The Doc Summit began in 2004 as a policy conference at Hot Docs in Toronto, and evolved into a major yearlong research project. Telefilm Canada (TFC) and the National Film Board (NFB), with the Canadian Television Fund (CTF) joining in, initiated this policy exercise. A larger advisory group was then organized and the Documentary Organisation
Documentary Culture
BANFF DIARY – SHE SAID By Debra Felstead Born and bred in Ontario, I am startled by the raw beauty of the Albertan Rockies. They will probably always throw me into a state of I-am-a- teeny-tiny-being-in-a-vast-beautiful-universe shock, today being no different. I am traveling to attend the 2005 Banff International Television Festival, where I have
What does a body have to do to get noticed around here, anyway? In a contribution to Canadian film history, One Hundred Years of Canadian Cinema, George Melnyk attempts an answer. National identity is a slippery notion in this bi- polar country of French and English influences liberally affected and challenged by immigrant voices, which lives,
Wanna make a quick buck? Join the thousands who are cashing in on the exciting field of animation training! Get in while it’s hot! Hyperbole aside, animation education is booming in Canada. Schools vary in credibility but in amongst the fly-by-nights are excellent programs, many of which can trace their origins back to one source:
POV is pleased to present a section from Don Owen: Notes on a Filmmaker and His Culture by Steve Gravestock, the Associate Director of Canadian Special Projects for the Toronto International Film Festival (TIFF). The book, which will be launched in tandem with a retrospective programme of Owen’s work at TIFF, is the first ever written on the director
CANADIAN CINEMA WOULD BE VASTLY DIFFERENT IF IT WASN’T FOR THE PRESENCE OF WAYNE CLARKSON. The new Executive Director of Telefilm Canada (TFC), Clarkson comes with an extensive resume that bears retelling. Wayne Clarkson emerged from the hothouse federalist Liberal environment of Ottawa in the 1970s, when the Trudeau era had propelled the notion of Canadian identity to the forefront of political debate. During that time, Clarkson
The consciousness divide between what makes a good TV documentary and what makes a good theatrical doc has never been so stark in this country as in the weeks since Telefilm and CBC announced at the Banff TV festival that $2 million would be available for theatrical docs, in a test run that begins this
As Stuart Samuels readily points out, any idea that this is “objective” documentary filmmaking is a simple misunderstanding.
On Sunday the 13th of February 2005 at the National Gallery of Canada, Pegi Nicol—Something Dancing About Her received its world première. The screening was timed to coincide with the opening of an exhibition of paintings by Pegi Nicol MacLeod at the Carleton University Art Gallery, curated by Laura Brandon, who was also launching the publication of
Snowy February in Toronto, Sunnyside of the Doc Rendezvous: a pitching session between French and Canadian producers and broadcasters. I’m here as a double agent—autodidact on assignment. Inspired, I learn lots and am invited to attend the huge Marché at the end of June. Marseilles, sweltering Mediterranean magnificence. Cashing in all my air miles, I’m