the optical soundtrack of a short film. 5:07 12:36 3.    Hugh LeCaine, “Ninety-Nine Generators” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time. 1:42 17:34 4.    Hugh LeCaine, “Arcane Presents Lulu” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:50 19:14 5.    Hugh LeCaine, “This Thing Called Key” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:53 21:04 6.    Hugh LeCaine, “Invocation” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 2:21 22:56 7.    Anhalt, “Electronic Composition No. 2” (1959) from Electronic Composition No. 2 ("Sine Nomine II") (1985 Radio Canada International). 8:47 25:18 8.    Hugh LeCaine, “Nocturne” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). This piece was played on a conductive keyboard using printed circuit keys (designed by Rene Farley) and tape delay. Notes are sounded by the pressing of a finger on the conductive surface of the keys. 3:08 34:04 9.    Norma Beecroft, “From Dreams of Brass” (1964) from Music And Musicians Of Canada Centennial Edition Vol. II / Musique Et Musiciens Du Canada Edition Du Centenaire Vol. II (1967 CBC Radio Canada). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. As a professional composer, she was one of the first non-students to be able to experiment in the new facility. There she focused on multitrack recording and looping as an extension of existing instrumental or vocal sounds. This particular work contrasts tape sounds with sung and spoken word sounds. 15:59 37:12 10.Paul Pedersen, “Themes From The Old Testament” (1966) consisting of 1) Saul And David; 2) David And Bathsheba; 3) Lot's Wife; 4) Parable Of Trees” (1966) from Paul Pedersen – Portrait Musical – Portrait No.1 (1976 CAPAC). Excerpts of a larger work. Produced in the Electronic Music Studios of McGill University and the University of Toronto. Paul Pedersen is a Canadian composer, arts administrator, and music educator. He was head of the McGill University Electronic Music Studios from 1971-1974. Concordia University in Montreal created 'The Paul Award in Electroacoustics' to celebrate Paul Pedersen's contribution to the development of electroacoustics in Canada. 5:47 53:10 11.Anhalt, “Cento” (1967) from Istvan Anhalt (1972 Radio Canada International).  “CENTO was composed in 1966 under a grant from the Centennial Commission, and its premiere performance took place in 1967, Canada's Centennial Year. The composer describes his work thus: ‘It is a work for a twelve-part mixed choir and two channels of tape-recorded sounds. Most of the sounds on the tape are also vocal, and it was my intention to blend, as much as possible, the live and the recorded voices. The effect I was seeking is that of a single choir performing in an acoustical space the character of which is partly real, partly unreal. "Much of the electronic equipment in both works was invented and built by Dr. Hugh Le Caine at the National Research Council of Canada.” 11:23 59:02 12.Norma Beecroft, “Two Went to Sleep” from Norma Beecroft – CAPAC Musical Portraits (circa 1976 CAPAC). Excerpt from a larger work, released on the Musical Portraits series of extended play 7-inch discs. This piece was written for soprano, flute, percussion, and tape with words by poet Leonard Cohen. It is a great example of the kind of work that combined instruments with tape. 2:49 1:10:24 13.Hugh LeCaine, “Music for Expo” (1967) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Produced using Le Caine's Serial Sound Structure Generator, a device intended to provide controls for making twelve tone serial music. Tones and other parameters were created using rotary dials on the control panel. Created for Expo '67 World Exposition in Montreal. 2:34 1:13:12 14.Peter Huse, “Space Play” (1969) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Fraser was a west coast person and composed this work while at Simon Fraser University. He was assistant director of the World Soundscape Project. 3:46 1:15:46 15.Hugh LeCaine, “Mobile” (1970) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). One of the first pieces of music to be composed on the NRC Computer Music System.   1:19:28 16.Micheline Coulombe Saint-Marcoux, “Trakadie (3 Excerpts), For Percussion And Tape” (1970) from Micheline Coulombe Saint-Marcoux: Musical Portrait (1976 CAPAC). This series of composer's Musical Portraits was initiated and sponsored by the Composers, Authors and Publishers Association of Canada. Micheline Coulombe Saint-Marcoux was a Canadian composer and music educator who played an important role in the contemporary classical music scene of Canada and France from the late 1960s through the mid-1980s. Primarily a composer of contemporary classical music, she experimented with electroacoustic music from time to time with some amazingly original and fresh results. From 1968 to 1971 she studied musique concrete with Pierre Schafer in Paris, and from this period comes this work. 4:17 1:21:20 17.Michel Longtin, “La Mort Du Pierrot” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced in the electronic music studio of McGill University. 5:21 1:25:34 18.David Paul, “Eruption” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced at the University of Toronto, using Le Caine's equipment, this work explores sound densities and glissandi. 6:07 1:30:56 19.Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau's and the electronic sounds were composed using Le Caine's Polyphonic Synthesizer. 4:21 1:37:02 20.Hugh LeCaine, “Paulution” (1972) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Uses Le Caine's Polyphonic Synthesizer, a new device created by the scientist around this time. Much of this was created in real-time with little tape manipulation. 4:09 1:41:18 21.Micheline Coulombe Saint-Marcoux, “Zones” (1972) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music. 9:02 1:45:22   Opening background music: Hugh Le Caine, Rhapsody in Blue, performed on the Electronic Sackbut (1953) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation)00:58; Hugh Le Caine, Safari: Eine Kleine Klangfarbenmelodie (1964) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation). Played on the Sonde, a Le Caine instrument that could generate 200 sine tones separated by intervals of 5 Hertz, as a demonstration of textures and densities. 3:10 (then repeated). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

The author Jacob Bacharach returns for a sequel to our Junk Filter episode about Denis Villeneuve's Dune, with a look at his long-awaited Dune: Part Two.  Villeneuve said in interviews that he thought of Frank Herbert's novel as an allegory for the French Canadians under the thumb of the authoritarian government of Maurice Duplessis that used the Catholic Church to subjugate the Quebecois people before the Quiet Revolution of the 1960s. Jacob and I use this allegory as a jumping off point to extend the metaphor: are the Bene Gesserit the Catholic Church? Are the Fremen the FLQ? And is Paul Atreides the saviour of an independent Quebec, the Kwisatz Tabarnak? Plus: Jacob and I discuss the charms of Dune: Part Two including how the movie differs from Frank Herbert's novel, the arrival of Christopher Walken as the Emperor qnd Austin Butler as Feyd-Rautha, and our MVP Javier Bardem as Stilgar. Plus: Josh Brolin's homoerotic ode to Timothée Chalamet, the dreaded Dune Popcorn Bucket, and a look at some of the galaxy-brained responses online from people who thought Paul was supposed to be the hero of the story. Become a patron of the podcast to access to exclusive episodes every month. Over 30% of Junk Filter episodes are exclusively available to patrons. To support this show directly please subscribe at ⁠⁠https://www.patreon.com/junkfilter Follow Jacob Bacharach on Twitter and visit jacobbacharach.com Trailer for Dune: Deuxième Partie (Villeneuve, 2024) Action: The October Crisis of 1970 (Robin Spry, 1973) - great documentary from the National Film Board about the rise of the Quebec separatist movement From New York To L.A. - Patsy Gallant, 1977 A Cerveza Cristal ad stitched into the Chilean cable airing of Star Wars: A New Hope in 2004

On this episode of Outdoors with Lawrence Gunther, Lilly shares news about Canada's Arctic foxes, and Lawrence speaks with Dalhousie University's Chris Harvey-Clark about his new book “In Search of the Great Canadian Shark.” With spring on the way, we have tips on how to decide what type of angler you are, and Lawrence reflects on the path to becoming a responsible angler. Highlights:Introduction (00:00)Lilly on the Arctic Fox (00:39)Chris Harvey-Clark on his book “In Search of the Great Canadian Shark” (05:23)What Type of Angler Are You? (20:04)How Do You Become a Responsible Angler? (25:05)Show Close (27:48)Guest Bio (from Canadian Geographic)Dr. Chris Harvey-Clark obtained a B.Sc. degree with Distinction in Marine Biology in 1981 at the University of Victoria, followed by a Doctor of Veterinary Medicine in 1985 from the University of Saskatchewan, and has practiced mixed species and aquatic/ exotic animal medicine in five provinces. Currently appointed at Dalhousie University in Halifax, N.S., he has published more than 50 research and clinical papers and book chapters on veterinary aspects of wildlife and marine species.In 1995, he initiated a WWF-funded research program elucidating the biology of the leatherback sea turtle in the North Atlantic Ocean which resulted in the creation of the Canadian Sea Turtle Network. In 2003, he developed a diving research program using telemetry to investigate the biology and ecology of the Greenland shark and continues to use similar techniques in the study of another elusive species, the Atlantic Torpedo ray. Since 2018, Harvey-Clark has been active in research and conservation efforts focussed on the restoration of the severely endangered Atlantic Whitefish.As part of a lifetime of support for citizen science and facilitating marine environmental conservation, he has written, filmed and hosted more than 30 natural history documentaries for Discovery Channel, BBC, National Film Board of Canada, History Channel, Netflix and National Geographic. An avid underwater image maker and diver since 1976, he participated in the creation of the late Rob Stewarts famous documentary Sharkwater II; Extinction. He wrote the first photo-illustrated marine life guide to the Maritimes, Eastern Tidepool and Reef, in 1996, a Canadian bestseller. In 2021 he published an expanded new guide, Maritime Marine Life. Since 2020, his research has involved the first-ever Canadian photo identification database documenting the resurgence of great white sharks in Atlantic Canadian waters.More on Chris' upcoming book “In Search of the Great Canadian Shark” available March 15, 2024 (info from Nimbus Publishing)The story provides a firsthand account of underwater naturalist and veterinarian Dr Chris Harvey-Clark's many diving research adventures with sharks, torpedo rays, endangered Northern Right Whales and other charismatic megafauna in Canadian waters. The book is loaded with fascinating biological discoveries and anecdotes featuring the secret lives of aquatic animals and tells the story of a burgeoning passion for marine species and undersea exploration.From early experiences as a marine biologist and commercial diver to later, first-ever studies with Greenland sharks, torpedo rays, beavers and ultimately Great White sharks in Canadian waters, Chris gives you an immersive look at the unique animals and people encountered in Canada's three oceans, as global warming changes the invisible underwater world that surrounds us. About Outdoors with Lawrence Gunther:Listen live Saturdays and Sundays at 2:30 p.m. Eastern over basic cable on AMI-audio, or stream episodes as a podcast. Send us your comments at Feedback@AMI.Ca and please rank us on Apple Podcast.For more Lawrence Gunther check out Blue Fish RadioThe Blue Fish Radio show features subjects and people of special interest to the future of water, fish and fishing, and is ranked as one of the top 30 fishing podcasts on the internet. Each week the host, Lawrence Gunther, interviews Canada's “giants” in the fishing industry, CEO's of conservation and sport fishing organizations, leading fish biologists and researchers, government scientists and politicians, and people with local and indigenous knowledge who exemplify the spirit of conservation and citizen science. The Blue Fish Radio Show is the official fishing podcast of Outdoor Canada Magazine. The Show is also rebroadcast across Canada 5-times each week by AMI Audio over basic cable and satellite TV.

In honour of Black History Month, we are using our side series highlighting the innovative and significant animation produced through the National Film Board to spotlight the work of one trailblazing black artist. The paint-on-glass animation of Haitian-Canadian animator Martine Chartrand has been used in her visually stunning work to explore the enduring flow of Black history and culture throughout the makeup of Canada's identity. Whether it be a a montage of centuries of significant events in Black Soul (2000) or one unlikely friendship that irrevocably changed two lives in Macpherson (2012), her intricate and gorgeous work is worth spotlighting any time of the year. Films covered are Black Soul (2000) and Macpherson (2012). Links: https://www.nfb.ca/directors/martine-chartrand/ Chartrand's official website: https://martinechartrand.net/index.html If you liked what you heard please and wish to support the show, please consider subscribing and leaving a review on your podcatcher of choice. Follow us on Twitter at https://twitter.com/CartoonNightPod?s=20 Chris' Twitter: https://twitter.com/Cinemacreep Sylvie's Twitter: https://twitter.com/sylvieskeletons Theme song by https://soundcloud.com/hvsyn Logo designed by https://www.rachelsumlin.com/

An award-winning actor, writer, and film director, Nicole has carved her niche in the entertainment industry with a unique blend of talent, passion, and relentless dedication. Nicole's collaboration with acclaimed writer and director Neil Labute birthed the award-winning film, "Black Chicks."  Co-directing and producing the film "Henry's Glasses," Nicole added another feather to her cap as it clinched the title of Best Canadian Short Film by the National Film Board of Canada. The film's triumph extended to the Oregon Disorient International Film Festival, where it claimed the coveted title of Best Picture. In her most recent venture, Nicole wrote and directed the adrenaline-fueled action film "Sworn Justice," produced BET+. The star-studded cast includes Emmy award-winning actress Mishael Morgan and the incomparable Vivica A. Fox. Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

About Jane WeinerBorn in Manhattan, Jane Weiner grew up in the Arizona desert. After majoring in Biology and American History, she received her BA inEnglish Literature and did her MA studies in Film at San Francisco State University. In 1972, she left California to begin shooting herfeature-length documentary on the life and career of renowned cinema vérité flmmaker Richard Leacock at M.I.T.During 1973-75, she was Artist-in-Residence with the National Endowment of the Arts' Artist-in-the-Schools Program and with TheCommunications Experience in Philadelphia, offering workshops in flm, video, and photography to underprivileged children in rural andinner-city public schools. In the mid-1970s, she advanced from assistant editor on 35mm feature flms in New York City to become asupervising editor on more than 100 documentaries produced by the National Film Board of Canada for the United Nations' HabitatConference in Vancouver.In the early 1980s, while working with the Corporation for Public Broadcasting and with broadcasters in the UK, Holland, Sweden andFrance, she began organizing international co-productions for television, festival, and cinema release. Since 1993, dividing her time betweenthe USA and France, she continues to write, shoot, direct, and consult on award-winning flms around the world.She taught at the New School Graduate Media Studies Program in New York (1982-91) and was Associate Professor at Newhouse Schoolof Communication Syracuse University (2002-04). She has led scriptwriting and production workshops in the USA, Europe, North Africa,and Asia and served on many international flm festival juries.FILM AWARDS & ACCOLADES2x EMMY Awards (Documentary & Regional Cultural); 2x Sundance Film Festival (Grand Jury & Special Jury); Los Angeles Critics Award;Prix Italia; Peabody Award; International Documentary Association Award; Berlin Film Festival 'Teddy'; Prix Europa; Golden Gate Award;Vision de Réel Festival-Grand Jury Prize; 'Best Of Series' European Arts Union; FIPA-Palme d'Argent; UNESCO-Best Film; Vue sur les Docs-Grand Prix; LaScam-l'Etoile; Biograflm-Special Mention; and Environmental Festival du flm documentaire de politiques publques-Grand Prix.

This one is special! We're so thrilled to be joined by Joel Robinson, a member of the Osage Nation, and professor of Native American and global indigenous media studies, Joanna Hearne, to discuss the current state of Native representation in media.  It's an incredible conversation that covers Killers of the Flower Moon, Reservation Dogs, some film history, and tons of great recommendations to watch.  We're super grateful to both Joel and Joanna for joining us! Check out Joel's piece for Slate on Killers of the Flower Moon here, and find Joanna's books here and here.  We also wanted to make as many resources available as possible so check out our Google Doc that has a list of the films recommended as well as some books and more! Also, The National Film Board of Canada has a bunch of films you can watch for free on their website!  You can find Joel at @trythebuffer on Twitter and IG and you can find us at @white_pod as well as at whitepeoplewontsaveyoupod@gmail.com  We've gotten so many great messages recently and we promise we'll get back to everyone soon!  Speaking of soon, look out for our annual holiday episode and end of year round up coming up in the next few weeks! 

A recent film by the National Film Board of Canada follows the story of an artist with Down syndrome. Alex Smyth tells you all about it and shares his interview with the filmmakers of “Lay Down Your Heart.” From the Thursday, November 30, 2023.

FREE SPEECH TO CANCEL CULTURE; PROFILES IN CANADIAN COMEDY, 96min., Canada Directed by William Davern Ten veteran comedians and TV personalities share insightful, often hilarious tales of the comedy business and the shifting attitude(s) of audiences. http://www.davernproductions.com/ Get to know the filmmaker: I've been a touring stand up comic for 25 years. Am also a film school graduate and recipient of the Norman Jewison Award for a short drama now part of the National Film Board of Canada. Over the years, I made several shorts including an unsold pilot for TV along with three 22 min “Profiles” of the local comedy scene. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

This one is a doozy. Tackling a giant of Canadian cinema, Andrew Hunter Scholey and James Thornton sit down to discuss Norman McLaren. Possibly the most influential filmmaker in Canadian history, there is a lot to unpack. To discuss Norman one has to discuss the history of the National Film Board of Canada and it's impact on Canadian film. His pioneering animation techniques and the state of animation in North America in the 1930's to the 1960s. And that's just to start. Oh, and they eventually get around to discussing his 1952 Academy Award winning film "Neighbours".

Rick Mercer started his career as a media critic of sorts. He broke into the national consciousness with a one man show taking on an establishment journalist, called Show Me the Button: I'll Push It (or Charles Lynch Must Die). He talks to Jesse about his path from angry young outsider to palling around with politicians on TV. He also talks about developing his pioneering blend of news and comedy in This Hour Has 22 Minutes and The Mercer Report, why he wouldn't do Talking to Americans in the Youtube age, and why political satire in Canada is far friendlier than its American counterpart. This conversation was recorded in September, 2023Sponsors: Oxio, The National Film Board of CanadaIf you value this podcast, support us! You'll get premium access to all our shows ad free, including early releases and bonus content. You'll also get our exclusive newsletter, discounts on merch at our store, tickets to our live and virtual events, and more than anything, you'll be a part of the solution to Canada's journalism crisis, you'll be keeping our work free and accessible to everybody.You can listen ad-free on Amazon Music—included with Prime. Hosted on Acast. See acast.com/privacy for more information.

The Bate Escape: S**** N Giggles Edition! Here's a special edition of The Bate Escape with my friend Andrew Gurza, "an award winning Disability Awareness Consultant. Andrew uses they/he pronouns and identifies proudly as disabled.  Their work has been featured on BBC, CBC, Daily Xtra, Gay Times UK, Huffington Post, The Advocate, Everyday Feminism, Mashable, Out.com, and several anthologies.  He was the subject of an award winning National Film Board of Canada Documentary “Picture This”.  Andrew has guested on a number of podcasts including Dan Savage's Savage Love and Cameron Esposito's Queery. He has spoken all over the world on sex, disability and what it means to be a Queer Cripple." In this episode, we play a fun game of "Goon or GO!", talk about pop culture moments in "Make It Make Sense", and share some insight into our dating lives in the segment "BATE/MATE/DATE. You can learn more about Andrew by clicking on the following links: https://twitter.com/andrewgurza6 https://www.instagram.com/andrewgurza6/ https://www.andrewgurza.com/ https://bsky.app/profile/andrewgurza6.bsky.social Andrew's Podcast: Disability After Dark: https://podcasts.apple.com/us/podcast/disability-after-dark/id1151890990 --- Send in a voice message: https://podcasters.spotify.com/pod/show/thebateescape/message Support this podcast: https://podcasters.spotify.com/pod/show/thebateescape/support

Filmmaker Tyler Funk delves into the dizzying world of content creation for his wildly entertaining and borderline-terrifying documentary, Anything For Fame. As the Internet upends traditional notions of celebrity, Anything For Fame journeys into the virtual Wild West to profile an ambitious and reckless breed of content creator. There's Ava, who rose to worldwide fame for a video where she licked an airplane toilet seat; amateur stuntman Peter, who routinely defies death and Homeland Security to leap between urban rooftops and climb iconic landmarks; and self- described “dumb-as-shit” prankster Jake, who stages hair-raising hijinks inspired by the Jackass franchise. While stars rise with meteoric and disorienting speed, they can plummet just as fast—with heartbreaking results. Anything For Fame shares those stories, too, and also offers some context for why these young people want to be influencers in the first place. Anything For Fame is currently streaming on Paramount+ in Canada, Germany, France, New Zealand, and Australia, and, as of November 8, will be streaming free across Canada on the National Film Board of Canada site. Tyler Funk visits the YVR Screen Scene studio to talk about what he learned after spending time in the world of social media influencers, and what might be driving their appetite for fame. Episode sponsors: Biz Books and The Drama Class

Georges Hannan of Moncton is the director of "Undertaker for Life".

Acclaimed Abenaki filmmaker Alanis Obomsawin has dedicated her life to telling the stories of Indigenous peoples. She's made more than 50 films with the National Film Board of Canada, including the landmark documentaries Christmas at Moose Factory, Incident at Restigouche and Kanehsatake: 270 Years of Resistance, and has been called "the most important filmmaker in the history of Canada." In 2008, Eleanor Wachtel spoke to Obomsawin at her home in Montreal.

“We're not trying to be right. We're trying to see if we can see clearly.” In this agile and authentic episode, returning guest Stephen Jenkinson offers a lucid view of the world. How might our understanding of the world change if we approached life with a willingness to see things as they are rather than a need to only affirm that which we desire? Ayana and Stephen journey together to consider what had brought us to this modern time – prompting vital questions about the value of tradition, the importance of strangerhood, the possibility of reckoning, and the meaning of ancestry. Stephen asks questions that disrupt and unsettle the status quo, and perhaps these questions will lead us to the lessons we so deeply need. STEPHEN JENKINSON, MTS, MSW is an author, culture activist, ceremonialist and farmer. He teaches internationally and is the creator and principal instructor of the Orphan Wisdom School, founded in 2010. With Master's degrees from Harvard University (Theology) and the University of Toronto (Social Work), he has worked extensively with dying people and their families, is a former programme director in a major Canadian hospital and former assistant professor in a prominent Canadian medical school. He is the author of several books including 'Reckoning', 'A Generation's Worth', 'Come of Age', 'Money & the Soul's Desires' and the award-winning 'Die Wise: A Manifesto for Sanity and Soul'. Stephen is the subject of the National Film Board of Canada documentary 'Griefwalker', and 'Lost Nation Road', a behind-the-scenes glimpse into the wheelhouse of a mystery train. Nights of Grief and Mystery world tours, with singer/ songwriter Gregory Hoskins, are odes to wonder, love letters for the willingness to know endings. Music by Nights of Grief and Mystery. Visit our website at forthewild.world for the full episode description, references, and action points.Support the show

Andrew Gurza, host of Disability After Dark, joins the pod and shares about their experience navigating these times as a severely disabled, queer person. We talk about the power of sex work, Andrew's coming out journey, the unique challenges of accessing queer spaces as a disabled person and the double edged sword of anti-queer sentiment in disabled spaces. Andrew's approach of giving grace and educating with humor and radical transparency, while actively challenging ableist beliefs and institutionalized erasure of the experience of disabled people is powerful and palpable in everything they do. Our conversation with Andrew is all the things... enlightening, heartening, funny, and queer AF.Andrew Gurza (they/he) is an award winning Disability Awareness Consultant and the Chief Disability Officer and Co-founder of Bump'n, a sex toy company for and by disabled people. He was the subject of an award winning National Film Board of Canada Documentary “Picture This”. He is also the host of Disability After Dark: The Podcast Shining a Bright Light on Disability Stories which won a Canadian Podcast Award in 2021, was a Queerty Award nominee, and was chosen as an Honoree at the 2020 Webby Awards. The show is available on all platforms. Andrew is also the creator of the viral hashtag #DisabledPeopleAreHot.You can find out more about Andrew by going to www.andrewgurza.comResources mentioned in this episode:Andrew's Podcast Disability After DarkCripping Up SexThe Handi Book of Love, Lust & Disability (Andrew is a Contributor)Find Andrew on IG @andrewguza6Find us on TT & IG @fuckyeahpod, YouTube @fyeahpod or email us at fyeahpod@gmail.com!

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Today we air the last episode of Flux Season 2. Flux is a FreshEd series where graduate students turn their research interests into narrative-based podcasts. This episode was created by Michael Rumbelow, a PhD student at the University of Bristol. In his Flux episode, Michael takes listeners on a sonic journey to explore block play. He weaves together sounds and ideas to show the power and possibilities of play. I hope you enjoy today's episode. freshedpodcast.com/flux-rumbelow -- Credits: This episode was created, written, produced and edited by Michael Rumbelow. Johannah Fahey was the executive producer. Brett Lashua and Will Brehm were the producers. Vicki Mitchem played Virginia Woolf and Bertha Ronge, Dave Jackson played Friedrich Froebel, Karl Marx, and Charles Dickens, and Simone Datzberger played Melanie Klein. Studio audio technicians were Patrick Robinson and Simon Vause. Thank you and Aray to Sifo Lakaw, chairman of the Association of Pangcah Language Revitalization in Taiwan, Adrian Rooke, Druid of the order of Bards, Ovates and Druids, Gregg Wagstaff, and the National Film Board of Canada, for kindly giving me permissions to use recordings. With many thanks to Professor Alf Coles for educating my awareness. And a special thank you to Gene for the Minecraft interview and stop-motion animation. Sound effects and music credits can be found at freshedpodcast.com/flux-rumbelow -- Learn more about Flux: freshedpodcast.com/flux/about/ Twitter: @FreshEdpodcast Facebook: FreshEd Email: info@freshedpodcast.com Support FreshEd: www.freshedpodcast.com/donate

Skwigly.com presents Animation One-To-Ones featuring Ben Mitchell in conversation with Janice Nadeau. Continuing her relationship with the National Film Board of Canada and French animation studio Folimage, Janice has recently followed up on her short films 'No Fish Where to Go' (2014) and 'Mamie' (2016) with 'Harvey', which plays in competition this week at the 2023 Annecy International Animation Festival in the Young Audiences category. An adaptation of the children's graphic novel 'Harvey: How I Became Invisible' by Hervé Bouchard, for which she did the illustrations, the animated film version depicts a young boy who candidly recalls the spring day when his world turned upside down; a poetic examination of bereavement and coping with the loss of a parent rendered in the director's distinctive and appealingly traditional illustrative style. A three-time recipient of Canada's prestigious Governor General's Literary Award, Janice currently teaches at the UQAM School of Design in Montreal. Interview conducted by Ben Mitchell Produced, edited and presented by Ben Mitchell

lori lozinski is an acclaimed producer who works closely with some of our industry's leading directors to bring evocative stories to the screen (among them: Elle-Maija Tailfeathers and Kathleen Hepburn). lori is also the director of A Motorcycle Saved My Life, a documentary short that ruminates on mental health, the often complicated relationship between parent and child, and how to negotiate a relationship with grief. In A Motorcycle Saved My Life, we learn how lori hit the road on the back of a motorcycle to reconcile past and present, and ultimately find the inner peace required in order to move forward. As she says in the documentary, “If you're not present on a motorcycle, you're going to die.” It's a powerful film, rich with nuance and emotional resonance, that gives voice to taboo subjects – grief and mental health – while also serving as a kind of love letter to bike life. A Motorcycle Saved My Life rode the film festival circuit and, on May 15, it became available for streaming on the National Film Board of Canada's site. In this thoughtful interview, lori lozinski reflects on her journey with grief and mental health on the back of a motorcycle. Episode Sponsors: Biz Books + The Drama Class

Travel back to the Viking Age to uncover the remnants of a thousand-year-old Norse encampment. We'll hear about their incredible journey from Greenland to northern Newfoundland from a diverse group of experts including historians, archaeologists, and interpreters at L'Anse aux Meadows National Historic Site. Learn more:  L'Anse aux Meadows National Historic Site: https://parks.canada.ca/lhn-nhs/nl/meadows  Google Arts and Culture Exhibition: https://g.co/arts/zsrgMj8ex1cQe5yK7 Plan your visit: https://parks.canada.ca/lhn-nhs/nl/meadows/visit  UNESCO page: https://whc.unesco.org/en/list/4/ National Film Board documentaries: The Man Who Discovered America: https://www.nfb.ca/film/man_discovered_america  The Vinland Mystery: https://www.nfb.ca/film/vinland_mystery/ Do you have a suggestion for a new National Historic Person, Site or Event? We'd love to hear it! Visit https://parks.canada.ca/commemorate for details on how to submit a nomination. A transcript and bibliography for this episode is available on our website: https://parks.canada.ca/recollections

The history of mokuhanga in Canada is small, yet strong. There are Canadian mokuhanga printmakers who have helped grow the art form in Canada and throughout the world, such as Walter J. Phillips (1884-1963), David Bull, Elizabeth Forrest, Barbara Wybou, to name but a few. But what if there was a tradition of printmaking you could never think have a connection with Japanese mokuhanga, thriving and growing in the Canadian Arctic?  Norman Vorano is the Associate Professor of Art History and Head of the Department of Art History and Conservation at Queen's University in Kingston, Ontario, Canada. In 2011 Norman published a book, with essays by Asato Ikeda, and Ming Tiampo, Inuit Prints: Japanese Inspiration.  This book opened me to the world of how various print traditions, so far away from each other, could influence one another. In this case, the Inuit of the Canadian Arctic in what is now known as Kinngait, have built one of the most thriving and economically sustainable print traditions in the world. But what I didn't know is that mokuhanga and the Japanese print tradition had a huge part to play in their early success.  I speak with Professor Norman Vorano about Inuit history and culture, how the Inuit print tradition began, how an artist from Toronto made his way to the Arctic, then to Japan, then back to the arctic, changing everything. Norman also speaks on how the work of sōsaku hanga printmaker U'nichi Hiratsuka influenced the early Inuit printmakers, and we discuss tools, pigments, and the globalization of art.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Norman Vorano PhD - is Associate Professor of Art History and Head of the Department of Art History and Conservation at Queen's University in Kingston, Ontario, Canada. For more information about Inuit printmaking and their association with mokuhanga you can get Norman's book, Inuit Prints: Japanese Inspiration (2011). For additonal information about Inuit printmaking and mokuhanga, Norman lectured on the subject for The Japan Foundation Toronto in 2022. The online lecture can be found, here.  A few topics that Norman and I really didn't have a chance to explore, but alluded too, was process. As wood is scarce in the Arctic, stone carving (soapstone), and linocuts are and were used. Also there is a chain within Inuit printmaking much like the hanmoto system of mokuhanga in Japan, where the Print Studio chooses images drawn by others in the community and those images are carved and printed by carvers and printers associated with the Print Studio in the Kenojuak Cultural Center in Kinngait, and then sold to the public.  Queens University at Kingston - is a public research university located in Kingston, Ontario, Canada. What began as a school for the Church of Scotland in 1841 has developed into a multi faculty university. More info can be found on their website, here.  Canadian Museum of History - one of Canada's oldest museums the CMH focuses on Canadian and world history, ethnology, and archeology. The museum is located in Gatineau, Québec, Canada. More info can be found on their website, here.  The Eastern Arctic of Canada - is a portion of the Arctic archipelago, a chain of islands (2,400 km or 1,500 mi) and parts of Québec and Labrador, located throughout the northern portion of the country of Canada. The Eastern portion discsussed in the episode is comprised of Baffin Island (Qikiqtaaluk - ᕿᑭᖅᑖᓗᒃ),  and Kinngait (Cape Dorset).  Kinngait (ᑭᙵᐃᑦ) - is located on Dorset Island at the southern part of Baffin Island in the territory of Nunavut, Canada. It was called  Cape Dorset until 2020, when it was renamed “high mountain” in the Inuktitut language.  Distant Early Warning Line (DEW)- was a radar system located in the Arctic regions in Canada, the Aleutian Islands of Alaska, the Faroe Islands, Greenland and Iceland. Its purpose was to help detect any aggression, militarily, from the then Soviet Union. This system was overseen by the Royal Canadian Air Force and the United States Air Force. It ceased activity in 1993.  The Canadian Guild of Crafts - also known as La Guilde, was established in 1906 in Montréal, Quebec, Canada. It has focused its work on preserving First Nations crafts and arts. It began working with James Houston (1921-2005) in 1948, having the first Inuit exhibition in 1949 showcasing Inuit carving and other crafts. It exists and works today. More information can be found, here. James Archibald Houston - was a Canadian artist who worked and lived in Kinngait (Cape Dorset) until 1962. He worked with La Guilde and the Hudson's Bay Company, bringing Inuit arts and crafts to an international community starting in 1948 through to the Cape Dorset co-operative of the 1950's. His work in helping to make Inuit art more commerical for the Inuit people has been documented in Norman Vorano's book, Inuit Prints: Japanese Inspiration (2011), as well as several articles from La Guilde, which can be found, here. Drum Dancer (1955) - chalk on paper West Baffin Eskimo Co-Operative - is the co-operative on Kinngait (Cape Dorset) established in 1959 and created by the Department of Natural Resources and Northern Development represented by Don Snowden and Alexander Sprudz, with James Houston. It focuses on drawings, prints, and carvings. More info can be found on their website, here.  The Department of Indian Affairs and Northern Development - in 2019 it was replaced by the Department of Indigenous Services Canada. The ISC is a government department whose responsibility is to colaborate and have an open dialogue with First Nations, Inuit and Métis peoples in Canada.  Terry Ryan (1933-2017) - was an artist and the arts director of the West Baffin Eskimo Co-Op in 1960 and General Manager in 1962. His work with the Cape Dorset Print Studio, bringing artists from all over Canada, helped to push the studio's work throughout the world. There is a fine Globe and Mail article about Terry Ryan's life and accomplishments, which can be found here.  Kenojuak Cultural Center - is located in Kinngait, and was opened in 2018 with a space of 10,440 sq ft. The KCC is a community center and space for sharing. It has a large printmaking studio, meeting spaces and exhibition spaces for work as well as a permanent gallery. It is associated with the West Baffin Eskimo Co-Operative.  Early Inuit Art - for more information regarding early Inuit art on record, from first European contact, La Guilde discusse this very topic in their article Going North: A Beautiful Endeavor, here. Grand-Mère, Québec - is a city in the province of Québec in Canada. Located in the region of Maricie, with a population of around 14,000. It was founded in 1898 and is made famous for the rock formation which shares its name. Grand Mère means ‘grandmother.' It is known for hunting and fishing tourism.  The Group of Seven - were a group of landscape painters from Canada. The artists were, Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A.Y. Jackson  1882–1974), Frank Johnston (1888–1949), Arthur Lismer  (1885–1969), J.E.H MacDonald (1873–1932), and Frederick Varley (1881–1969). Later, A.J. Casson (1898–1992) was invited to join in 1926, Edwin Holdgate (1892–1977) became a member in 1930, and LeMoine FitzGerald (1890–1956) joined in 1932. While Tom Thomspon (1877–1917), and Emily Carr (1871–1945) were not "official" members it is generally accepted that they were a part of the group because of their individual relationships with the other member of the group. More info can be found, here. A fine article on the CBC by Cree writer Matteo Cimellaro, discusses the role The Group of Seven played in Canadian nationalism and the exclusion of First Nation's voices in their work. This can be found, here.      Tom Thompson - The Jack Pine (1916-1917)   Moosonee, Ontario - is a town located in Northern Ontario, Canada. It was first settled in 1903, and is located on the Moose River. It's history was of trapping, and is a gateway to the Arctic. English and Cree is spoken.   Moose Factory, Ontario - is a town first settled in 1673, and was the first English speaking town in Ontario. Much like Moosonee, Moose Factory has a history of fur trading, in this case by the Hudsons Bay Company. Like Moosonee there is a tourist industry based on hunting and fishing. The population is predominantly Cree.    Cree (ᓀᐦᐃᓇᐤ) - are a Canadian First Nation's people who have lived on the land for centuries. Their people are divided into eight groups through region and dialect of language:   Attikamekw James Bay Cree Moose Cree Swampy Cree Woods Cree Plains Cree Naskapi and Montagnais (Innu)   For more information regarding history, tradition of the Cree people of today, Heritage Centre: Cree Nations, and the Cree Nation Government website can get you started.    John Buchan (Lord Tweedsmuire, 1875-1940) - was the 15th Governor General of Canada serving from 1935-1940 (his death). He was born in Scotland, but committed himself to Canada when taking to his position as Governor General. He was also a writer of almost 30 novels.    sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.    Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today.      Mara Cape, Izu (1929)   Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers, Shikō is famous for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.      Castle ca 1960's   Venice Bienale  - is a contemporary art exhibition that takes place in Venice, Italy and which explores various genres of art, architecture, dance, cinema and theatre. It began in 1895. More info, here.   Sao Paolo Biennal - is held in Sao Paolo, Brazil and is the second oldest art bienale in the world. The Sao Paulo Biennal began in 1951. It's focus is on international artists and Brazilian artists. More info can be found, here.    German Expressionism - was produced from the early twentieth century to the 1930's and focused on emotional expression rather than realistic expression. German Expressionists explored their works with colour and shape searching for a “primitive aesthetic” through experimentation. More info can be found,  here, on Artsy.net    Vasily Kandinsky (1866-1944) : Poster for the First Exhibition of The Phalanx, lithograph 1901.  Yanagi Sōetsu (1889-1961) - was an art critic, and art philosopher in Japan, who began writing and lecturing in the 1920's. In 1925 he coined the term mingei (rural crafts), which he believed represented the “functional beauty” and traditional soul of Japan. While on paper an anti-fascist, Yanagi's early views on the relationship of art and people, focusing on the group and not the individual, going back to a Japanese aesthetic; veering away from Western modernity, was used by Japanese fascists leading up to and during the Pacific War (1941-1945). For more information about Yanagi and the mingei movement in Japan during war time check out The Culture of Japanese Fascism, Alan Tasman ed. (2009) mingei movement - began with the work of Yanagi Sōetsu in the 1920's. The movement wanted to return to a Japanese aesthetic which honoured the past and preserved the idea of the “everyday craftsman,” someone who went away from industrialization and modernity, and fine art by professional artists. It was heavily influenced by the European Arts and Crafts Movement (1880-1920) as conceived by Augustus Pugin (1812-1852), John Ruskin (1819-1900), and William Morris (1834-1896).    Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.”   Stuben Glass Works - is a manufacturer of glass works, founded in 1903 in New York City. It is known for its high quality glass production working with talented glass designers.    Ainu - are a First Nations peoples with a history to Japan going back centuries. They traditionally live in the northern Japanese island of Hokkaido as well as the northern prefectures of Honshū.  There are approximately 24,000 Ainu in Japan. Made famous for the face, hand and wrist tattooing of Ainu women, as well as animist practices, the Ainu are a distinct culture from the Japanese. There has been some attempts by the Japanese goverment to preserve Ainu heritage and language but the Ainu people are still treated as second class citizens without the same rights and prvileges of most Japanese. More information about the Ainu can be found at the World Directory of Minorities and Indigenous People, here.    baren - is a Japanese word to describe the flat, round shaped disc which is predominantly used in the creation of Japanese woodblock prints. It is traditionally made of cord of various types, and a bamboo sheath, although baren come in many variations.    Keisuke Serizawa (1895-1984) - was a textile designer who was a Living National Treaure in Japan. He had a part in the mingei movement where he studied Okinawan bingata fabric stencil dying techniques. He also used katazome stencil dying technqiues on paper in the calendars he made, beginning in 1946.      Happiness - date unknown: it is an ita-e (板絵) work, meaning a work painted on a piece of wood, canvas, metal etc.    National Museum of Ethnology (Minpaku) - is a research institute and public museum located on the old Expo '70 grounds in the city of Suita, Osaka Prefecture. It provides a graduate program for national and international students, doctorate courses, as well as various exhibitions. More information can be found on their website, here.    Prince Takamado Gallery -  is a gallery located in the Canadian Embassy in Tōkyō. It has a revolving exhibition schedule. It is named after Prince Takamado (1954-2002), the third son of Prince Mikasa Takahito (1916-2016). More info can be found, here.   Carlton University - is a public resesarch university located in Ottawa, Ontario, Canada. It was founded in 1942 in order to provide a serivce for returning World War II veterans. More information about the university can be found, here.     Kenojuak Ashavak (1927-2013) - was an Inuit graphic designer and artist born in Ikirisaq, Baffin Island. She moved to Kinngait (Cape Dorset) in 1966. Kanojuak Ashavek has made some of the most iconic imagery of Inuit art in Canadian history. One of her images, The Enchanted Owl was the subject of a TV Ontario short from TVO Today, and can be found here. The famous National Film Board of Canada documentary (1963) about her and her work can be found, here.       Luminous Char, stonecut and stencil, 2008. © Dorset Fine Arts   Inuit Prints: Japanese Inspiration -  was an Inuit print exhibtion at the Prince Takamado Gallery held at the Canadian Embassy in Tōkyō in 2011. It later toured across Canada.    Osaki washi - is a paper making family located in Kōchi, Japan. His paper has been provided to Inut printmakers for many years. The print by Kenojuak Ashavak, and printed by Qiatsuq Niviaksi,  was the one aluded to in Norman's interview as hanging on the washi makers wall.    Norman discusses, near the end of the interview, about how Inuit leaders were stripped of their power. The Canadian government instituted more policing in post war Canada, especially during the Cold War. The RCMP and other government officials used colonial practices such as policing, culturally and criminally, to impose Canadian practices from the South onto the Inuit.      Pitaloosie Saila - Undersea Illusion,  lithograph 2012     Lukta Qiatsuk (1928-2004)       Owl -  Stonecut print on paper, 1959. Canadian Museum of History Collection, © Dorset Fine Arts. Kananginak Pootoogook (1935-2010)       Evening Shadow: stone cut and stencil, 2010 © Dorset Fine Arts   Eegyvudluk Pootoogook (1931-1999)     Eegyvudluk Pootoogook w/ Iyola Kingwatsiaq , 1960, photo by Rosemary Gilliat Eaton, Library and Canadian Archives.      Our First Wooden Home: lithograph, 1979.     Osuitok Ipeelee (1922-2005)       Eskimo Legend: Owl, Fox, and Hare - stencil print, 1959 Canadian Museum of History Collection © Dorset Fine Arts.    Iyola Kingwatsiak (1933-2000)       Circle of Birds: stencil on paper, 1965   © Popular Wheat Productions opening and closing musical credit - From Professor Henry D. Smith II, lecture entitled, The Death of Ukiyo-e and the Mid-Meiji Birth of International Mokuhanga, as told at the 4th International Mokuhanga Conference in Nara in November, 2021.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***  All photos of Inuit artists and works of Inuit artists have been either provided by Norman Vorano, or have been sourced from elsewhere. These are used for educational purposes only. Any issues please reach out.   

From the day it was formed, for the next eight decades and counting, the National Film Board of Canada has brought pride to Canada through its Oscar nominations and wins, the movies and vignettes that capture Canadiana, and the documentaries that preserve our history. Artwork/logo design by Janet Cordahi Support: patreon.com/canadaehx Merch: www.canadaehx.com/shop Donate: canadaehx.com (Click Donate) E-mail: craig@canadaehx.com Twitter: twitter.com/craigbaird Mastadon: @canadaehx@canada.masto.host Tiktok: https://www.tiktok.com/@cdnhistoryehx YouTube: youtube.com/c/canadianhistoryehx Want to send me something? Craig Baird PO Box 2384 Stony Plain PO Main, Alberta T7Z1X8 Learn more about your ad choices. Visit megaphone.fm/adchoices

Gordon and Marc from the Darts & Letters podcast join me to discuss the 2004 National Film Board documentary Discordia, chronicling a student uprising against Benjamin Netanyahu speaking at Concordia and its aftermath. This episode connects to their ongoing series revisiting the events portrayed in the film with some of its subjects and others, which you can listen to here. ReComradations:Evan: action figure youtubersGordon: [1] Michael Lewis, The Fifth Risk [2] Ezra Klein, Why We're PolarizedMarc: Ursula K. LeGuin, The DispossedRate + review the show on the podcatcher of your choice!Join the Kino Lefter DiscordJoin the Kino Lefter Facebook group "Kino Lefter VIP Cinema Experience"Get access to Primo Lefter, our weekly bonus show on our Patreon for just $3 per month. 

We begin to talk about the story between MIT's Open Doc Lab and our guests' book Collective Wisdom with Kat's experiences working for the National Film Board of Canada and how this provided a precious chance for her to dig into collective wisdom. William Uricchio brings in the Comparative Media Studies program at MIT and two major characteristics of its cross-media study: remarkable community and applying humanity to work. Then we talk about the diversity of co-creation, and our guests' definitions of some key terms, including the difference between co-creation and collaboration. Looking at the deep roots of these practices from long before the modern notion of single-authorship, Kat & William's book lifts up alternatives for dealing with today's “wicked problems.” It also dispels the concept of a fixed narrative for an open one, making way for participatory culture. Through examples like MIT Co-Creation Studio's Worlding initiative, AI, and Art/Science experimentation, we talk about decentralized decision-making, the ownership/authorship of co-creation, and re-think existing models of co-creation between arts and science. Finally, our guests are careful not to present co-creation as a panacea, and that accompanying strategies are necessary to make it productive.Katerina Cizek is an Emmy-winning documentary director working across many media platforms: digital media, broadcasting (radio and television), print, and live presentations/installations. Her work has documented the Digital Revolution and has itself become part of the movement. As a filmmaker-in-residence, she has helped redefine the National Film Board of Canada as one of the world's leading digital content hubs for a community-based and globally recognized documentary.William Uricchio revisits the histories of old media when they were new; explores interactive and participatory documentary; writes about the past and future of television; thinks about algorithms and archives; and researches narrative in immersive and interactive settings. He is Professor of Comparative Media Studies, founder and Principal Investigator of the MIT Open Documentary Lab, and Principal Investigator of the Co-Creation Studio. He was also Professor of Comparative Media History at Utrecht University in the Netherlands and has held visiting professorships at the Freie Universität Berlin, Stockholm University, the Georg-August-Universität Göttingen (Lichtenberg-Kolleg), China University of Science and Technology, and in Denmark where he was DREAM professor. He has received Guggenheim, Humboldt, and Fulbright fellowships, the Berlin Prize, and the Mercator Prize. His publications include Reframing Culture; We Europeans? Media, Representations, Identities; Die Anfänge des deutschen Fernsehens; Media Cultures; Many More Lives of the Batman; Collective Wisdom: Co-Creating Media Within Communities, across Disciplines and with Algorithms, and hundreds of essays and book chapters, including a visual "white paper" on the documentary impulse (momentsofinnovation.mit.edu). He is currently leading a two-year research initiative on augmentation and public spaces with partners in Montreal and Amsterdam.A full transcript of this episode will be available soon!Here are some of the references from this episode, for those who want to dig a little deeper:Collective WisdomNational Film Board of Canada - HighriseGeorge StoneyColin mentioned “Bear 42,” but meant Bear 71 (and apologizes for failing memory). Here's a short article on that film and the newer VR version of the original screen-based film.Henry on Archive of Our OwnJ.R.R. Tolkien on SubcreationWaves of Buffalo and other MIT Co-Creation Studio Worlding projectsISeeChange collective climate change studyStephanie Dinkins, AI artistGina Czarnicki Artwork - HeirloomGoogle Smart City Experiment in TorontoGoncharov: The Fake Martin Scorsese Film the Internet Brought to LifeCheck out our previous episode with Mike MonelloShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

Today we air the last episode of Flux Season 2. Flux is a FreshEd series where graduate students turn their research interests into narrative-based podcasts. This episode was created by Michael Rumbelow, a PhD student at the University of Bristol. In his Flux episode, Michael takes listeners on a sonic journey to explore block play. He weaves together sounds and ideas to show the power and possibilities of play. I hope you enjoy today's episode. freshedpodcast.com/flux-rumbelow -- Credits: This episode was created, written, produced and edited by Michael Rumbelow. Johannah Fahey was the executive producer. Brett Lashua and Will Brehm were the producers. Vicki Mitchem played Virginia Woolf and Bertha Ronge, Dave Jackson played Friedrich Froebel, Karl Marx, and Charles Dickens, and Simone Datzberger played Melanie Klein. Studio audio technicians were Patrick Robinson and Simon Vause. Thank you and Aray to Sifo Lakaw, chairman of the Association of Pangcah Language Revitalization in Taiwan, Adrian Rooke, Druid of the order of Bards, Ovates and Druids, Gregg Wagstaff, and the National Film Board of Canada, for kindly giving me permissions to use recordings. With many thanks to Professor Alf Coles for educating my awareness. And a special thank you to Gene for the Minecraft interview and stop-motion animation. Sound effects and music credits can be found at freshedpodcast.com/flux-rumbelow -- Learn more about Flux: freshedpodcast.com/flux/about/ Twitter: @FreshEdpodcast Facebook: FreshEd Email: info@freshedpodcast.com Support FreshEd: www.freshedpodcast.com/donate

Email is emotional. Liz Wilcox said it in our episode on welcome sequences, and Kyla Roma is echoing it here today during our conversation on sales email strategy.You get all the way through a huge part of the launch process only to realizeTHERE.IS.STILL.SO.MUCH.TO.WRITE.You're plowed through the pre-launch social media content, created a sales funnel and strategy, and wrote out an epic sales page that speaks directly to your clients' needs.And now you have to write HOW MANY emails?If feeling overwhelmed and overemotional about your sales emails is something you've experienced, this episode on being strategic with sales emails is one you won't want to miss._______________________________________________Mentioned in the article:Anne Lamott's book Bird by BirdLearn more about our guest expert, Kyla Roma:Kyla Roma is a Canadian business coach and marketing strategist. Over the last 13 years she's worked with more than 600 one-on-one clients of all sizes, from individual service providers and course creators to the National Film Board of Canada, and $3-million online course launches.She loves to make marketing uncomplicated for high-achieving over-thinkers.Kyla's a trained conversion copywriter and ADHD coach. She's also a mom whose business  supports her family, and is an Autistic ADHDer who's passionate about the intersection of mental health and entrepreneurship. Learn more about your host:Erin Ollila believes in the power of words and how a message can inform – and even transform – its intended audience. She graduated from Fairfield University with an M.F.A. in Creative Writing, and went on to co-found Spry, an award-winning online literary journal.When Erin's not helping her clients write email sequences or improve their website copy, you can catch her hosting the Talk Copy to Me podcast and guesting on shows such as Profit is a Choice, She Built This, and Photo Business Help.Stay in touch with Erin Ollila, SEO website copywriter:Learn more about Erin's VIP Day options if you'd like to learn more about how you can hire her to write emails for youReach out her on Instagram, Facebook or on LinkedIn to talk more about online quiz creation and quiz funnelsReach out to continue the conversation: https://erinollila.com/podcast and https://instagram.com/erinollilaPlease be aware that this show description may contain affiliate links. I only share programs and tools that I've personally taken or used, or from people or companies I trust and admire. Reach out to continue the conversation: https://erinollila.com/podcast and https://instagram.com/erinollila

Email is emotional. Liz Wilcox said it in our episode on welcome sequences, and Kyla Roma is echoing it here today during our conversation on sales email strategy.You get all the way through a huge part of the launch process only to realizeTHERE.IS.STILL.SO.MUCH.TO.WRITE.You're plowed through the pre-launch social media content, created a sales funnel and strategy, and wrote out an epic sales page that speaks directly to your clients' needs.And now you have to write HOW MANY emails?If feeling overwhelmed and overemotional about your sales emails is something you've experienced, this episode on being strategic with sales emails is one you won't want to miss._______________________________________________Mentioned in the article:Anne Lamott's book Bird by BirdLearn more about our guest expert, Kyla Roma:Kyla Roma is a Canadian business coach and marketing strategist. Over the last 13 years she's worked with more than 600 one-on-one clients of all sizes, from individual service providers and course creators to the National Film Board of Canada, and $3-million online course launches.She loves to make marketing uncomplicated for high-achieving over-thinkers.Kyla's a trained conversion copywriter and ADHD coach. She's also a mom whose business  supports her family, and is an Autistic ADHDer who's passionate about the intersection of mental health and entrepreneurship. Learn more about your host:Erin Ollila believes in the power of words and how a message can inform – and even transform – its intended audience. She graduated from Fairfield University with an M.F.A. in Creative Writing, and went on to co-found Spry, an award-winning online literary journal.When Erin's not helping her clients write email sequences or improve their website copy, you can catch her hosting the Talk Copy to Me podcast and guesting on shows such as Profit is a Choice, She Built This, and Photo Business Help.Stay in touch with Erin Ollila, SEO website copywriter:Learn more about Erin's VIP Day options if you'd like to learn more about how you can hire her to write emails for youReach out her on Instagram, Facebook or on LinkedIn to talk more about online quiz creation and quiz funnelsReach out to continue the conversation: https://erinollila.com/podcast and https://instagram.com/erinollilaPlease be aware that this show description may contain affiliate links. I only share programs and tools that I've personally taken or used, or from people or companies I trust and admire. Reach out to continue the conversation: https://erinollila.com/podcast and https://instagram.com/erinollila