Filming politics : communism and the portrayal of the working class at the national film board of Canada, 1939-46
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Abstract
My first rendezvous with Canadian cinema was in the late 1970s and early 1980s
as a young immigrant arriving in Canada from war-torn Lebanon. I remember
taking two courses on Canadian film at York University, both of which gave me
the impression that this cinema only began to materialize sometime in the 1970s
with the making of films like Goin’ Down the Road, Paperback Hero, and Mon Uncle
Antoine, along with several others. Of course, there were occasional references to a
John Grierson and an NFB (National Film Board of Canada), but I do not recall any
substantive talk on a serious Canadian cinema that existed before the making of
these celebrated films.
As a young film enthusiast in Sidon, a coastline city on the eastern Mediterranean,
I had the privilege of sampling all kinds of films, including some shown in local cultural
clubs and libraries. This allowed me to view and appreciate documentary films at a
relatively young age. Frequently, this also gave me the opportunity to linger after the
screenings to listen to some very heated discussions about the films and their social
and political significance.
Within a setting engulfed in political strife and a Middle East in constant turmoil,
to be directly engaged in politics was part of life, even for a well-pampered middle-class
kid like myself. As a result, appreciating how politics unswervingly impacted culture
and how culture impacted politics came to me as part of a natural learning process
and experience. This politically charged background, however, put me in an awkward
position once I began to study film in a Canadian university setting.
Palabras clave
Working class in motion pictures; National Film Board of CanadaCreative Commons
https://creativecommons.org/licenses/by-nc-nd/4.0/Link to resource
https://www.jstor.org/stable/j.ctv6gqtgtCollections
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