Ce long métrage documentaire rassemble six des rares entrevues données à la télévision par Gilles Groulx entre 1966 et 1983. Au fil de ces entretiens se révèlent les préoccupations éthiques et esthétiques du cinéaste. Il s'en dégage une étonnante cohérence de sa pensée quant à sa conception du cinéma et la place que le cinéaste doit occuper dans sa culture et sa société.
This feature documentary is considered to be the forerunner of the NFB's Challenge for Change Program. The film offers in inside look at 3 weeks in the life of the Bailey family. Trouble with the police, begging for stale bread, and the birth of another child are just some of the issues they face. Through it all, the father tries to explain his family's predicament. Although filmed in Montreal, the film offers an anatomy of poverty as it occurs throughout North America.
This short animation is a dizzying celebration of sound, colour and movement. Here, multitudes of CMYK symbols, pulled off flaps of cereal boxes and other common printed materials, have been isolated and assembled. Freed from their workaday origins, these objects become moving artwork. Coloured dots pulsate, crosshairs roll and primary shapes dance. The result: an unrestrained riot of colour and energy.
Heralding the “end of paper,” this experimental animated short is an abstract exploration of a number of big issues, from the ephemerality of the digital age to the practice of recycling. To create this painting in motion, Theodore Ushev took an animation film festival catalogue and set its pages alight with the broad strokes of a paintbrush.
An opening address, a tribute and highlights of a long and productive career--McLaren on McLaren is Norman McLaren on camera. The occasion is the opening of a prestigious festival in Arnhem, the Netherlands, in November, 1983, marking the tenth anniversary of Holland Animation. The renowned animator pays homage to those who merged their arts with his, and to the National Film Board, which gave him forty-two years of artistic freedom.
This short documentary is a film about a film. In 1961, Norman McLaren produced a record of New Yorkers watching his short animation New York Lightboard in action in Times Square. The film within this film was produced as a promotion of travel and tourism in Canada. New York Lightboard Record depicts the reactions—awe, confusion, amusement—of onlookers and passersby.
A hand-made, scratched-on film experiment in intermittent animation. The images are a group of twenty-four visuals, all non-representational, which arrange and rearrange on the screen in many combinations. The result is a changing pattern of sound and image that has its own rhythm for eye and ear.
This short experimental film riffs on the conventions of silent cinema by examining Charlie Chaplin's Modern Times within the context of postmodern culture. It explores an integrated relationship between music and cinematic structure in response to the perceived shortcomings of postmodernism.