A history of the Canadian film industry from its inception to 1980s, providing a chronological record of the conflicting priorities between American capital, which seeks to shape the Canadian film industry to its own image, and Canada's stated goal, which is to serve the Canadian people with films autonomously conceived, produced, and exhibited.

In this imaginative new work, Adam Lowenstein explores the ways in which a group of groundbreaking horror films engaged the haunting social conflicts left in the wake of World War II, Hiroshima, and the Vietnam War. Lowenstein centers Shocking Representation around readings of films by Georges Franju, Michael Powell, Shindo Kaneto, Wes Craven, and David Cronenberg. He shows that through allegorical representations these directors' films confronted and challenged comforting historical narratives and notions of national identity intended to soothe public anxieties in the aftermath of national traumas. Borrowing elements from art cinema and the horror genre, these directors disrupted the boundaries between high and low cinema. Lowenstein contrasts their works, often dismissed by contemporary critics, with the films of acclaimed "New Wave" directors in France, England, Japan, and the United States. He argues that these "New Wave" films, which were embraced as both art and national cinema, often upheld conventional ideas of nation, history, gender, and class questioned by the horror films. By fusing film studies with the emerging field of trauma studies, and drawing on the work of Walter Benjamin, Adam Lowenstein offers a bold reassessment of the modern horror film and the idea of national cinema.

A comprehensive history of the international movie industry during the 20th century. Essays examine the film industries of 19 countries focusing on individual national movie industries' economic, social, aesthetic, technological and political/ideological development within an international context.

In this authoritative work, Seiler and Seiler argues that the establishment and development of moviegoing and movie exhibition in Prairie Canada is best understood in the context of changing late-nineteenth-century and early-twentieth-century social, economic, and technological developments. From the first entrepreneurs who attempted to lure customers in to movie exhibition halls, to the digital revolution and its impact on moviegoing, Reel Time highlights the pivotal role of amusement venues in shaping the leisure activities of working- and middle-class people across North America.

Melnyk argues passionately that Canadian cinema has never been a singular entity, but has continued to speak in the languages and in the voices of Canada's diverse population.

Examines the formation of feature film policy in the Canadian context of the 1950s through to the present, paying special attention to the role played by producers, filmmakers and government agencies.

As corporations are restructured, governments cut back, and the international economy transformed, there is an increasing need to understand the economic and political forces involved, evaluate their implications, and develop strategies to modify them to meet society's interests. In light of the current situation, the study of political economy is more relevant than ever. Understanding Canada examines a variety of topics from viewpoints ranging from the established to the interdisciplinary. Issues such as gender, Native peoples, race, ethnicity and migration, globalization, foreign policy, the welfare state, regulation, communications, popular culture, and space and the environment are examined, as are the more traditional subjects of economic growth, resources and The new Canadian political economy has emerged from its infancy and is now regarded as a respected and innovative field of scholarship. Understanding Canada furthers this tradition by focusing on current issues in an accessible and informative way. Contents Introduction: Whither the New Canadian Political Economy? - Wallace Clement - Economic Growth and Economic Crisis: Canadian Capitalism Through the Ages - Mel Watkins (Toronto) - Resources and Manufacturing in Canada's Political Economy - Wallace Clement and Glen Williams (Carleton) - Labour in the New Canadian Political Economy - Paul Philips (Manitoba) - Gender at Work: Canadian Feminist Political Economy after 1988 - Meg Luxton (York) and Heather Jon Maroney (Carleton) - Understanding What Happened Here: The Political Economy of Indigenous Peoples - Frances Abele (Carleton) - The Political Economy of Race, Ethnicity, and Migration - Daiva Stasiulis (Carleton) - Going Global: The Politics of Canada's Foreign Policy - Mark Neufeld (Trent) and Sandy Whitworth (York) - Re-mapping Canada: The State in the Era of Globalism - Greg Albo (York) and Jane Jenson (Montréal) - The New Political Economy of Regions - Janine Brodie (York) - The Challenges of the Quebec Question: Paradigm and Counter-Paradigm - Daniel Salée (Concordia) and William Coleman (McMaster) - From the Post-War to the Post-Liberal Keynesian Welfare State - Isabella Bakker (York) and Katherine Scott (?) - Displacing the Welfare State - Liora Salter (York) and Rick Salter (?) - Public Discourse and the Structures of Communication - Ted Magder (York) - The (Real) Integrated Circus: Political Economy, Popular Culture, and Major League Sport - David Whitson (Alberta) and Richard Gruneau (affil?) - Contested Terrains: Social Space and the Canadian Environment - Iain Wallace (Carleton) and Rob Shields (Carleton).

A nation is given shape in large part through the cultural activities of its builders. Historically, nationalists have turned to the arts and media to articulate and institute a sense of unique national identity. This was certainly true of Canada in the twentieth century. Canadian Content explores ways in which nationhood was defined and pursued through cultural means in Canada throughout the last century. As a framework for the study, Ryan Edwardson distinguishes between three phases of Canadianization: support for the arts and cultured mass media during the colony-to-nation transition; the 'new nationalist' empowerment of multi-brow culture and the call for state intervention in the mid-1960s and 1970s; and the 'cultural industrialism' initiated by the federal government under Pierre Trudeau in 1968. Examining each phase in its turn, Canadian Content looks at Canada as an ongoing postcolonial process of not one but a series of radically different nationhoods, each with its own valued but tentative set of cultural criteria for orchestrating and implementing a Canadian national experience. Considering the relationship between culture and national identity, this study offers an idea of what it means to be Canadian, and suggests just how adaptable, problematic, and ongoing the pursuit of nationhood can be.

Written by a team of veteran scholars and exciting emerging talents, The SAGE Handbook of Film Studies maps the field internationally, drawing out regional differences in the way that systematic intellectual reflection on cinema and film has been translated into an academic discipline. It examines the conversations between Film Studies and its contributory disciplines that not only defined a new field of discourse but also modified existing scholarly traditions. It reflects on the field′s dominant paradigms and debates and evaluates their continuing salience. Finally, it looks forward optimistically to the future of the medium of film, the institution of cinema and the discipline of Film Studies at a time when the very existence of film and cinema are being called into question by new technological, industrial and aesthetic developments.

This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original publication. Canadian Film and Video / Film et vidéo canadiens provides an in-depth guide to the work of over 4000 individuals working in film and video and 5000 films and videos. The entries in Volume I cover topics such as film types, the role of government, laws and legislation, censorship, festivals and awards, production and distribution companies, education, cinema buildings, women and film, and video art. A major section covers filmmakers, video artists, cinematographers, actors, producers, and various other film people. Volume II presents an author index, a film and video title index, and a name and subject index. In the tradition of the highly acclaimed publication Art and Architecture in Canada these volumes fill a long-standing need for a comprehensive reference tool for Canadian film and video. This bibliography guides and supports the work of film historians and practitioners, media librarians and visual curators, students and researchers, and members of the general public with an interest in film and video.