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Based on newly uncovered archival information and a close reading of numerous NFB films, Projecting Canada explores the NFB's involvement with British Empire communication theory and American social science. Using a critical cultural policy studies framework, Druick develops the concept of \"government realism\" to describe films featuring ordinary people as representative of segments of the population. She demonstrates the close connection between NFB production policies and shifting techniques developed in relation to the evolution of social science from the 1940s to the present and argues that government policy has been the overriding factor in determining the ideology of NFB films. Projecting Canada offers a compelling new perspective on both the development of the documentary form and the role of cultural policy in creating essential spaces for aesthetic production.

Based on newly uncovered archival information and a close reading of numerous NFB films, Projecting Canada explores the NFB's involvement with British Empire communication theory and American social science. Using a critical cultural policy studies framework, Druick develops the concept of \"government realism\" to describe films featuring ordinary people as representative of segments of the population. She demonstrates the close connection between NFB production policies and shifting techniques developed in relation to the evolution of social science from the 1940s to the present and argues that government policy has been the overriding factor in determining the ideology of NFB films. Projecting Canada offers a compelling new perspective on both the development of the documentary form and the role of cultural policy in creating essential spaces for aesthetic production.

Val Kilmer, iconic star oof movies like \"Top Gun\" and \"Batman\" died at 65 years old. Key contest in Wisconsin was most expensive in U.S. history. GOP maintains House seats previously occupied by Gaetz and Waltz. New Jersey senator gets records 25-plus hour speech protesting Trump policies. New tariffs likely to raise prices for Americans. Wife speaks after man accidentally sent to El Salvador prison. May 7 is deadline for I.D. to get into government buildings and airports. Daughter of rape survivor, Gisele Pelicot opens up about her experience. Authors of new book on raising children on autism spectrum. Power couple, Sue Bird and Megan Rapinoe on podcast, Final Four and state of women's sports. L.A. Kings team trying to expose new fans to hockey. GUESTS: Adrian Wood, Carrie Cariello, Kate Swenson, Sue Bird, Megan Rapinoe

A land of snow and mountains, of burgundy-clad monks and prayer wheels--this mythical image of Tibet hides the tragedy of a forgotten people. Since the invasion of their territory by China some forty years ago, Tibetans have been struggling for cultural and political survival in a world surprisingly indifferent to their plight. Filmed in the Indian Himalayas and in Canada, A Song for Tibet tells the dramatic story of the efforts by Tibetans-in-exile, including the Dalai Lama, to save their homeland and preserve their heritage against overwhelming odds.

This short documentary features Black women active in politics as well as community, labour and feminist organizing. They share their insights and personal testimonies on the double legacy of racism and sexism, linking their personal struggles with the ongoing battle to end systemic discrimination and violence against women and people of colour.

The Valour and the Horror is a series of three documentary films describing Canadian participation during the Second World War which were aired by the Canadian Broadcasting Corporation (CBC) in 1992. The series aggressively challenged “official” war history, arguing that while ordinary soldiers served with dignity and bravery, the incompetence and immorality of senior British and Canadian commanders produced terrible blunders and losses and grotesque assaults against civilian populations in Germany. This article analyzes the controversy that surrounded the series, a controversy that mushroomed into a political struggle over who had the right to control “memory” and who had the right to produce and interpret “reality.” The struggle produced a Senate subcommittee investigation, placed the CBC under intense pressure and scrutiny and evoked strong reactions from veterans' groups and the journalistic and artistic communities. Three frameworks are used to assess the forces that contend against each other in media production: the hegemonic view (that the media celebrate and reinforce the dominant interests in society); the organizational or institutional perspective (that media organizations pursue their own interests even if these interests do not necessarily coincide with those of other dominant groups in society); and the journalist-centred framework (that journalists as professionals exercise considerable discretion over their own work). The article suggests that each of these perspectives can provide valuable insights, but that each by itself fails to provide a satisfactory explanation for the events. By utilizing multiple perspectives for the analysis, a wider range of questions is addressed. The Valour and the Horror est une séie de trois films documentaires portant sur le rôle du Canada pendant la deuxième guerre mondiale. Le réseau anglais de la Société Radio Canada a diffusé ces films en 1992. Ces films ont fortement contesté l'histoire «officielle» de la guerre. Reconnaissant que les soldats ordinaires s'étaient acquittéd de leur tâche dans le courage et la dignité, ils dénoncent néanmoins l'incompétence et l'immoralité des officiers supérieurs, tant canadiens que britanniques, dont les erreurs avaient causé des pertes terribles et des assauts démesurés sur les populations civiles en Allemagne. Cet article se penche sur la controverse entourant la série, rapidement devenue une lutte politique à propos du contrôle de la mémoire, du droit de produire et d'interpréter la réalité. Toute l'affaire a conduit à une enquête d'un souscomité du Sénat, imposé de fortes pressions et une surveillance étroite au réseau de télévision, tout en suscitant de fortes réactions chez les anciens combattants, de mêime que dans les milieux artistiques et journalistiques. Cet article emploie trois cadres d'analyse pour évaluer les forces en présence dans la production médiatique: l'hypothèse, dominante, selon laquelle les médias servent à dessein les intérêts sociaux dominants; la perspective organisationnelle ou institutionnelle (les médias n'en ont que pour leurs propres intérêts, fussent-ils divergents de ceux des pouvoirs établis); enfin, l'hypothèse de l'autonomie des journalistes, capables en tant que professionnels d'exercer de la discrétion dans leur travail. On soutient que chacun de ces modèles éclaire un pan de la réalité sans fournir une vue satisfaisante de l'ensemble. L'article se termine par un survol de questions qui débordent de son objet immédiat.

Days later, both the prime minister and the premier of British Columbia offered tepid \"support\" for the right to protest but both invoked the rule of law as being of primary importance. The clarification noted that, \"The premier's comments regarding the hereditary model were intended to refer to the traditional, long-standing and now 're-emerging hereditary model,' in contrast to the Indian Act band council model imposed in the 19th century.\" From his 7 Generations: A Plains Cree Saga series (Books 1-4), which follows the story of an Aboriginal family through three centuries and seven generations, to Sugar Falls: A Residential School Story.

The Canadian government has carried out abuses against the Mohawk population on the Kanehsatake Indian reserve. The documentary 'Kanehsatake: 270 Years of Resistance' paints a realistic picture of life on the reservation.