By Kay Armatage, Kass Banning, Brenda Longfellow
Since Nell Shipman wrote and starred in again to God's nation (1919), Canadian ladies were making motion pictures. The accolades given to film-makers corresponding to Patricia Rozema (I've Heard the Mermaids making a song, whilst evening is Falling), Alanis Obomsawin (My identify Is Kahenttiiosta, Walker), and Micheline Lanctot (Deux Actrices) at fairs through the global in recent times attest to the turning out to be foreign acceptance for motion pictures made via Canadian girls. With Gendering the state the editors have produced a definitive choice of essays, either unique and formerly released, that deal with the effect and impression of a century of women's film-making in Canada. In discussion with new paradigms for knowing the connection of cinema with country and gender, Gendering the kingdom seeks to situate women's cinema in the course of the complicated optic of nationwide tradition. This choice of severe essays employs various frameworks to examine cinematic practices that diversity from narrative to documentary to the avant garde.
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Extra info for Gendering the Nation: Canadian Women's Cinema
In 1917 Curwood returned to the animal kingdom with The Grizzly King and Baree, Son of Kazan (1918), the latter of which again starred Nell Shipman in the film version. By the end of the war, James Oliver Curwood had achieved a short-lived position alongside Zane Grey and Jack London as the bestselling authors of wilderness adventure. Many of Curwood's novels were made into films, including God's Country and the Woman (1915), Baree, Son of Kazan (1918), Back to God's Country (1919), The Golden Snare (1921), Code of the Mounted (1932), Red Blood of Courage (1935), Call of the Yukon (1938), Call of the Klondike (1950), North- Nell Shipman: A Case of Heroic Femininity 27 west Territory (1952), Northern Patrol (1953), Yukon Vengeance (1954), and a remake of Back to God's Country starring Rock Hudson (1953).
12 She acted in films for Famous-Players-Lasky and Vitagraph, and turned down a seven-year contract that would have made her a star with Goldwyn. Her stated reasons: 'I did not like the way they dressed their contract players. This was in the period of curly blondes with Cupid's-bow mouths; and Wardrobe's main idea was to bind down a bosom with a swatch of shiny material which met yards of floaty gauze at the waistline and looked like a flowery pen-wiper. This long-legged, lanky, outdoors gal, who usually loped across the Silver Screen in fur parkas and mukluks, simply gagged at such costuming.
25 Gunning, 1990, 11-14. 26 Sandy Flitterman-Lewis, To Desire Differently: Feminism and the French Cinema (Urbana: University of Illinois Press, 1990), 3. 27 Flitterman-Lewis, 1990, 22. 28 Flitterman-Lewis, 1990, 26. 29 Flitterman-Lewis, 1990, 21. 30 Flitterman-Lewis, 1990, 22. 31 Flitterman-Lewis, 1990, 22. 32 Rogoff, 1992, 38-39. 33 Edward Everett Hale, The American Year Book: Literature and Language Bibliographies from the American Year Book, 1910-1919, 71. 34 Hale, 1919, 91. 35 Hale, 1919, 13536 Hale, 1919, 197.
Gendering the Nation: Canadian Women's Cinema by Kay Armatage, Kass Banning, Brenda Longfellow