LEADER 04203nam 2200637 450 001 9910455465903321 005 20200520144314.0 010 $a1-282-05645-X 010 $a9786612056451 010 $a1-4426-7608-6 024 7 $a10.3138/9781442676084 035 $a(CKB)2420000000004129 035 $a(OCoLC)666921713 035 $a(CaPaEBR)ebrary10230647 035 $a(SSID)ssj0000299474 035 $a(PQKBManifestationID)11205779 035 $a(PQKBTitleCode)TC0000299474 035 $a(PQKBWorkID)10241439 035 $a(PQKB)10134032 035 $a(CaBNvSL)thg00600788 035 $a(MiAaPQ)EBC3258446 035 $a(MiAaPQ)EBC4671619 035 $a(DE-B1597)464560 035 $a(OCoLC)944178079 035 $a(DE-B1597)9781442676084 035 $a(Au-PeEL)EBL4671619 035 $a(CaPaEBR)ebr11257324 035 $a(EXLCZ)992420000000004129 100 $a20160921e20011991 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aIn the national interest $ea chronicle of the National Film Board of Canada from 1949 to 1989 /$fGary Evans 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2001. 210 4$d©1991 215 $a1 online resource (426 p.) 225 0 $aHeritage 300 $aIncludes index. 311 $a0-8020-6833-2 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tPreface -- $tAcknowledgments -- $t1. Almost Derailed: Trying to Fit the National Film Board into the Postwar World -- $t2. Down the Road from Ottawa to Montreal -- $t3. The Golden Years -- $t4. The Golden Years, Part II -- $t5. Art for Whose Sake? -- $t6. Clouds Gather above Centennial Glamour -- $t7. Austerity -- $t8. In Search of a Mission -- $t9. 'On a Chariot of Fire' -- $t10. The Chariot Disintegrates and Burns -- $t11. André Lamy, Controlled by Events -- $t12. The Atmosphere Changes from Siege to Neglect -- $t13. Not with a Bang or a Whimper -- $tAfterword -- $tAppendix 1 -- $tAppendix 2 -- $tAppendix 3 -- $tAppendix 4 -- $tAppendix 5 -- $tAppendix 6 -- $tAppendix 7 -- $tNotes -- $tIndex 330 $aOne of the cornerstones of Canadian culture, the National Film Board has throughout its history mirrored the social issues that preoccupy Canadians. Gary Evans traces the de- velopment of the postwar NFB, picking up the story where he left it at the end of his earlier work, John Grierson and the National Film Board: The Politics of Wartime Propaganda.Evans points out that although Ottawa has not meddled in the operation of the NFB, outside stimuli have regularly forced the Film Board to reassess its mandate, a process which often has brought about as much confusion as light. For example, the unbridled optimism and expansion of the fifties and sixties led to English Production's desire for 'democratization' of programming, an end to the power of executive producers, and an expansion of the Film Board's core of permanent employees, all of which nearly caused the organization to founder. On the French side, despite the filmmakers' preference for the feature film rather than the cinema verite documentary, many in Ottawa regarded their 'political' films as both unfair attacks on the federal system and anachronisms coming from a federal institution. Throughout, the English-French tug of war so integral to the Canadian identity is a recurring theme. Sources include interviews with former ministers, government film commissioners, policy-makers, and filmmakers, as well as archival documents and films. From them Evans has produced the first study to document the key trends in postwar Canadian filmmaking and to examine the role of film in the evolution of federal cultural policy. 606 $aMotion pictures$zCanada 608 $aElectronic books. 615 0$aMotion pictures 676 $a354.7100854 700 $aEvans$b Gary$f1944-$01045849 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910455465903321 996 $aIn the national interest$92472412 997 $aUNINA