- 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 introduction situates the current volume in relation to Canadian film studies as both a discipline and field. It notes the multiple diversities of which Canadian film studies is expected to provide an account. The most important of these are those having to do with social identities, and this volume is attentive to the key interventions in Canadian film studies coming from feminism, queer studies, Indigenous studies, and other fields. Diversity characterizes, as well, the forms of Canadian cinema. The expansion of media platforms and technologies of recording has moved Canadian film studies ever closer to a “screen studies” in which the photochemical bases of cinema become less important. The proliferation of spaces of exhibition, from traditional public cinemas through art galleries and public screens, has significantly altered our sense of the social locations of cinema.
Janine Marchessault is Professor of Cinema and Media Studies at York University. A past president of the Film Studies Association of Canada, she is the author of McLuhan, Cosmic Media (2005); Ecstatic Worlds: Media, Utopias, Ecologies (2017), and editor/coeditor of numerous collections including Reimagining Cinema: Film at Expo 67 (with Monika Gagnon, 2014); Cartographies of Place: Navigating the Urban (with Michael Darroch, 2014); 3D Cinema and Beyond (with Dan Adler et al., 2015). She has published widely on questions of cinema, the city, new media, and contemporary art.
Will Straw is James McGill Professor of Urban Media Studies in the Department of Art History and Communications Studies at McGill University. He is the author of Cyanide and Sin : Visualizing Crime in 50s America (2006) and co-editor of several volumes including Circulation and the City: Essays on Urban Culture (with Alexandra Boutros) and Formes Urbaines (with Anouk Bélanger and Annie Gérin). He has published widely on popular culture of all kinds, and is the author of over 150 articles on music, cinema, and urban culture.
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