The Spaces Between Grassroots Documentary ... - Ezra Winton

Recommendations

Info

The Da Vinci Code (USA) C'est Bien Ma Chance (USA - Just My Luck) Deliverez-moi (Quebec) Le Poseidon (USA - Poseidon) Mission: Impossible 3, vf (USA) United 93 (USA) VR (USA - RV) Silent Hill, vf (USA) Film De Peur 4 (USA - Scary Movie 4) La Vie Sauvage (USA - The Wild) Entrez Dans La Danse (France - Documentary) L'ere De Glace 2: La Fonte (USA - Ice Age 2: The Meltdown) Versailles Nos Voisons Les Hommes (USA - Over the Hedge) The Da Vinci Code (USA) La Planete Blanche (Quebec/France - Documentary) Poseidon (USA) Mission: Impossible 3, vf (USA) 134
APPENDIX B Sample Interview Questions for Mark Achbar: 1. When and where was the Corporation first screened publicly? 2. Describe the trajectory of the film’s screening life from the first screening to now. 3. Did the film have a distributor? 4. How much of the Corporation’s success is owed to grassroots organizing, distribution and exhibition efforts? 5. Did the Corporation ever go “mainstream” into the commercial cinemas in Canada? 6. After Canada, where did the film go? 7. What would you say is the biggest obstacle to Canadian filmmakers, especially doc makers, to getting their films seen in theatres by the Canadian public? 8. Other countries have screen quotas for film and Canada’s music industry has quotas, do you think we need some kind of policy in place for film given our proximity to the US? Why or why not? What kind of policy if yes? 9. There is a lot of emphasis put on production when it comes to film (including docs) in Canada, and little on distribution/exhibition. Why do you think this is, and do you think that it’s a good balance the way it is? 10. What is your advice to aspiring Canadian doc makers who want to not only make a great film, but have it seen by the Canadian public? 11. What was the last Canadian film you saw? The last doc? 135
Page 1 and 2:
The Spaces Between Grassroots Docum
Page 3 and 4:
iv ACKNOWLEDGEMENTS This thesis wou
Page 5 and 6:
CHAPTER I HOT DOCUMENTARIES IN COOL
Page 7 and 8:
p.167) Yet what brings Wintonick an
Page 9 and 10:
Complimenting the celebration of ex
Page 11 and 12:
somewhere. Documentaries make up a
Page 13 and 14:
ealm of the marginalized, and furth
Page 15 and 16:
short, there is a clear and urgent
Page 17 and 18:
discussion and treats them as unnat
Page 19 and 20:
content” (Ibid, p.3) reminiscent
Page 21 and 22:
examines and exposes these phenomen
Page 23 and 24:
some years working as an activist a
Page 25 and 26:
grassroots distribution and exhibit
Page 27 and 28:
the discursive and physical multipl
Page 29 and 30:
attention in some areas, such as te
Page 31 and 32:
writes: “The strongest barrier to
Page 33 and 34:
its heyday 4 . Stuart Hall, Richard
Page 35 and 36:
large multinational corporations wh
Page 37 and 38:
it is a complex process of negotiat
Page 39 and 40:
globally harmonized by a populist c
Page 41 and 42:
(counterpublics) - such is the way
Page 43 and 44:
She is concerned with the counter-h
Page 45 and 46:
operating with an assumption that t
Page 47 and 48:
film through the public sphere.”
Page 49 and 50:
commercial exhibition sites, and fu
Page 51 and 52:
adicalizing opposition or counterpo
Page 53 and 54:
screenings can provide opportunity
Page 55 and 56:
authors have chosen to survey the g
Page 57 and 58:
demonstrative examples of the acade
Page 59 and 60:
conflict(s) as a core of contestati
Page 61 and 62:
consumer-over-citizen modeled (Mouf
Page 63 and 64:
CHAPTER III - HISTORICAL CONTEXT -
Page 65 and 66:
vis the ‘work’ of politicians,
Page 67 and 68:
These authors are introducing the t
Page 69 and 70:
articulations that illustrate the i
Page 71 and 72:
indexes is a revealing exercise, in
Page 73 and 74:
the lens of inequity, where cultura
Page 75 and 76:
of the 20 th Century, was the agent
Page 77 and 78:
As mentioned, d/e has been at the h
Page 79 and 80:
the urban counterpart to the film c
Page 81 and 82:
artist-driven and dedicates itself
Page 83 and 84:
spaces and practices that this thes
Page 85 and 86:
formations (in Dorland’s case) or
Page 87 and 88: irrelevancy. The social movements s
Page 89 and 90: in communities for citizen’s acti
Page 91 and 92: for CFC works was remarkably relaxe
Page 93 and 94: of documentary - on the oppression
Page 95 and 96: scholar concerned with progressive
Page 97 and 98: film industry, while texts that beg
Page 99 and 100: Montreal-based non-profit übercult
Page 101 and 102: cinemas, where managers and program
Page 103 and 104: journalist still stationed in Haiti
Page 105 and 106: You are on Indian Land and Mike Mit
Page 107 and 108: Achbar settled down on to the grass
Page 109 and 110: the report continues, the authors a
Page 111 and 112: of grassroots I think of an organiz
Page 113 and 114: spaces through grassroots practices
Page 115 and 116: Haynes quickly realized there was a
Page 117 and 118: documentaries in Canada. Haynes add
Page 119 and 120: people experience the screenings, a
Page 121 and 122: like Charlottetown, PEI. The initia
Page 123 and 124: Canadian, and is doing it by way of
Page 125 and 126: community members who make up the K
Page 127 and 128: That said, AMC is paying more atten
Page 129 and 130: example, Achbar relates to me that
Page 131 and 132: consumers. What I have argued in th
Page 133 and 134: dominant veneers in culture, so tha
Page 135 and 136: that build counterpublics with the
Page 137: Nos voisons les hommes (USA - Over
Page 141 and 142: I HAVE CAREFULLY STUDIED THE ABOVE
Page 143 and 144: Beetham, David. Democracy: A Beginn
Page 145 and 146: Gramsci, Antonio. Selections from C
Page 147 and 148: Magder, Ted. Canada’s Hollywood:
Page 149 and 150: Rennie, Ellie. Community Media: A G
Page 151 and 152: Yudice, George. “The Privatizatio
show all

The Spaces Between Grassroots Documentary ... - Ezra Winton

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?