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001 211906
003 IT-RoAPU
005 20231211163703.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 231101t20021991onc fo d z eng d
019 _a(OCoLC)1002253001
019 _a(OCoLC)1004886402
019 _a(OCoLC)1011454985
019 _a(OCoLC)944178079
019 _a(OCoLC)999372753
020 _a9780802068330
_qprint
020 _a9781442676084
_qPDF
024 7 _a10.3138/9781442676084
_2doi
035 _a(DE-B1597)9781442676084
035 _a(DE-B1597)464560
035 _a(OCoLC)666921713
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER004030
_2bisacsh
082 0 4 _a791.4306071
_222
084 _aonline - DeGruyter
100 1 _aEvans, Gary
_eautore
245 1 0 _aIn the National Interest :
_bA Chronicle of the National Film Board of Canada from 1949 to 1989 /
_cGary Evans.
264 1 _aToronto :
_bUniversity of Toronto Press,
_c[2002]
264 4 _c©1991
300 _a1 online resource (426 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aHeritage
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _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.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023)
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://www.degruyter.com/isbn/9781442676084
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781442676084/original
942 _cEB
999 _c211906
_d211906