“Index” in “Screening Nature and Nation”
Index
According to Need, 21–25
Across Arctic Ungava, 74–76, 78, 79
Adams, Bruce, 15
agricultural films: According to Need, 21–25; Battle of the Harvests, 27–28; Canadian Wheat Story, 26–27, 175; Chemical Conquest, 46–47, 48–49; Cherry’s effect on, 32; Cherry’s technique in, 39–41; first NFB attempts at, 11–12; Five Steps to Better Farm Living, 37–38, 39–40; and NFBs mobile cinema, 42–43; support for state view in, 5, 6, 12–14, 32, 33, 36–37, 41–42, 43, 50; Windbreaks on the Prairies, 34–36, 38, 39, 175; The World at Your Feet, 44–46; during WWII, 20, 21
Agricultural Production Unit (APU), 12, 34
agriculture industry, 107–8, 109–12
Air of Death, The, 104, 112–13
Alcock, P. J., 75
Alexander Mackenzie: Lord of the North, 74
Angotee: Story of an Eskimo Boy, 64
Annanacks, The, 72–73
Applebaum, Louis, 75
Arctic Hunters, 62
Arctic IV, 82–83
Atanarjuat: The Fast Runner, 3
Awashish, Philip, 156
Badgley, Frank, 24
Bailey family (NFB film subjects), 147
Bairstow, David, 97, 114–18, 142
Balazs, Béla, 139
Ball, Ian, 167
Ballad of Crowfoot, The, 152
Ballantyne, Tanya, 147
Bateman, Robert, 1
Battle for Oil, 16
Battle of the Harvests, 27–28
Beaven, Allan, 36
Beechey, Frederick W., 55
Berton, Pierre, 54
Between Two Worlds, 190n53
Beveridge, James, 86
Beyond the Frontier, 86
Bisset, Jacqueline, 88
Blacksmith, Sam, 9, 159–60, 161–63, 164–65, 168, 200n45
Blades and Brass, 88
Blake, 133
Boas, Franz, 69
Bocking, Stephen, 81
Borden, Robert L., 89
Bousé, Derek, 138
Buchanan, Donald, 42–43
Buck, Ken, 134
By Their Own Strength, 32
Cameron, Donald R., 19
Campbell, Claire, 60
Canada, Government of: affirming sovereignty of the north, 81–82; in The Annanacks, 72–73; CFC filmmakers who challenged, 152; and changes forced on Inuit, 71; cuts to NFB in 2012, 180; and deforestation, 18; founding of NFB and its role, 3; and James Bay project, 154; methods of communicating about environment, 183n8; and NFB funding, 96; and North, 87–88; and northern development, 81, 89–91; opposed to idea of documentary on James Bay, 157; and Ottawa River pollution, 114–15, 117, 118; programs to support farmers, 37; and report on The Air of Death, 113; represented in Windbreaks on the Prairies, 35–36; role in creating Challenge for Change, 146, 147, 150; role in relocation of Fogo Islanders, 148; sponsorship of The Enduring Wilderness, 119; use of documentary filmmaking to, 176; and use of NFB to explain welfare state, 31–32; use of NFB to further agricultural aims, 43; wage and price controls during war, 21; and wolf policy, 129–31. See also Canadian Wildlife Service (CWS); Department of Agriculture (DOA); government/statist view
Canada: A Year of the Land, 4, 59
Canada Carries On, 14
Canada’s New Northwest (government report), 90
Canada: The Land, 174
Canadian Broadcasting Corporation (CBC), 112–13
Canadian Landscape, 56–58, 59, 60, 174
Canadian Pulp and Paper Association, 115–16
Canadian Radio-Television and Telecommunications Commission (CRTC), 113
Canadian Wheat Story, 26–27, 175
Canadian Wildlife Service (CWS): contracts NFB to refurbish its image, 132–33; criticized in Never Cry Wolf, 131–32; and Hinterland Who’s Who, 120; Mason’s film technique compared to, 99; role in Death of a Legend, 134, 136–38; and slaughter of wolves, 130; view of wildlife, 142
candid eye filmmaking, 101–2
Canning, Bill, 88
Canoescapes, 133
Carson, Rachel, 113–14
Challenge for Change (CFC): assessments of its success, 150–52; creation of, 146, 147–48; Cree Hunters of the Mistassini, 152; Fogo Island films, 148–49; funding of, 150; impact on documentary cinema, 199n26; and lead up to Cree Hunters, 156–57; and legacy of Cree Hunters of the Mistassini, 171–72; and political effect of Cree Hunters of the Mistassini, 165–70, 177; radical films of, 149–50, 177; and self-examination projects, 149–50
Chapman, Christopher: The Enduring Wilderness, 118, 122–24, 125, 127, 142; technique of, 178; view of wilderness, 9, 98
Chapman, R. A., 110–11
Chemical Conquest, 46–47, 48–49, 105, 106
Cherry, Evelyn: career of, 32–34; film techniques used to portray farming, 39–41; and Five Steps to Better Farm Living, 37–38, 39–40; hired by NFB, 34–35; how her films reflected a state view of farming, 32, 33, 36–37, 41–42, 43, 50; leaves NFB, 43; praise for NFB nature films, 13; technique of, 178–79; and Windbreaks on the Prairies, 34–36, 38, 39, 175
Chrétien, Jean, 154
Class Project: The Garbage Movie, 178
Coal Face Canada, 15–16
colonialism: and filming of Cree Hunters of Mistassini, 164–65; of Inuit films, 62, 63, 72; of James Bay Cree, 143–45; and Land of the Long Day, 67; and Northern films, 7–8, 83, 86–87; and salvage ethnography, 70; and view of Indigenous peoples, 30
conservation: and Mason’s Death of a Legend, 133, 134, 176; and more recent NFB films, 177–78; and shift to environmentalist point of view, 97–98, 102–3; and war time films, 16–19, 24, 25; and wolves, 129, 130
Constantine, Brother, 26
Corral, 100
Coupon Value, 34
Courneyer, Robert, 156
Crabtree, Graham, 119
Crawley, Radford, 56–58, 60, 61, 74
Cree Hunters of the Mistassini: Cree perspective in, 9, 152, 158–63, 178; criticizes assimilation of Indigenous people, 152; as departure from typical NFB nature film, 145–46; development of, 155–57; as example of virtuoso filmmaking, 178–79; importance and legacy of, 171–72; limitations of, 163–65; political message of, 157–58, 177; release and political effect of, 165–70, 179
Cree of James Bay: adapts modern technology to cause, 164–65; and colonialism, 143–45; and development of idea for Cree Hunters, 145–46, 152, 155–57; fighting James Bay project, 153–55; and Mistassini settlement, 200n45; and Our Land Is Our Life, 152, 155, 158, 167; perspective of seen in Cree Hunters of Mistassini, 158–63; political effect of Cree Hunters on, 165–70, 177; spirituality of, 161–62; view of environment, 154–55
Creighton, Donald, 60
Cry of the Wild, 98–99, 128, 140–41
Cyanamid of Canada, 108
Dale, Rick, 169
Daly, Tom, 100
Daniels, Roy, 149
Deadly Dilemma, 111–12
Death of a Legend, 98–99, 128, 133–40
De Aubert de la Rue, Edgar, 74
Department of Agriculture (DOA): and Chemical Conquest, 48; and NFB films on agriculture, 11–12; and Poisons, Pests and People, 108, 109, 112; use of Cherry’s films, 42; view of science, 44; and The World at Your Feet, 45–46
Department of Indian Affairs and Northern Development (DIAND), 87–88
Department of Lands and Forests (Ontario), 138
Department of Mines and Resources, 90
Department of National Defence, 91
Depression, Great, 32
Diefenbaker, John, 90
Domville, James de B., 82–83
Down North, 86–87
Drainie, John, 64
D’Ulisse, André, 180
Dunn, Willie, 149
Eagles, Darrell, 133
ecological Indian myth, 68, 163
Edmonds, Robert, 15
Enduring Wilderness, The: described, 118–20, 122–25, 126–27; as expression of Canadian identity, 174; occupies middle ground in philosophy of environmental films, 98; state friendly message of, 128, 142; view of wilderness in, 145
environment: belief that Canada is shaped by its, 60–61; D. Bairstow’s view of, 115–16; government view of, 7, 13, 43–44, 49–50; history of pesticide use, 107–8; Indigenous v. settler view of, 154–55; L. Gosnell’s views on, 9, 115; NFBs help defining, 51–52
environmental films: Across Arctic Ungava, 74–76, 78, 79; The Air of Death, 112–13; The Annanacks, 72–73; and change of philosophy at NFB, 2, 96–97, 102, 170–72; Cry of the Wild, 140–41; Death of a Legend, 98–99, 128, 133–40; The Enduring Wilderness, 118–20, 122–25, 126–27; as factor in environmental movement, 104–5; legacy of later, 141–42; of Mason, 128–29; Poison, Pests and People, 105, 108–12, 115, 141–42, 176; and preserving wilderness, 98–99; River with a Problem, 97, 114–18, 142; support for state view in, 12, 13–14, 49–50; during wartime, 15–19. See also Cree Hunters of the Mistassini; nature films
environmentalism, 102–5, 112–14
Epilogue, 174
Eskimo Arts and Crafts, 62–63
Evans, Clinton, 44
Evans, Jon, 88
Evernden, Neil, 68
Exercise Muskox, 63
Farm Electrification, 40
First Time, 88
Five Steps to Better Farm Living, 37–38, 39–40
Fogo Island films, 148–49
Food-Weapons of Conquest, 16
Franklin, John, 55
Friedrich, David, 55
Friendly Arctic, The (Stefansson), 89
Frye, Northrop, 60
Future is Now, The, 177
Gadbois, Pierre, 74
Gardiner, James, 12
Gordon, Donald, 20
Gosnell, Larry: The Air of Death, 104, 112–13; change in view of pesticides, 47–48, 97, 105–6, 107, 108; Chemical Conquest, 46–47; impact of his films on environmentalism, 113–14; Poison, Pests and People, 105, 108–12, 115, 141–42, 176; promotion of state view in his films, 50; views on environment, 9; The World at Your Feet, 44–46
government/statist view: in 1970s films and later, 177–78; in Across Arctic Ungava, 77, 78; of agriculture films, 5, 6, 12–14, 32, 43, 50; in Arctic IV, 82–83; on Canada’s natural abundance, 25–30; of Cherry’s agriculture films, 32, 33, 36–37, 41–42, 43, 50; of cinematography style, 7, 8; of The Enduring Wilderness, 128, 142; of the environment, 7, 13, 43–44, 49–50; of environmental films, 12, 13–14, 49–50; filmmakers begin to counter, 176–77; of forestry in Timber Front, 16–19, 24, 175; in High Arctic: Life on the Land, 79, 81–82; how NFB films aided scientific knowledge for, 84–85; J. Grierson support for, 14, 15, 20, 31; of nation-building, 2; of nature as national identity, 173–74; of nature as natural resource, 174–75; in nature films, 3–5, 96, 173–75; of NFB as educator on social policy, 31–32; NFB films evolving away from, 8–9, 96–97; of the North, 7–8; of Northern films, 7–8, 85–86, 92–93; of science and technology, 44, 175–76; on stabilization of economy, 20–25; and Studio E, 178; on supporting the war, 14–16; veering away from in environmental films, 102, 141–42, 176–77; on wildlife conservation, 6–7
Grace, Sherrill, 52
Grant, Shelagh, 55
Gray, Walter, 115
Great Plains, The, 176
Greene, Lorne, 16
Grierson, John: and Boulton, 62; connection to Cherry, 32; hires Cherry at NFB, 34; and Crawley, 61; on NFB’s commitment to film everyday life, 25; view of CFC, 150; view of fictionalized scenes, 24; as voice of the government, 14, 15, 20, 31
Guynn, William, 92
Haliburton, R. G., 59
Hands for the Harvest, 16
Harcourt, Peter, 101
Hare, H. R., 37
Hargraves, Malcolm, 111
Harkin, James, 129
Harper, Graeme, 173
Harris, Lawren, 55–56
Hawes, Stanley, 24
Hays, Samuel P., 103
Hazelton, L. W., 110
Heinz (company), 109
Hénaut, Dorothy T., 150
High Arctic: Life on the Land, 79–82
high modernism: explained, 5–6; films offering alternative to, 146; of NFB films in 1940s-50s, 13, 175–76; of NFB films in 1960s, 141; of Ti-Jean series, 184n17
Highways North, 85
Hinterland Who’s Who, 1, 120, 132
Hodgins, Eric, 47
Holling, Holling C., 128
How to Build an Igloo, 63–64
Huhndorf, Shari, 67
Ianzelo, Tony, 145, 155, 160, 164, 169
Idlout, Joseph, 64–67, 68, 190n53
Indigenous peoples: absent from Canadian Landscape, 58; and film work for Challenge for Change, 149–50, 152; and idealized view of ecological Indian, 68, 163; ignored in early NFB films, 174; and later change in NFB environmental films, 170–72; mentioned in Death of a Legend, 134; mentioned in Down North, 86, 87; political effect of Cree Hunters of the Mistassini on, 165–70; portrayal of in early films, 7–8, 30; view of environment, 154–55. See also colonialism; Cree Hunters of the Mistassini; Cree of James Bay; Inuit
Inuit: Across Arctic Ungava, 77, 78; The Annanacks, 72–73; Arctic Hunters, 62; colonialism in films, 62, 63, 72; D. Wilkinson’s view of, 70, 74; Eskimo Arts and Crafts, 62; films produced by, 193n130; How to Build an Igloo, 63–64; Land of the Long Day, 64–67; and Nanook of the North, 190n42; A Northern Challenge, 91; post-war changes for, 70–71; romanticized lifestyle of, 67–68; and salvage ethnography, 69–70; seen as timeless, 70
Irwin, Arthur, 59
Irwin, Joan, 169–70
Jackson, A. Y., 56–57
Jackson, Stanley, 27
James Bay and Northern Québec Agreement, 154
James Bay hydroelectric project, 153–55, 158–59, 163, 165–70, 177
Job’s Garden, 199n33
Jolly, Ronnie, 162
Jones, Dallas, 23, 24, 25, 26, 27
Jones, Douglas, 116
Jones, Karen, 132
Jones-Imhotep, Edward, 82
Kadloo (Inuit hunter), 65
Kaplan, E. Ann, 63
Keller, W. Phillip, 126
Kolenoski, George, 137
Kracauer, Siegfried, 10
Krech III, Shepard, 68
Kunuk, Zacharias, 3
Kuyt, Ernie, 137–38
La Grande hydroelectric project, 144–45, 157, 158, 159
Lampman, Archibald, 114
Land of Pioneers, 85
Land of the Long Day, 64–67
Landseer, Edwin, 55
Last Voyage of Henry Hudson, The, 74
Latour, Bruno, 83–84
Leacock, Stephen, 54
Lefebvre, Martin, 52
Lemieux, Hector, 86
Leopold, Aldo, 135
Let’s Look at Water, 44
Livingston, John, 132
Look to the Forests, 28
Look to the North, 28
Lorentz, Pare, 187n52
Low, Colin, 147, 148–49, 150, 157
MacEachern, Alan, 121
MacInnis, Joseph, 82–83
Main Dish. The, 34
Malouf, Albert H., 154
Marchessault, Janine, 151
Martin, W. C., 110
Mason, Bill: Cry of the Wild, 140–41; Death of a Legend, 98–99, 128, 133–40; legacy of his 1960s environmental films, 142; philosophy of, 128–29, 133–34, 176–77; uses techniques contradicting his philosophy, 137–41; wilderness views of, 9; wolf films of, 98–99, 128
Massey, Vincent, 93
McFarlane, Leslie, 66
McLaren, Norman, 3
McLean, Ross, 62
Menzie, J. R., 117
Ministry of National War (MNW), 12
Mitchell, Michael Kanentakeron, 149, 168
Mitchell, W. J. T., 58
Money on the Farm, 24
Monk, Lorraine, 62
Moore, J. Stanley, 27
Morning on the Lièvre, 114
Morton, W. L., 120–21
Morwick, F. F., 40
Mowat, Farley, 131–32
Mrs. Consumer Goes Shopping, 24
Muir, Dalton, 79–82
Mulholland, Don, 108–9
Munro, David, 132–33
Nanook of the North, 190n42
Nash, Roderick, 120
nation building: and films celebrating Canada’s natural abundance, 26–29; and geography as Canadian definer, 4–5; nature films as form of, 173–74; and New Homes in the West, 24–26; NFBs commitment to, 2, 96; and Northern films, 7–8, 85–86, 92–93; and view of north, 58–59, 60–61
National Film Board (NFB): of 1980s and 90s, 179–80; activism films, 146–50; as Anglo institution, 202n3; Arctic exploration films, 74–76, 78, 79; as cherished institution, 1, 2–3; and Cherry, 13, 34–35, 43; and colonization of north, 7–8, 83, 86–87; contracted by CWS to refurbish its image, 132–33; creation of Challenge for Change, 146, 147–48; as cultural moderator, 93; defining nature and environment in Canada, 51–52; editing techniques of, 185n11; ethnographic films between 1944 and 1970, 61–62; federal government use of to explain policy, 31–32, 43; founding of, 1, 3; funding of, 96, 180; high modernism and, 13, 141, 175–76; how films were seen, 2–3, 42–43; importance of preserving its records, 180–81; innovation of candid eye filmmaking, 101–2; mandate of, 3, 8, 31, 183n4; natural resource films, 13, 15–19, 28–30; shift in philosophy from objective to subjective, 99–102; and Studio E, 178; Unit B films, 100–101; use of fictional scenes, 23–24; and use of racial stereotypes, 66, 73; view of conservation in recent films, 177–78; view of the North, 52–53, 56–58, 60–61; war time films, 14–19, 21–25; wilderness protection films, 98–99, 118–20, 122–25, 126–27, 158–63. See also agricultural films; Challenge for Change (CFC); colonialism; Cree Hunters of the Mistassini; Enduring Wilderness, The; environmental films; government/statist view; Grierson, John; nation building; nature films; Northern films
national parks: changing values of, 196n69; and The Enduring Wilderness, 118–20, 122–25, 126–27; myth of their pristine nature, 125–26; varied purposes of, 121–22; and wolves, 129
National Parks Branch, 119, 127
nature. See environment
nature films: Cree Hunters of the Mistassini, 145–46, 158–63; Cry of the Wild, 140–41; Death of a Legend, 98–99, 128, 133–40; The Enduring Wilderness, 118–20, 122–25, 126–27; how they evolved in 1960s, 96–97; legacy of Cree Hunters of the Mistassini, 171–72; legacy of later, 141–42; New Home in the West, 25–26, 27; popularity of, 1; and state views, 3–5, 96, 173–75. See also environmental films
Neighbours, 100
Neilson, James, 88
Never Cry Wolf (Mowat), 131–32
New Home in the West, 25–26, 27
New Horizons, 32
Nichols, Bill, 84–85
Niezen, Ronald, 165
No Act of God, 178
nonfictional filmmaking: changes to in 1980s and 90s, 179–80; creation of Challenge for Change, 146, 147; effectiveness of landscapes as subject of, 91–92; era of subjectivity in, 100–102; how it assists government, 176; impact on attitudes of the time, 9–10; and reimagining nature, 173
North, the: artists’ view of, 55–56; Canada asserts sovereignty in, 81–82; development of, 81, 89–91; explorers’ view of, 55; interpretations of, 53–55; NFB colonialism and, 7–8, 83, 86–87; NFB view of, 52–53, 56–58; seen as quintessentially Canadian, 58–59, 60–61
Northern films: Across Arctic Ungava, 74–76, 78, 79; The Annanacks, 72–73; Arctic IV, 82–83; and Canadian identity, 7–8, 92–93; Canadian Landscape, 56–58; and colonialism, 7–8, 83, 86–87; Down North, 87–88; High Arctic: Life on the Land, 79–82; How to Build an Igloo, 63–64; Land of the Long Day, 64–67; North, 86, 87–89; and obfuscation of Inuit modernization schemes, 72; projecting southern visions on to, 73–74; and romanticized view of Inuit lifestyle, 67–68; statist view of, 7–8, 85–86, 92–93; support for northern development in, 85–89, 90–91; and view of North as quintessentially Canadian, 58, 59, 61
Northwest by Air, 85
Northwest Frontier, 85–86
Nye, David, 85
Organization Man, The (Whyte), 125
Ottawa River, 114–18
Our Land Is Our Life, 152, 155, 158, 167
Our Northern Citizen, 86
parathion, 107
Parker, Graham, 97, 114, 116, 117
Parkin, George R., 59
Parliament of Canada, 31, 43, 114–15, 118
Paul Tomkowicz: Street-Railway Switchman, 100
Payne, Carol, 29
Pearson, Lester B., 89–90
pesticides: in Chemical Conquest, 47; Gosnell’s change of view on, 47–48, 97, 105–6, 107, 108; and growth of environmentalism, 104; history of use, 107–8; in Poisons, Pests and People, 105, 108–12
Plow That Broke the Plains, The, 187n52
Poison, Pests and People, 105, 108–12, 115, 141–42, 176
Pour la suite du monde, 100
Privy Council Office, 146, 157
Project Grizzly, 3
Protection for Our Renewable Resources, 177
Putnam, R., 26
Racine, Roger, 63
raquetteuers, Las, 100
Rayner, Jonathan, 173
Re Eskimo, 71
Reeve, Josef, 87
Reid, Ernest, 9, 98, 118, 125, 127, 142
Richardson, Boyce: career before NFB, 199n33; contrives scenes of Cree Hunters, 164; Cree Hunters of Mistassini, 145, 157–58, 159–60; on Cree’s fight with government, 155; developing idea for Cree Hunters, 155–57; on effectiveness of CFC, 150–51; on importance of land to Cree, 171; plaudits for Cree Hunters, 170; and release of Cree Hunters of the Mistassini, 169
Ripley, P. O., 45
Rise and Fall of the Great Lakes, 133
River with a Problem, 97, 114–18, 142
Robertson, Strowan, 80
Rose, Barbara W., 57–58
Rosen, Philip, 176
Rousseau, Jacques, 74, 75, 78, 83
Roy, Jean, 64
salvage ethnography, 69–70
Scott, James C., 5–6
settlers: and Cree Hunters of the Mistassini, 159–60, 163; in Death of a Legend, 134–35; in The Enduring Wilderness, 123; and negative impacts on Indigenous people, 58, 143–44, 149; view of Cree Hunters of the Mistassini, 169–70; view of land and ownership, 154–55
Silent Spring (Carson), 103, 104, 113–14
Smallman, Beverley, 112
Snowden, Don, 72
Societé nouvelle, 149
Soils for Tomorrow, 41
Song of the Mountains, 174
Spencer, Michael, 75
spruce budworm spraying program, 104, 112
stabilization of economy, 20–21
statist view. See government/statist view
Stefansson, Vilhjalmur, 89
Stefansson: The Arctic Prophet, 74
Stevens, Peter, 179
St. Laurent, Louis, 114–15
Strangers Devour the Land, 155
Strategy of Metals, The, 16
Studio E, 178
Supreme Court of Canada, 154
Taggart, James G., 45
These Are My People, 149
Things I Cannot Change, The, 147
This Is an Emergency, 177
Trees Are a Crop, 28
Tweed, Thomas, 35
Water for Prairies, 28
Water Purification Board, 117
White, Jerry, 151
Whitton, Charlotte, 116, 117–18
Whyte, William, 124–25
WIB (Wartime Information Board), 20, 21, 23–24
wilderness movement, 120–21
wildlife conservation, 6–7. See also conservation; wolves
Wilkinson, Doug: Exercise Muskox, 63; How to Build an Igloo, 63–64; Land of the Long Day, 64–67; and salvage ethnography, 68–69; and view of Inuit, 70, 74; work on Across Arctic Ungava, 75, 78
Wilkinson, Vivian, 64
Windbreaks on the Prairies, 34–36, 38, 39, 175
wolves: change of public attitude towards, 131–32; and Cry of the Wild, 140–41; CWS wants NFB documentary on, 133; and Death of a Legend, 98–99, 128, 133–40; federal government predation policy for, 129–31; Mason’s films on, 98–99, 128; and Never Cry Wolf, 131–32
World at Your Feet, The, 44–46, 105, 106
World in Action, 14
Wynn, Graeme, 164
You Are on Indian Land, 149–50
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