- Copyright Page
- Three Canadian Film Policy Frameworks
- Canadian Cinema and the Intellectual Milieu
- On the Road: Canadian Cinema and the World
- Mutable Views: Landscape at the Intersection of Cinema and Contemporary Art
- Movie Envy: Cinema in the White Cube (Montreal, 1995–2015)
- (Re)Claiming Cultural Identity: The NFB’s <i>Eskimo Legends</i> and Inuit Animation from Cape Dorset
- Canadian Indigenous Cinema: From Alanis Obomsawin to the Wapikoni Mobile
- The Polarities and Hybridities of Arctic Cinemas
- Diasporic Intimacy: Chinese-Canadian Documentary and the Poetics of Relation
- Canadian Cinema and Its Borders
- Regional Scenes and Canadian Screens: Film in Atlantic Canada
- A Poetics of Discretion
- The Emotional Geographies of Québécois Cinema
- Toronto on Screen
- Quebec Cinema as Global Cinema
- Stand Tall: Winnipeg Cinema and the Civic Imaginary
- Still Here, Still Queer? Rethinking Queer Canadian Cinemas/Canadian Cinemas Queered
- Political Modernism, Policy Environments, and Digital Daring: The Changing Politics and Practice of Cine-Feminism in Quebec, 1967–2015
- From Expanded to Intimate Cinemas in Canadian Experimental Film/Video
- The Bloody Brood: Canadian Horror Cinema—Past and Present
- Popular Quebec Cinema and the Appeal of Folk Homogeneity
- The Musicality of Canadian Cinema
- The World Navigated: Interactive Documentaries in Canada
- The Gaming Turn
Abstract and Keywords
This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.
Michael Brendan Baker, Professor of Film Studies, Faculty of Humanities and Social Sciences, Sheridan College.
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