Issue 105 - Spring 2017
POV’s biggest issue ever offers an in-depth look at the history of Canada’s national art form: documentary! Generously sponsored by Reel Canada / National Canadian Film Day, the OMDC, the NFB and Henry’s Camera.
In one of the more emotional moments—and there are many—in Peter Raymont’s often-shattering Shake Hands with the Devil: The Journey of Roméo Dallaire (2004), Canadian General Roméo Dallaire recounts his rage at Belgium’s withdrawal of its troops in the early days of the Rwandan genocide.
Read MoreAt a Toronto variety store, amid racks of candy, lottery tickets and cigarettes, a Korean couple battles their Canadian-born children. The father demands that his kids finish school, get married and start families. No exceptions. The children rail against his
Read MoreWhat is a feminist film? This question can cause confusion when it comes to reflecting on the history of filmmaking that’s been labeled as such, given that the definitions will vary depending on whom you talk to. While this poses
Read More“Documentary? That’s a very sophisticated and misleading word. And not very clear. The term should be documentary style…You see, a document has use, whereas art is really useless.” —Walker Evans (1903-1975) When the Canadian confederation was proclaimed, photography had been
Read More“Distances and differences keep us apart, and we often forget to remind each other of our own stories,” says Ann Marie Fleming in her 2003 film The Magical Life of Long Tack Sam, in which she dives into the past to
Read MoreWhen you think about documentaries, certain things come to mind: verité shooting, archival footage, interviews, narration. Embedded in this idea of what could be called the “well-made doc” is a set of assumptions that largely reduces documentary to fact and
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