Candid Eyes: Essays on Canadian Documentaries by Jim Leach, Jeannette Sloniowski

By Jim Leach, Jeannette Sloniowski

Beginning in 1922, while Robert Flaherty filmed 'Nanook of the North' in Canada's Arctic, and inspired by means of John Grierson and the government in 1939 after they created the nationwide movie Board of Canada (NFB), documentaries have ruled Canada's movie creation and, greater than the other shape, were an important to the formation of Canada's cinematic identity.

Surprisingly, there was little or no severe writing in this amazing physique of labor. Candid Eyes: Essays on Canadian Documentaries not just addresses this oversight within the scholarly literature, yet in doing so, it provides a good number of essays through a few of Canada's top identified movie students. concentrating on works produced in French and English less than the NFB umbrella, the fourteen essays talk about and critique such landmark documentaries as 'Lonely Boy' (1962), 'Pour l. a. suite du monde' (1963), and 'Kanehsatake' (1993). lengthy awaited and masses wanted, this quantity may be an imperative better half for someone heavily attracted to Canadian movie studies.

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Extra resources for Candid Eyes: Essays on Canadian Documentaries

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In this instance, the term ‘candid’ appears to refer only to hidden camera shots. And The Days before Christmas does indeed make use of hidden camera in, for instance, the shots of the woman buying meat at the market and of the man at the train station ticket window.

34 Diogenes, founder of the Cynics, reputedly walked through Athens in broad daylight with a lantern in hand, claiming he was looking for an honest man. In the film, Tomkowicz also carries a lantern (though at night, of course) not only to see the switches better but to provide a warning beacon for protection from oncoming traffic. While the NFB may have sought simply to portray certain Canadian 26 Richard Hancox ‘types,’ they involuntarily revealed an archetype even more appropriate than Diogenes: The Hermit, Major Arcana number nine of the Tarot.

The destiny of Quebec as a ‘people’ was in the hands of the right-wing nationalist Duplessis government, whose attitude toward the working man could be summed up in the French version’s refrain about Paul Tomkowicz’s job: ‘Un coup de balai; une poignée de sel. Pas plus compliqué que ça. ’ [A stroke of the broom, a handful of salt. Nothing more complicated than that. ] This good-natured reminder finally ends the largely typifying French narrative after being repeated three times. Paul Tomkowicz: Nettoyeur d’aiguillages could have been chosen for the huge retrospective of Canadian cinema at the Georges Pompidou Cen- 22 Richard Hancox tre in Paris in 1993, but it was the English version that was screened instead – with simultaneous French translation.

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