At the turn of the millennium Canadian cinema appeared to have reached an apex of aesthetic and commercial transformation. Domestic filmmaking has since declined in visibility: the sense of celebrity once associated with independent directors has diminished, projects garner less critical attention, and concepts that made late-twentieth-century Canadian film legible have been reconsidered or displaced. Canadian Cinema in the New Millennium examines this dramatic transformation and revitalizes our engagement with Canadian cinema in the contemporary moment, presenting focused case studies of films and filmmakers and contextual studies of Canadian film policy, labour, and film festivals. Contributors trace key developments since 2000, including the renouveau or Quebec New Wave, Indigenous filmmaking, i-docs, and diasporic experimental filmmaking. Reflecting the way film in Canada mediates multiple cultures, forging new affinities among anglophone, francophone, and Indigenous-language examples, this book engages familiar figures, such as Denis Villeneuve, Xavier Dolan, Sarah Polley, and Guy Maddin, in the same breath as small-budget independent films, documentaries, and experimental works that have emerged in the Canadian scene. Fuelled by close attention to the films themselves and a desire to develop new scholarly approaches, Canadian Cinema in the New Millennium models a renewed commitment to keeping the conversation about Canadian cinema vibrant and alive.

This popular textbook offers a thorough and accessible approach to Canadian Studies through comparative analyses of Canada and the United States, their histories, geographies, political systems, economies, and cultures. Students and professors alike acknowledge it as an ideal tool for understanding the close relationship between the two countries, their shared experiences, and their differing views on a range of issues. Fully revised and updated, the second edition of Canadian Studies in the New Millennium includes new chapters on Demography and Immigration Policy, the Environment, and Civil Society and Social Policy, all written by leading scholars and educators in the field. At a time in which there is a growing mutual dependence between the US and Canada for security, trade, and investment, Canadian Studies in the New Millennium will continue to be a valuable resource for students, educators, and practitioners on both sides of the border.

The field of Canadian Studies is a growing discipline, particularly in the United States. This introductory text offers a thorough and accessible approach to Canadian Studies through comparative analyses of Canada and the United States, their histories, geographies, political systems, economies, and cultures. Among the topics addressed are ways in which Canadian national development has been influenced by the U.S., the role of geography in shaping the country's evolution, and the persistent question of Canada's French-speaking minority, which has been an important and divisive issue since the 1500s. Canadian Studies in the New Millennium is an excellent introduction to Canadian Studies, with chapters written by leading scholars and educators in the field. At a time in which there is a growing mutual dependence between the U.S. and Canada for security, trade, and investment, this text is an ideal tool for understanding the close relationship between the two countries, their shared experiences, and their differing views. Canadian Studies in the New Millennium will be of significant value to students, educators, and practitioners.

This collection of ten chapters and three original interviews with Québécois filmmakers focuses on the past two decades of Quebec cinema and takes an in-depth look at a (primarily) Montreal-based filmmaking industry whose increasingly diverse productions continue to resist the hegemony of Hollywood and to exist as a visible and successful hub of French-language – and ever more multilingual – cinema in North America. This volume picks up where Bill Marshall’s 2001 Quebec National Cinema ends to investigate the inherently global nature of Quebec’s film industry and cinematic output since the beginning of the new millennium. Through their analyses of contemporary films (Une colonie, Avant les rues, Bon cop, bad cop, Les Affamés, Tom à la ferme, Uvanga, among others), directors (including Xavier Dolan, Denis Côté, Sophie Desrape, Chloé Robichaud, Jean-Marc Vallée, and Monia Chokri) and genres (such as the buddy comedy and the zombie film), our authors examine the growing tension between Quebec cinema as a “national cinema” and as an art form that reflects the transnationalism of today’s world, a new form of fluidity of individual experiences, and an increasing on-screen presence of Indigenous subjects, both within and outside the borders of the province. The book concludes with specially conducted interviews with filmmakers Denis Chouinard, Bachir Bensadekk, and Marie-Hélène Cousineau, who provide their views and insights on contemporary Quebec filmmaking.

Award-winning author David L. Pike offers a unique focus on the crucial quarter-century in Canadian filmmaking when the industry became a viable force on the international stage. Pike provides a lively, personal, and accessible history of the most influential filmmakers and movements of both Anglo-Canadian and Quebecois cinema, from popular movies to art film and everything in between. Along with in-depth studies of key directors, including David Cronenberg, Patricia Rozema and Denys Arcand, Jean-Claude Lauzon, Robert Lepage, Léa Pool, Atom Egoyan, and Guy Maddin, Canadian Cinema since the 1980s reflects on major themes and genres and explores the regional and cultural diversity of the period. Pike positions Canadian filmmaking at the frontlines of a profound cinematic transformation in the age of global media and presents fresh perspectives on both its local and international contexts. Making a significant advance in the study of the film industry of the period, Canadian Cinema since the 1980s is also an ideal text for students, researchers, and Canadian film enthusiasts.

Includes bibliographical references and index.

Digital technology and the Internet have revolutionized film criticism, programming, and preservation in deeply paradoxical ways. The Internet allows almost everyone to participate in critical discourse, but many print publications and salaried positions for professional film critics have been eliminated. Digital technologies have broadened access to filmmaking capabilities, as well as making thousands of older films available on DVD and electronically. At the same time, however, fewer older films can be viewed in their original celluloid format, and newer, digitally produced films that have no “material” prototype are threatened by ever-changing servers that render them obsolete and inaccessible. Cineaste, one of the oldest and most influential publications focusing on film, has investigated these trends through a series of symposia with the top film critics, programmers, and preservationists in the United States and beyond. This volume compiles several of these symposia: “Film Criticism in America Today” (2000), “International Film Criticism Today” (2005), “Film Criticism in the Age of the Internet” (2008), “Film Criticism: The Next Generation” (2013), “The Art of Repertory Film Exhibition and Digital Age Challenges” (2010), and “Film Preservation in the Digital Age” (2011). It also includes interviews with the late, celebrated New Yorker film critic Pauline Kael and the critic John Bloom (“Joe Bob Briggs”), as well as interviews with the programmers/curators Peter von Bagh and Mark Cousins and with the film preservationist George Feltenstein. This authoritative collection of primary-source documents will be essential reading for scholars, students, and film enthusiasts.

This book focuses on the output of women film directors in the period post Millennium when the number of female directors working within the film industry rose substantially. Despite the fact that nationally and internationally women film directors are underrepresented within the industry, there is a wealth of talent currently working in Britain. During the early part of the 2000s, the UKFC instigated policies and strategies for gender equality and since then the British Film Institute has continued to encourage diversity. British Women Directors in the New Millennium therefore examines the production, distribution and exhibition of female directors’ work in light of policy. The book is divided into two sections: part one includes a historical background of women directors working in the twentieth century before discussing the various diversity funding opportunities available since 2000. The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This groundbreaking collection of essays from leading film historians features original research on movie magazines published in China, France, Germany, India, Iran, Latin America, South Korea, the U.S., and beyond. Vital resources for the study of film history and culture, movie magazines are frequently cited as sources, but rarely centered as objects of study. Global Movie Magazine Networks does precisely that, revealing the hybridity, heterogeneity, and connectivity of movie magazines and the important role they play in the intercontinental exchange of information and ideas about cinema. Uniquely, the contributors in this book have developed their critical analysis alongside the collaborative work of building digital resources, facilitating the digitization of more than a dozen of these historic magazines on an open-access basis.

Bloody Women: Women Directors of Horror is the first book-length exploration of female creators at the cutting edge of contemporary horror, turning out some of its most inspired and twisted offerings.