Кино Канады

Эта статья о английском кинематографии в Канаде. Для французского кинотеатра в Канаде см. Cinema of Quebec .

Кино Канады
Количество экранов ​	3,114 (2015)
• случиться	9,6 на 100 000 (2015)
Основные дистрибьюторы	Universal 20,9% Дисней 18,7% Warner Bros. 13,3%
Produced feature films (2015)
Total	103
Fictional	77 (74.8%)
Documentary	26 (25.2%)
Number of admissions (2015)
Total	118,000,000
Gross box office (2015)
Total	C$986 million
National films	C$18.8 million (1.9%)

Кино в Канаде восходит к самой ранней известной демонстрации фильма в Сен-Лавре, Квебек , в 1896 году. В киноиндустрии в Канаде доминировали Соединенные Штаты, в которых использовалась Канада в качестве места съемки и обойти британские законы о квотам кино , на протяжении всей своей истории. Канадские режиссеры, английский и французский , активно участвовали в развитии кино в Соединенных Штатах .

Фильмы Thomas A. Edison, Inc. были одними из первых, кто прибыл в Канаду, и ранние фильмы, снятые в стране, были продюсированы Edison Studios . Канадская Тихоокеанская железная дорога и другие железные дороги поддержали раннее кинопроизводство, в том числе Джеймс Фриер , чьи десять лет в Манитобе были первым известным фильмом канадца. Evangeline - самый ранний записанный канадский художественный фильм. Джордж Браунридж и Эрнест Шипман были основными фигурами в канадском кино в 1920 -х и 1930 -х годах. Шипмен контролировал производство самый дорогой фильм до этого момента. Карьера Браунриджа привела к продолжению, сержант! и его провал вызвал снижение киноиндустрии.

The Canadian Government Motion Picture Bureau was formed in 1918, and expanded to sound and 16 mm film in the 1930s before merging into the National Film Board of Canada. The NFB expanded under the leadership of John Grierson. The Canadian Cooperation Project between the government and Motion Picture Association of America from 1948 to 1958, negatively affected Canadian filmmaking. Internal divisions between English and French Canadians within the NFB starting in the 1940s led to the creation of an independent branch for French language productions by the 1960s. The government provided financial support to the film industry through the Capital Cost Allowance and Telefilm Canada.

History

Film

Arrival of film

A film showing by Andrew M. Holland and George C. Holland was incorrectly viewed as the first in Canadian history until 1984. Their showing was conducted in West End Park, Ottawa (pictured 1892).

The first time a film was displayed in Canada, and one of the first times in North America, was at an event organized by Louis Minier and Louis Pupier using a cinematograph in Saint-Laurent, Quebec, on 27 June 1896. Prior to the discovery of the Saint-Laurent showing by Germain Lacasse in 1984, it was believed that a showing conducted by Andrew M. Holland and George C. Holland, where films by Thomas A. Edison, Inc. such as The Kiss were shown, in Ottawa, from 21 July to 28 August 1896, was the first. The Saint-Laurent showing was overlooked as English researchers did not search through French sources. Léo-Ernest Ouimet stated that he attended the showing and he was used as evidence of it until Lacasse found newspaper coverage of the event in La Presse. R.A. Hardie and F.H. Wall also presented films in Winnipeg from 18 to 25 July 1896. Marie Tréourret de Kerstrat and her son Henry de Grandsaignes d’Hauterives were some of the first French people to display films to French Canadians and projected hundreds during their tours from 1897 to 1906.

The development of a Canadian film industry was hampered by the country's low population density, it had six million inhabitants and only Toronto and Montreal had more than 100,000 people in 1905, and the lack of domestic vaudeville as most of the acts came from the United States, United Kingdom, and France. Andrew Holland was critical of Canada as a place for the film industry due to the quality of its films, distance between major urban areas, and different electrical systems. Early films were used to as promotional material for companies, promote immigration, or displays of scenic locations including Niagara Falls. The Edison Company created some of the first films in Canada by documenting the Klondike Gold Rush, Canadian soldiers leaving to fight in the Second Boer War, and George V, the Duke of York, arriving in Canada in 1902.

Charles Urban's Bioscope Company of Canada in 1903

James Freer is believed to have been the first Canadian to produce films. He purchased an Edison camera and projector and started filming agriculture activities and Canadian Pacific Railway trains in 1897, and toured the United Kingdom with the sponsorship of the CPR in 1898, and a second less successful tour was sponsored by Clifford Sifton in 1901. His second tour was the first time that the government was directly involved with film. British and American filmmakers were selected as they could guarantee the distribution of their films unlike Canadian filmmakers. The CPR enlisted Charles Urban and his company, in order to allow the distribution of the films to the United Kingdom, to travel and film Canada to promote settlement in the western areas. This group, the Bioscope Company of Canada, conducted filming in Quebec to Victoria from 1902 to 1903. The film, Living Canada, was premiered at the Palace Theatre in 1903, with High Commissioner Donald Smith in attendance. A total of thirty-five Living Canada films were released by 1904, and was reedited into Wonders of Canada in 1906. Urban success led to him gaining contracts with the government of British Columbia and the Northern Railway Company. The Grand Trunk Railway entered the industry by hiring Butcher's Film Service in 1909. The CPR hired the Edison Company to film in Canada and they sent nine people, including J. Searle Dawley, Henry Cronjager, and Mabel Trunnelle, in 1910. They were provided a specialized train and the RMS Empress of India and produced thirteen films.

Creating an independent film industry

Evangeline is the earliest recorded feature film in Canadian history.

Silent films used intertitles in English and French, but sound films were mostly produced in English. The first recorded feature film created in Canada was Evangeline. The Palace was the first theatre to transition to showing sound films when it presented Street Angel on 1 September 1928. There were multiple attempts to create an independent film industry in Canada in the early 20th century. Thirty-six companies meant for film production were created between 1914 and 1922, but the majority of the companies did not produce any films.

The title card of British Canadian Pathe News as presented by Léo-Ernest Ouimet's Specialty Film Import.

In 1914, Canadian Animated Weekly by Universal Pictures became one of the first newsreels in Canada. Ouimet, who was a pioneer for Canadian newsreels, created Specialty Film Import in 1915, as a distributor, but his newsreel and distribution companies were sold in 1923, and he unsuccessfully worked in the United States in the 1920s. At the peak of Ouimet's career 1.5 million Canadians were watching his newsreels twice per week. Domestic newsreel companies were unsuccessful after branches of American companies, Fox Canadian News and Canadian Kinograms, were established.

Most sound films from Quebec in the 1910s and 1920s are lost. Yves Lever stated that Larente-Homier's 1922 film Madeleine de Verchères was the first truly Québécois fictional feature film. Larente-Homier's work was later destroyed by his son due to orders from the Fire Bureau as the film reels were flammable.

Ernest Shipman established multiple film companies in cities and would produce a limited number of films using local money before moving to another area. Unlike other Canadian filmmakers he sought financial support from the American market. In 1919, incorporated Canadian Photoplays with a financial capital of $250,000 in Alberta. He started production on Wapi, the Walrus, but retitled it to Back to God's Country to capitalize God's Country and the Woman, starring his wife Nell Shipman. The film was a critical and financial success, with it grossing over $500,000 in its first year, and Shipman's investors saw a 300% return on investment. Despite the success of the film Canadian Photoplays did not produce another film and went into voluntary liquidation. He signed a contract with Ralph Connor in 1919, and formed Dominion Films, based in New York, to produce films in Winnipeg. Winnipeg Productions was formed to adapt twelve of Connor's stories, but only five were filmed. Shipman created five companies across Canada in 1922, but only three produced films. He incorporated New Brunswick Films on 23 August 1922, but the failure of Blue Water ended Shipman's career.

The Werewolf is regarded as the first horror film in Canadian history.

Trenton, Ontario, despite its small size, was a major film production area and had one of the few studios to last longer than a few years. Canadian National Features, founded by George Brownridge, construction a studio in the town and raised a financial capital of $500,000, with $278,000 coming within the first week, in 1916. However, the company suspended production after spending $43,000 on its first two films, The Marriage Trap and Power, and declared bankruptcy with $79,000 in assets. The studio in Trenton was taken over by the Pan American Film Corporation in 1918, but only released one film before closing. Brownridge founded Adanac Producing Company and released the two Canadian National Features films in 1918. Brownridge shifted production towards corporate sponsorships by displaying products in dramatized films. Brownridge sought a sponsorship from the CPR and John Murray Gibbon saw Power and asked Brownridge to make anti-Bolshevik films during the First Red Scare. Adanac was reorganized in 1919, with Brownridge as its managing director and Denis Tansey, a member of parliament, as its president. The Great Shadow was released in 1920, after being filmed in Canada rather than New York as Brownridge wanted to create a domestic film industry, and was a critical and financial success although the CPR pulled its public support before its release. However, the company went bankrupt with Brownridge balming Harley Knoles's wastefulness and Selznick Pictures's distribution policy. Brownridge sold the Trenton studio to the Ontario Motion Picture Bureau in 1924, and it continued to be used, with Carry on, Sergeant! as the sole fictional work filmed there, until Mitchell Hepburn ordered its closure in 1934, and it was turned into a community centre.

Motion Skreenadz, incorporated in 1920, conducted the majority of film production in western Canada and brought colour film production to British Columbia. Leon C. Shelly gained control over Motion Skreenadz and Vancouver Motion Pictures from 1936 to 1937. He extended the company to Toronto in 1945, but relocated the company entirely to Toronto in 1946. The company was reorganized into Shelly Films, but production of non-newsreels was ended in favor of focusing on film laboratories.

British Columbia's government agencies used promotional films from 1908 to 1919, before the creation of the British Columbia Patriotic and Educational Picture Service. It was headed by A. R. Baker and mainly distributed films produced under contract by Arthur D. Kean. The provincial legislature passed legislation requiring the display of at least one ten-minute education film or travelogue during all of the programs. The Motion Picture Branch of the Bureau of Publications was created by Saskatchewan in 1924, to produce education films.

The Ontario Motion Picture Bureau was established in 1917, but did not produce its own films until 1923. S.C. Johnson, who worked in the Ontario Agriculture Department, was its first director. The victory of the United Farmers of Ontario in the 1919 election resulted in Peter Smith reorganized film production under the Amusement Branch with Otter Elliott heading it. He changed the focus of filmmaking from agricultural training towards quality productions. By 1925, the bureau had 2,000 films in its library, distributed 1,500 reels of film per month, and made one feature-length documentary, Cinderella of the Farms in 1931, but the bureau was dissolved after the Ontario Liberal Party won in the 1934 Ontario general election.

Albert Tessier and Maurice Proulx produced large amounts of films in French at a time when it was uncommon. Joseph Morin, the Quebec Minister of Agriculture, used film for education purposes and the Service de ciné-photographie was established in 1941.

The War Office Cinematographic Committee, one of the first times the national government was involved in filmmaking, was formed in 1916, and was led by Max Aitken, 1st Baron Beaverbrook. The committee contracted the Topical Film Company before buying a controlling share. The committee aided in the production of distribution of D. W. Griffith's Hearts of the World. The committee was dissolved after World War I and its shares in Topical Film Company were sold, which were donated to war charities.

The Associated Screen News of Canada was founded by Bernard Norrish in 1920, and the CPR held a majority control of its stock. The company grew from two employees in 1920, to over one hundred by 1930, and focused on the production of newsreels, theatrical shorts, and sponsored films. It was the largest Canadian film company until the growth of Crawley Films in the 1950s. It was one of Canada's longest lasting film production companies with Crawley Films and the National Film Board of Canada being one of the few to outlast it. Before ASN constructed a film laboratory all of the film print distributed in Canada were processed in the United States. The company was processing twenty-two million feet of film in per year by 1929. ASN constructed a sound stage in 1936, and produced House in Order, which was its only feature film in the 1930s.

Carry on, Sergeant! was a major film production in the late 1920s. Its failure resulted in a decline of the Canadian film industry that it did not recover from until after World War II.

Brownridge was sent to New York in 1925 by the Ontario Motion Picture Bureau to gain a distribution contract, but only negotiated one with Cranfield and Clarke after a year of high expenses. Treasurer William Herbert Price criticized Brownridge stating that his "travelling expenses are very high and I do not see there was very much result from anything he has done". George Patton, the bureau's head, supported the deal as Cranfield and Clarke had no Jews in its company. W.F. Clarke, who was later blamed for the company's financial failure, pushed for Canadian film production and came up with an idea of a film about "a dramatic story written by an eminent authority around the part played by the Canadians in the World War". Clarke incorporated British Empire Films of Canada in June 1927. The film adaption of The Better 'Ole was released in Canada under the name Carry On! and was financially success. Clarke's film was named Carry on, Sergeant! to help raise funds. It received financial backing from influential people, including prime ministers Arthur Meighen and Bennett. The film started production, by the recently created subsidiary Canadian International Films, in 1926, and Bruce Bairnsfather was hired to direct with an expensive contract, but his inexperience with film led to production troubles that increased the cost of the budget. The production difficulties led to internal company problems and Clarke was removed as general manager although he remained vice-president.

The film was released in 1928, to mixed-to-negative reviews and was only distributed in Ontario before the company went bankrupt in 1929. Brownridge attempted to recut and release the film in 1930, stating that it "would gross at least $200,000", but it did not happen. The Ontario government was still interested in attempting to create a large film studio by 1932, along with Edward Wentworth Beatty and Herbert Samuel Holt, but the recent failure of Canadian International Films and Great Depression led to its not receiving investments. The Canadian film industry would not recover until after World War II.

National Film Board

Main article: National Film Board of Canada

A group of cameramen who worked for the Canadian Government Motion Picture Bureau in 1925. Frank Badgley, the bureau's director from 1927 to 1941, is in the background.

The Exhibits and Publicity Bureau was founded on 19 September 1918, and was reorganized into the Canadian Government Motion Picture Bureau on 1 April 1923. Its films were theatrically released in the United States by Bray Productions. The organization's budget stagnated and declined during the Great Depression. The organization was led by Bernard Norrish from 1917 to 1920, Raymond Peck from 1920 to 1927, and Frank Badgley from 1927 to 1941. Badgley stated that the bureau needed to transition to sound films or else it would lose its access to theatrical releases, but the organization did not gain the equipment until 1934, and by then it had lost its theatrical distributors. Badgley was able to get a 16 mm film facility for the bureau in 1931. The organization's budget fell from $75,000 in 1930, to $65,000 in 1931, and $45,000 in 1932. However, its budget was increased to $70,000 in 1933. The bureau was reorganized into the National Film Board of Canada in 1941, following John Grierson's recommendation.

John Grierson was the first commissioner of the National Film Board of Canada.

Ross McLean was working as the secretary to High Commissioner Vincent Massey when he met Grierson, and asked for Grierson to come to Canada to aide in the governmental film policy. Grierson made a report on the Canadian film industry in 1938, and the National Film Act, which he drafted, was passed in 1939 causing the creation of the NFB. Grierson became the first Film Commissioner of the NFB and served until the end of World War II. Employment rose from fifty to over seven hundred from 1941 to 1945, although it was cut by 40% after the war ended. Grierson selected McLean to work as assistant commissioner and Stuart Legg to oversee the productions.

Lest We Forget, Canada's first feature-length war documentary with sound, was released in 1935. Grierson made efforts to increase the theatrical distribution of NFB films, primarily its war-related films, as he was coordinating wartime information for the United Kingdom in North America. Famous Players aided in distribution and the Canadian Motion Picture War Services Committee, which worked with the War Activities Committee of the Motion Pictures Industry, was founded in 1940. NFB productions such as The World in Action was watched by 30-40 million people per month in the United Kingdom and United States in 1943, and Canada Carries On was watched by 2.25 million people by 1944. The audience for NFB newsreels reached 40-50 million per week by 1944.

Grierson opposed feature film production as he believed that Canada did not have a large enough market for an independent feature film industry. He supported working with American film companies and stated that "the theatre film business is an international business, dependent when it comes to distribution on an alliance or understanding with American film interests". He travelled to Hollywood in 1944, and the NFB sent scripts to American companies for consideration.

Grierson lacked strong support in the Canadian government and some of his films received opposition from members of the government. Inside Fighting Russia was criticized for its support of the Russian Revolution and Balkan Powderkeg for criticizing the United Kingdom's policy in the Balkans. Grierson and the NFB were attacked during the onset of the Cold War. The Federal Bureau of Investigation created a file on Grierson in 1942, due to the World in Action newsreel being considered too left-wing. Leo Dolan, an ally of Hepburn and the head of the Canadian Government Travel Bureau, accused Grierson of being Jewish and a Co-operative Commonwealth Federation supporter. The Gouzenko Affair implicated Freda Linton, one of Grierson's secretaries, and the organization was criticized by the Progressive Conservative Party for subversive tendencies, financial waste, and being a monopoly. Grierson was also accused of being involved, but was proven not to be although he resigned as commissioner in 1945.

McLean was ordered to assist the Royal Canadian Mounted Police screen NFB employees and the RCMP requested him to fire a list of employees. McLean, who refused to fire any employees without their disloyalty being proven, was not reappointed as commissioner and replaced by William Arthur Irwin in 1950. Irwin also refused to fire employees without proven disloyalty and reduced the demand and only three of the thirty-six requested were fired.

The Royal Commission on National Development in the Arts, Letters and Sciences, with Massey as its chair, was formed in 1949. The NFB submitted a brief asking to have a headquarters constructed, budget increases, and to become a Crown corporation. Robert Winters, whose ministry oversaw the NFB, stated that its brief did not represent government policy. The Association of Motion Picture Producers and Laboratories of Canada submitted a brief criticizing a government monopoly, with the NFB's crown corporation request being referred to as an "expansionist, monopolistic psychology", and that they were unable to compete with the NFB as it paid no taxes and was exempt from tariffs. The commission's report supported the NFB and its requests for Crown corporation status and a headquarters were accepted.

The financial success of Royal Journey, depicting Princess Elizabeth and Prince Philip's tour of Canada, aided the NFB and was one of the reasons that John Grierson said that William Arthur Irwin "saved the Film Board".

A Canadian tour by Princess Elizabeth and Prince Philip was filmed and was initially meant to be two reels, worth twenty minutes, but grew to five reels as they could not determine what to cut. Irwin met with Harvey Harnick, the NFB's Columbia theatrical distributor, and J.J. Fitzgibbons, the president of Famous Players, and Fitzgibbons told Irwin that he would screen all five reels if the film was completed for a Christmas release. Royal Journey opened in seventeen first-run theatres and over course of the next two years it was screened in 1,249 Canadian theatres where it was watched by a record two million people and the film was also screened in forty other countries. The film cost $88,000, but the NFB gained a profit of $150,000 and the film's success was one of the reasons Grierson stated that Irwin "saved the Film Board".

The Canadian Government Motion Picture Bureau and Associated Screen News of Canada had no French-Canadian employees. Vincent Paquette became the NFB's first French-Canadian filmmaker in 1941, and directed La Cité de Notre-Dame, the board's first in-house French-language film, in 1942. The number of French-Canadian employees grew to seventeen by 1945, and a quarter of the board's budget was spent on French productions. The Massey Commission and Gratien Gélinas, a member of the NFB's Board of Governors, called for an improvement in French-language productions, but Premier Maurice Duplessis opposed it. In 1963, À l’heure de la décolonisation, directed by Monique Fortier, was the first NFB film directed by a French Canadian woman.

French-language media, including Le Devoir, criticized the NFB after it removed Roger Blais in 1957. NFB francophone directors Denys Arcand, Gilles Carle, Jacques Godbout, Gilles Groulx, and Clément Perron criticized the organization for its censorship policies, refusal to produce feature films, and its colonial treatment of Quebec. Michel Brault, Carle, Bernard Gosselin, Groulx, and Arthur Lamothe left following reprimands. Guy Roberge became the first French-Canadian to serve as the NFB's commissioner. Duplessis died in 1959, and Quebec Liberal Party gained control while the Liberal Party won in the 1963 Canadian federal election. The Liberals supported a policy of bilingualism and biculturalism. A French-language branch of the NFB that was independent of its English-language productions was formed in 1964, under the leadership of Pierre Juneau.

Drylanders, the organization's first English language feature-length fiction film, was released in 1963.

Kathleen Shannon organized Studio D, the first publicly funded feminist film-production unit in the world, in 1974, and produced 125 films before its closure in 1996. However, there would be no French version of Studio D until the formation of Studio B in 1986. The studio produced three Oscar winning films by 1984 (I'll Find a Way, If You Love This Planet, and Flamenco at 5:15).

Governmental financial involvement

Starting in 1954, the Capital Cost Allowance was able to be used for a 60% tax write-off for film investment and the amount was increased to 100% in 1974. $1.2 billion was invested in Canadian film and television in the thirteen years following the increase. The average film budget rose from $527,000 to $2.6 million in 1979, and $3.5 million in 1986. From 1958 to 1967, private film investment accounted for 18% of film investments and it declined to 13.5% in 1968, while the CFDC accounted for 37.5%. Following the tax write-off increase private investment rose to account for 47% of film investment between 1975 and 1978 while the CFDC declined to 15%. Silence of the North was the first film with American backing to receive CCA certification. The Film and Video Production Tax Credit replaced the Capital Cost Allowance in 1995.

In 1962, Roberge proposed the creation of an organization to aid in film finance based on the National Film Finance Corporation and Centre national du cinéma et de l'image animée.

Norman Jewison founded the Canadian Film Centre

The Interdepartmental Committee on the Possible Development of a Feature Film Industry in Canada, under the leadership of NFB commissioner Roberge, was formed by the secretary of state. The committee submitted a report to the 19th Canadian Ministry for the creation of a loan fund to aid the development of the Canadian film industry. The proposal was approved in October 1965, and legislation, the Canadian Film Development Corporation Act of 1966-67, for its creation was introduced in June 1966, before being approved on 3 March 1967. The Canadian Film Development Corporation was established with a budget of $10 million in 1967. In February 1968, Spender was appointed as its director along with a five-member board. Canada lack of a film school leading to the creation of the Canadian Film Centre by Norman Jewison. The CFDC started investing up to 50% of its budget into films that cost less than $500,000.

Explosion was the first film to receive financial support from the CFDC. Valérie by Denis Héroux, which was not financially supported by the CFDC, was made at cost of $70,000 and made over $1 million in Quebec. The CFDC financially supported Héroux's other films Here and Now (L'Initiation), Love in a Four Letter World, Virgin Lovers, and Two Women in Gold (Deux Femmes en or). Deux Femmes en or was financially successful, with its two million ticket sales remaining the highest in Canadian history, and became the highest grossing Canadian film.

The $10 million budget was used by October 1971, after the CFDC invested $6.7 million into 64 films with an average cost of $250,000 per film. The CFDC was not financially successful as only three of those films made a profit and the organization recovered $600,000 of its investments. After 1970 the CFDC focused on investing in smaller budgeted films and ended its work with American theatrical distributors to them hiding profits. Another $10 million budget was given to the CFDC in November 1971, and a new investment strategy in which $600,000 per year would be invested into productions, with its creative and technical crew being Canadian, budgeted below $100,000, and $3 million per year on films with guaranteed distribution. It took the CFDC five years to recover its first $1 million investment, but recovered $1 million in 1977 alone. From 1977 to 1978, the CFDC invested $1.6 million into twenty films and its investments rose to $10.8 million into 34 films from 1979 to 1980. Between 1968 and 1978, the organization funded 103 English-language films, but only Black Christmas, Death Weekend, Heart Farm, Shivers, and The Apprenticeship of Duddy Kravitz were profitable to the CFDC.

The Toronto Filmmakers' Coop, an organization with 150 filmmakers, sent a letter with the endorsement of 200 filmmakers to Gérard Pelletier asking for the creation of a content quota that required distributors to have 15% of their films be Canadian. Pelletier announced the creation of a theatre in the National Capital Region that exclusively showed Canadian films in 1972. A study published by the Secretary of State reported that a content quota would not work as a 50% quote would generate less revenue than a 5% sales increase for foreign films. The study stated that new tax regulations and investments by the CFDC could make the Canadian film industry internationally competitive.

The budget for the CFDC was limited to a few million and its budget from 1982 to 1983 was $4.5 million. However, the organization had its role expanded to include television in 1983, and administered the Canadian Broadcast Program Development Fund. The television fund was initially given an annual budget of $60 million. An annual budget of $30 million through the Feature Film Fund was created in 1986, and an annual budget of $17 million through the Feature Film Distribution Fund was created in 1988. The organization's combined budget grew to $146 million by 1989.

A report was written by a task force in 1985, and it stated that foreign domination of film and video distribution, chronic undercapitalization of production companies, and concentration of theatre ownership and distribution and exhibition vertical integration hurt the development of the film industry. They recommended legislation to increase the control of Canadian-owned companies over distribution and Minister of Communications Flora MacDonald proposed a film licensing system based on their recommendations. American distributors opposed the policy and lobbied the American government through the MPAA and its president, Jack Valenti. Valenti met with President Ronald Reagan at least twice and Reagan criticized the legislation of a US-Canadian economic summit. 54 members of the United States Congress signed a letter to Prime Minister Brian Mulroney opposing the legislation. The legislation was not tabled and it failed.

Post-Carry on, Sergeant!

F. R. Crawley, who was involved in filmmaking for a decade, and Judith Crawley created Île d'Orléans in 1938, and its success led to a $3,000 loan from F. R. Crawley's father that created Crawley Films. It employment rose from 6 in 1946, 33 in 1949, and around 100 by the 1950s. One-sixth of the $3 million worth of films produced by the Canadian film industry in 1952 came from Crawley Films.

France Film and other companies started creating French film productions in the 1930s. Maria Chapdelaine is commonly, although incorrectly, regarded as the first French-Canadian sound movie. Étienne Brûlé gibier de potence was the first colour feature film made in Quebec and the first Canadian colour film shot in English and French. Joseph-Alexandre DeSève monopolized the distribution of French-language films through France-Film. France-Film arose from the distribution of Maria Chapdelaine which sold 70,000 tickets in Canada. He also aided in the production of Notre-Dame de la Mouise in response to the papal encyclical Vigilanti Cura. DeSève purchased Renaissance Films following the success of The Music Master. DeSève produced four films through Renaissance Films Distribution. Paul L'Anglais formed Quebec Productions filmed Whispering City in English and French, under the title La Forteresse. It was seen by over 100,000 people in Quebec over the course of six weeks.

The papal encyclical Vigilanti Cura in 1936, changed the Catholic attitude towards movies and the church became a part of Quebec movie production in the 1940s. Most of the nineteen movies, fifteen in French and four in English, produced in Quebec from 1944 to 1953 were made by Renaissance Films or Quebec Productions. Those were the only French-language feature films produced in Canada in that period.

Bush Pilot was the only English-language feature film created by a Canadian company in the 1940s.

Modern industry

Domestic theatrical film production

Year	Films produced	Spending	Box office
2011-2012	114	$340 million	$27 million
2012-2013	128	$379 million	$24 million
2013-2014	117	$352 million	$28 million
2014-2015	131	$378 million	$19 million
2015-2016	122	$267 million	$18 million
2016-2017	123	$291 million	$32 million
2017-2018	122	$273 million	$20 million
2018-2019	139	$321 million	$17 million
2019-2020	126	$290 million	$8 million
2020-2021	75	$268 million	$18 million

Pour la suite du monde was the first Canadian film shown in competition at the Cannes Film Festival.

Canadians had to import colour 35 mm film until 1967, as Canada did not produce any internally.

By the 1960s Nat Taylor, a theatre owner, controlled the largest private film studio in Canada, Toronto International Film Studios, two distribution companies, International Film Distributors and Allied Artists Pictures, a television station, CJOH-DT, and multiple production companies. He entered film production with The Mask in 1961. Taylor, unlike other members of the AMPPLC, supported state involvement in feature film production.

Bryant Fryer founded one of the first animation companies in Canada and made six silhouette films from 1927 to 1935. Norman McLaren was brought to Canada from Scotland by Grierson in 1941. McLaren recruited English-Canadian animators from OCAD University, including George Dunning, Evelyn Lambart, Grant Munro, and Robert Verrall. McLaren recruited French-Canadian animators from École des beaux-arts de Montréal, including René Jodoin. Jodoin created a French animation unit in 1966, which included Laurent Coderre and Bernard Longpré. Le village enchanté was the first recorded animated feature film in Canadian history and Return to Oz which was based on Tales of the Wizard of Oz, the first recorded Canadian animated television series, was the second recorded animated feature film.

In the 1960s filmmakers came from universities throughout Canada. David Cronenberg, Clarke Mackey, and David Secter graduated from the University of Toronto. John Hofsess, Ivan Reitman, and Peter Rowe graduated from McMaster University. Jack Darcus and Larry Kent graduated from the University of British Columbia. Cronenberg received financial support from the CFDC and Shivers was their most successful investment, with a budget of $150,000 ($75,000 from the CFDC) and gross of $5 million. 708 feature films, over twice the amount made in the past fifty years, were made during the 1970s.

Carle, Groulx, Claude Jutra, and Jean Pierre Lefebvre, who were inspired by the French New Wave, made their directorial debuts from 1963 to 1965, and all won the Grand Prix at the Montreal International Film Festival throughout the 1960s. Jean-Claude Lauzon's Night Zoo won the most Genie Awards in history, with thirteen awards.

Dream Life by Mireille Dansereau was the first privately produced feature film in Canada to be directed by a woman.

Porky's became the first Canadian film to gross more than $100 million. The Decline of the American Empire was the most successful Quebec film released in France with 1,236,322 viewers. The Care Bears Movie, by Nelvana, was the highest-grossing non-Disney animated film at the time of its release. Six of the ten highest-grossing films in Canada between 1991 and 2001 were made in Quebec.

Film investment in British Columbia rose from $188.5 million in 1990 to over $1 billion in 1999. Feature film production rose from 16 films to 56 films, with the total number of productions rising from 50 to 192. From 2011 to 2021, film and television production British Columbia replaced Ontario as having the highest amount of spending. Spending rose from $1,578,000 to $3,254,000 in British Columbia, while Ontario rose from $2,586,000 to $3,166,000, and Quebec rose from $1,316,000 to $2,098,000.

Women accounted for 17% of directors, 22% of writers, and 12% of cinematographers for projects backed by Telefilm between 2013-2014. In 2016, programs were instituted at Telefilm to increase the number of projects led by women. The percentage of films supported by Telefilm that were directed or written by women rose to 44% and 46% by 2017.

In 2023, the total production volume of film and television production in Canada fell to below the numbers during the COVID-19 pandemic due to the SAG-AFTRA and Writers Guild of America strikes.

Quebec amended its film tax credit laws in 2024, in which a cap of 65% of a contract's value was implemented. Visual effects and animation employees protested the change, but François Legault's government stated that it was necessary to reduce costs due to the tax credit investment rising from $226 million in 2018, to $440 million in 2024.

Theatres

In the 1890s and 1900s films were shown by travelling showmen. John C. Green, a magician who presented for the Holland brothers at their first showing, travelled throughout eastern Canada and New England until the establishment of movie theatres. John Albert Schuberg was credited with bringing movies to Vancouver and Winnipeg, and the provinces of British Columbia and the Canadian Prairies. Schuberg established Canada's first permanent movie theatre, the Electric Theatre, in Vancouver, in October 1902, with its first movie played being The Eruption of Mount Pelee. He opened additional theatres in Winnipeg, and later gained the license for First National Pictures in western Canada. He had one of the largest theatre chains and sold it to Jay and Jules Allen for around $1 million in 1919, before returning in 1921, and then selling it to Famous Players in 1924.

Jay and Jules Allen established their first theatre in Brantford in 1906. The established Allen Amusement Corporation, a film exchange, in 1908. Their chain was worth over $20 million by 1920, and had fifty-three theatres by 1923, when they declared bankruptcy and it was acquired by Famous Players. The Allens owned the distribution rights for Pathé and Paramount Pictures. In 1916, they rejected an offer by Paramount president Adolph Zukor to create an equal partnership. The Allens informed Nathan Nathanson of this attempt and Nathanson convinced Zukor to give him their distribution rights in 1920, for twenty years after creating his own theatre chain.

Nathan Nathanson founded Famous Players and Odeon Theatres. These companies controlled the theatre industry in Canada.

Nathanson's Famous Players started an expansion campaign in the 1920s that led to its gaining control of all first run theatres in the major cities. Zukor and Paramount forced Nathanson out of Famous Players after buying a large amount of the stock in 1930. Famous Players also controlled the distribution industry in Canada, accounting for at least 40% of distribution, due to its connections to Paramount Pictures. Paul Nathanson managed Regal Films, which was controlled by Paramount, and distributed films from British International Pictures, Metro-Goldwyn-Mayer, and Pathé, and Famous Players also distributed films from Columbia Pictures. Fox Film, RKO Pictures, Tiffany Pictures, and Warner Bros. were the other main distributors in Canada in the 1930s. A study conducted by United Artists in 1931 showed that 67% of rental revenue in Canada came from nineteen theatres in Canada's main cities while the remainder came from the rest.

Block booking by major studios, that were from outside Canada, prevented independent theatre owners from obtaining films at a reasonable price. R. B. Bennett, who invested into the film industry, made investigating the film industry an issue in the 1930 election. Peter White was appointed to investigate Famous Players' monopolistic control of theatres under the Combines Investigation Act. White concluded that "a combine exists and has existed at least since the year of 1926" and Famous Players was detrimental to the public interest in 1931, but no action was taken against the company. Bennett supported taking action and the attorney generals of Alberta, British Columbia, Ontario, and Saskatchewan would prosecute Famous Players. Fifteen companies and three people, including Nathan Nathanson, were charged, but the Supreme Court of Canada ruled in favor of the companies.

After losing control over Famous Players Nathanson created Odeon Theatres in April 1941, and resigned from his position at Famous Players in May. He built the company using Regal Films, which was managed by his brother and distributed MGM films, and gaining the business of companies whose contracts with Famous Players were expiring. Odeon did not gain a MGM distribution contract, but did gain ones for all of Columbia Pictures' films, two-thirds of Universal's films, and one-third of Fox's films. Nathanson died in 1943, and was succeeded by his son Paul. Films released in Famous Players and Odeon theatres, both foreign owned after Paul sold his stock to J. Arthur Rank in 1946, accounted for over 60% of the Canadian box office by 1947.

Taylor, who declined to become the general manager of Odeon in 1941, founded Twentieth Century Theatres in the 1930s and the Famous Players-aligned company grew to own sixty-five theatres by the 1960s. He opened the International Theatre in Toronto which was the first theatre in Canada dedicated towards screening art films. Taylor and Garth Drabinsky created the Cineplex Odeon Corporation in 1979, and by 1987 it was the largest theatre chain in North America with 1,500 theatres, with two-thirds of them in the United States.

The deaths of seventy-eight children from the Laurier Palace Theatre fire in 1927, and opposition to film from the Catholic Church led to a ban on minors attending movie theatres until 1961. In the 1930s Quebec was the only province that allowed for theatres to be open on Sundays. The Quebec Cinema Act, passed in 1983, required that English-language films in Quebec must be translated into French within sixty days. However, films from the United States were unaffected as their distribution ended before the deadline and the NFB was exempted from the requirements.

The Canadian box office increased following World War II. In 1934 there were 796 theatres which admitted 107 million people to earn $25 million, and that grew to 1,229 theatres admitting 151 million people to make $37 million in 1940. By 1950 the number of theatres increased to 2,360, earning $86 million with 245 million people attending. However, during the 1950s Canadian film attendance declined, with the nation falling from the fifth-highest in film attendance to twenty-fifth by the 1960s, and the number of films the average Canadian saw per year dropped from seventeen in 1950 to eight in 1960. Ticket sales in Quebec fell from 60 million in 1952 to 19 million in 1969. The number of theatres in Canada declined from 1,635 in 1962 to 1,400 in 1967, then to 1,116 in 1974, and to 899 in 1984.

International

See also: Canadian pioneers in early Hollywood

Many native-born Canadians, such as Al Christie, Allan Dwan, Louis B. Mayer, Sidney Olcott, Mack Sennett, and Jack L. Warner, aided in the creation and development of the American film industry.

In the early 1900s Canada was used as a shooting location for dramatic productions, with Hiawatha, the Messiah of the Ojibway being one of the first in 1903. The Kalem Company was one of the first American companies to conduct location shooting in Canada in 1909. Two of the films D. W. Griffith made in his first year as a director, The Ingrate and A Woman's Way, were made in Canada. British American Film Company, Canadian Bioscope Company, Conness Till Film Company of Toronto, and the All-Red Feature Company, the four Canadians companies that produced fictional films prior to World War I, had their investment come from Americans, but all of them were financially unsuccessful and closed within a few years, with Conness Till suffering a fire that destroyed their $50,000 studio.

Canadians were hostile to American filmmakers, and provincial film review boards instituted censorship policies in 1915, which included a ban on the gratuitous display of the flag of the United States. Fifty reels of film were banned in British Columbia in 1914 due to "an unnecessary display of U.S. flags", which put it as the third most common reason behind infidelity and seduction. In 1927, the United Kingdom created a quota limiting the number of foreign films that could be shown in the country, but productions that were produced within the British Empire and mostly made by British subjects were excluded from the quotas. American financers produced low-budget B movies within Canada to exploit the loophole before the legislation was changed in 1938 to exclude the Dominion. Nanook of the North and The Viking exploited the loophole. From 1928 to 1938 twenty-two feature films, the majority of Canada's film production, meant solely for the British market, were filmed.

American companies made $17 million in profits from Canada in 1947. Prime Minister William Lyon Mackenzie King's government sought to reduce the general trade imbalance between Canada and the United States. McLean called for the reinvestment of this money into Canadian film production and requiring the American distribution of Canadian shorts. The Motion Picture Association of America proposed the Canadian Cooperation Project and it was accepted by the Canadian government on 14 January 1948. The government would not restrict revenue to American companies in exchange for productions being filmed in Canada and mentions of Canada in those scripts to promote tourism. The project was considered unsuccessful and stifled Canadian filmmaking, with only eight Canadian feature films being made during the CCP's existence, before it ended in 1958. McLean was critical of the agreement as there was a lack of Canadian films distributed in the United States. Michael Spencer stated that the agreement was "allowed to die of embarrassment".

Гилберт Агар принял участие в Четвертой национальной кинематографической конференции Совета кинофильмов в Америке в 1926 году и сообщил, что 95% фильмов, выпущенных в Канаде, были из Соединенных Штатов. Эрик Джонстон заявил, что «за пределами самой США Канада считается вторым по величине рынком в мире для голливудских фильмов». Количество фильмов в Канаде американского происхождения сократилось до 68% к 1954 году и на 41% в 1962 году.

Канадские директора, такие как Norman Eiwison, покинули Канаду работать в Соединенных Штатах. Рауль Барре работал карикатуристом в Канаде, а затем переехал в Соединенные Штаты и работал аниматором в студии Barré . Стивен Босустоу и другие аниматоры покинули анимационные студии Уолта Диснея во время удара Disney Animators и основали United Productions of America .

Семь Arts Productions , будучи перечисленными на фондовой бирже Торонто и имея большинство его инвесторов, канадцев, имела большую часть ее постановок, выполненных ее американской дочерней компанией. Он потратил 25 миллионов долларов на десять американских кинопроизводства, в том числе доктора Странгелова и что случилось с малышкой Джейн? Полем Канадские 3D -анимационные компании, такие как Softimage и Alias ​​Research , использовали свое программное обеспечение для американских фильмов, таких как Парк Юрского периода .

Прием

См. Также: Список лауреатов и кандидатов на премию Канадской академии

Производство от NFB получило 64 номинации на премию Оскар и десять побед к 2000 году. Clawleys сняли 2500 фильмов и получили более 200 наград во время своей карьеры, в том числе премию Оскар за лучший документальный художественный фильм для человека, который лыжал Эвереста .

Остров Черчилля , если вы любите эту планету , и соседи были награждены премией Оскар за лучший документальный короткометражный фильм . Песчаный замок , специальная доставка , и каждый ребенок был удостоен премии Оскар за лучший анимационный короткометражный фильм . Я найду, что был награжден премией Оскар за лучшую короткометражную для живого боевика .

Дэвида Бэйрстоу Королевское путешествие выиграло премию BAFTA за лучший документальный фильм в 1952 году.

Колин Лоу «Роман транспорта» в Канаде была награждена Prix Du Film D'Animation на Каннском кинофестивале в 1953 году. Браул получил премию Каннского кинофестиваля за лучший режиссер за заказы .

Цензура и сохранение

Цензура

Основная статья: цензура в Канаде

См. Также: Список фильмов, запрещенных в Канаде

В 1906 году Пол Брухеси озвучил оппозицию показания фильмам в воскресенье, поскольку они были коммерческим видом деятельности в нарушение субботы . Монреаль запретил воскресные показы в 1908 году, но кино компаний успешно подали в суд на закон.

В феврале 1908 года штраф Ouimet в размере 10 долларов США за то, что он открылся в воскресенье в воскресенье, стал испытательным примером , чтобы установить право закрывать места развлечения по воскресеньям. В 1920 году Пьер-Франсуа Кагрейн выступил против попытки удалить налог на 15 ¢ за катушку в день на экспонентах кино страна". Сборы, введенные в цензуру, заработали правительственные суммы денег, а две цензуры Альберты получили 12 275 долларов в 1927 году. К 1921 году у Нью -Брансуика была самая низкая плата в размере 0,50 долл. США за катушку, в то время как у Онтарио было самое высокое по 3 долл. США за катушку, 1 долл. США за лицензию на катушку за каждую копию. Апелляции стоят 5 долларов в Квебеке и 10 долларов в Онтарио. Variety сообщила в 1950 году, что плата за цензуров стоила киноиндустрии более 1 450 000 долларов в год, при этом расходы на 600 000 долларов поступили из Канады.

Цензуторские советы были созданы в Манитобе, Онтарио и Квебеке в 1911 году в Альберте и Британской Колумбии в 1913 году и в Новой Шотландии в 1915 году. 5500 катушек фильма были подвергнуты цензуре в Соединенном Королевстве в 1925 году по сравнению с 6 639 балками в Квебеке, 5518 барабанов в Манитобе и 5 013 барабанами в Альберте. Маклин сообщил, что количество фильмов, запрещенных в Канаде, упало с ста одного в 1932 году до девятнадцати лет в 1940 году, причем девять были запрещены в Квебеке и ни один в Онтарио. Триста из шести сотен фильмов, изученных цензорами в 1940 году, были подвергнуты цензуре. Квебек -цензуры отвергли все фильмы, посвященные разводу. Многочисленные российские фильмы были запрещены из -за «подозреваемой коммунистической пропаганды», и во время Второй мировой войны все иностранные фильмы, за исключением Франции, были запрещены.

Онтарио запретил все военные фильмы в 1914 году. Канадская милиция первоначально заказала цензуру досок в очень провинции для осуждения военных фильмов, но позже создала свои собственные военные фильмы к 1915 году. В 1950 году все тихие на Западном фронте были запрещены в Новой Шотландии, так как произошла военная вербовка.

Поврежденные товары , фильм об инфекции, передаваемой половым путем , был запрещен, но политика цензуры изменилась после того, как была запущена государственная кампания для сокращения заболеваний, передаваемых половым путем. Конец дороги был первоначально запрещен, но это и аналогичные фильмы были позже разрешены.

Поврежденные товары , фильм об инфекции, передаваемой половым путем , был запрещен в Онтарио в 1916 году. Взаимный фильм показал фильм выбранной аудитории - как частный показ, он был освобожден от провинциальных законов о цензуре - и спросил их, должен ли фильм выпущенный. Аудитория одобрила фильм, и взаимный фильм обжаловал решение, но не удалось. Для борьбы с распространением сексуальных заболеваний была инициирована государственная кампания в конце 1910 -х годов. Канадский национальный совет по борьбе с венерическими заболеваниями, которым возглавлял Уильям Ренвик Ридделл и Гордон Бейтс, стремился распространить конец дороги в Онтарио в 1919 году. Цензура конфликтул по сравнению с поддержанием своего предыдущего постановления или разрешения государственной кампании, чтобы продолжить продолжение государственной кампании, чтобы продолжить продолжение государственной кампании. Полем Правление отклонило фильм, и решение поддерживалось по апелляции. Тем не менее, решение было изменено в 1920 году, и более 20 000 человек видели фильм в течение пяти дней после его выхода и 40 000 к 1932 году. Другие фильмы о сексуальных заболеваниях также были разрешены.

Министр финансов Митчелл Хепберн запретил марш времени из -за той статьи о нем, которая ему не понравилась.

Цензоры подвергались критике, начиная с 1950 -х годов за их злоупотребление властью. Министр финансов Хепберн запретил всем марш, в 1942 году, не наблюдая за ней, из -за того , что он не любил. Дж. Бернард Хьюз, главный цензур в Британской Колумбии, запретил дневник нацистов, заявил, что именно «чисто русская пропаганда» изображала «нацистов в худшем случае». Эрнест Мэннинг полагал, что в киноиндустрии в Соединенных Штатах доминировали коммунисты, и стремился запретить несколько фильмов, включая Фрэнка Синатры , дом в котором я живу . Duplessis запретил показывать фильмы NFB в школах Квебека в 1952 году. Появление телевидения затрудняло цензуру, так как они не могли контролировать контент, транслируемый в Канаду из Соединенных Штатов, и имели ограниченный контроль над внутренними телевизионными трансляциями, при этом канадская вещательная корпорация показывает фильмы, которые были запрещены в провинциях в этих провинциях. Генри Маклеод, цензура из Новой Шотландии, заявил, что «какой смысл запретить фильм, когда торговля может повернуться и продать его CBC?».

Канадская федерация кинематографических обществ, организация с 25 000 членов, призвала к замене цензурных советов с помощью системы рейтинга . В 1961 году Джордж Энос, который в течение тридцати лет служил цензурой Нью -Брансуика, заявил, что цензура «очень нежелательна» и что «девяносто процентов беспокойства не подходит. Приличные люди будут осуждать плохую картину. Мне не нравится идея Настройка одного человека, чтобы сказать, что его сосед увидит или не увидит. К 1960-м годам Совет по цензуре Квебека был одним из крупнейших с восемнадцатью штатными сотрудниками по сравнению с другими провинциальными советами, в которых было два-пять штатных сотрудников. К 1970 -м годам доски цензуры переходили на классификационные советы, причем компании должны были пересматривать свои фильмы, а не доски.

Тест Хиклин был использован в качестве стандарта для цензуры кино до 1959 года, когда уголовное кодекс был внесен изменен, и Верховный суд Канады отменил решение Апелляционного суда Новой Шотландии , которое постановило, что тест Хиклина все еще действовал. Колумб секса от Джона Хофсесса был первым фильмом в Канаде, обвиненным в непристойности. Фильм было приказано быть уничтоженным после судебного разбирательства, но продюсеры фильма, Рейтман и Даниэль Голдберг , продали права американской компании, которая вносит фильм в мою тайную жизнь .

Последний танго в Париже был запрещен в Новой Шотландии в 1974 году. Джерард Макнейл, редактор свободной прессы Дартмута, выступил против цензуры фильма, и он подал иск , в котором он утверждал, что цензуры действовали незаконно, когда они запретили фильм, что граждане Иметь право просматривать фильмы без цензуры независимо от их содержания, и что налоги и сборы, собранные Советом по развлечениям, должны были продолжить свою незаконную деятельность. Цензоры утверждали, что Макнейл не имел никакого здравого иска, поскольку он не имел непосредственного интереса к делу, но Верховный суд Новой Шотландии заявил, что «может быть большое количество лиц с действительным желанием оспаривать». Суд постановил 2 февраля 1976 года, что провинции не обладают полномочиями по цензуре в соответствии с британскими действиями в Северной Америке . Тем не менее, Верховный суд Канады отменил суд 19 января 1978 года в рамках из пяти -четырех.

Сохранение

Университет Альберты создал библиотеку кино в 1917 году, а Квебек был первой провинцией, которая использовала фильм в школах. Права на продолжение, сержант! были приобретены Национальным архивом кино Канады и реконструировали фильм с Гордоном Спарлинг , который работал над ним в качестве помощника режиссера, чтобы показать по телевидению в 1968 году. Канадский кино архив был сформирован NFB в 1951 году.

В 1924 году большая часть коллекции специального фильма «Импорт фильма» была уничтожена огнем. Растущие затраты на строительство штаб -квартиры NFB в Монреале привело к тому, что Департамент общественных работ отменил строительство хранилищ фильмов. 13,1 миллиона метров архивных кадров на сумму 4,8 млн. Долл. США (эквивалентно 41 661 878 долл. США в 2023 году) вместо этого хранилось в Киркленде, Квебек , и были уничтожены в пожаре в июле 1967 года.

Финансовый

Кассовые доходы

Год	Доход	Ссылка (ы)
1930	$38,479,500
1933	$24,954,200
1934	$25,338,100
1935	$27,173,400
1936	$29,610,300
1937	$32,499,300
1938	$33,635,052
1939	$34,010,115
1940	$37,858,955
1941	$41,369,259
1942	$46,461,097
1943	$52,567,989
1944	$53,173,325
1945	$55,430,711
1946	$59,888,972
1947	$62,865,279
1948	$69,657,248
1949	$78,559,779
2012	$1,770,000,000
2013	$1,764,000,000
2014	$1,647,000,000
2015	$1,743,000,000
2016	$1,778,000,000
2017	$1,774,000,000
2018	$1,878,000,000
2019	$1,873,000,000
2020	$553,000,000
2021	$814,000,000

Театр. Прием

Год	Доход	Ссылка (ы)
1934	107,354,509
1935	117,520,795
1936	126,913,547
1937	133,668,450
1938	137,381,280
1939	137,898,668
1940	151,590,799
1941	161,677,731
1942	182,845,765
1943	204,677,550
1944	208,167,180
1945	215,573,267
1946	227,538,798
1947	221,528,177
1948	224,055,171
1949	236,017,859
1950	240,824,982
1951	250,547,499
1952	261,475,867
1953	257,965,182
1954	236,158,824
1955	201,247,408
1956	177,615,767
1957	156,701,458
1958	146,483,741
1959	128,859,395
1959	117,734,361

Временная шкала самой кассовой домашней рекорд

Учредил	Заголовок	Установка записи брутто	Ссылка (ы)
1970	Две женщины в золоте (Deux Femmes en или)	2,5-4 миллиона долларов
1982	Порки	11,2 миллиона долларов
2006	Bon Cop, плохой полицейский	12,2 миллиона долларов

Временная шкала самых дорогих фильмов

Год	Производство	Стоимость (восток).	Ссылки и заметки
1914	Эванджлин	$30,000
1919	Вернуться в страну Бога	$165,000
1928	Продолжайте, сержант!	$350,000
1947	Шепчущий город	$750,000
1971	Секс в снегу	$800,000
1973	Камураска	$905,000
1973	Фактор Нептуна	$2,500,000
1978	Анжела	$3,000,000
1979	Убийство по указу	$5,000,000
	Город огня	$5,300,000
	Медвежий остров	$12,100,000
1981	Поиск огня	$12,500,000
1983	SpaceHunter: приключения в запрещенной зоне	$14,400,000
1984	Луизиана	$15,000,000
1990	Бетюн: создание героя	$20,000,000
1992	Тень волка	$31,000,000

Доходы и расходы Telefilm

Год	Доход	Производственные расходы	Маркетинговые расходы	Другие расходы	Общие расходы	Ссылка (ы)
1985	51 миллион долларов	38 миллионов долларов	3 миллиона долларов	8 миллионов долларов	49 миллионов долларов
1986	80 миллионов долларов	66 миллионов долларов	4 миллиона долларов	8 миллионов долларов	78 миллионов долларов
1987	96 миллионов долларов	74 миллиона долларов	6 миллионов долларов	13 миллионов долларов	93 миллиона долларов
1988	128 миллионов долларов	100 миллионов долларов	8 миллионов долларов	18 миллионов долларов	126 миллионов долларов
1989	144 миллиона долларов	101 миллион долларов	23 миллиона долларов	19 миллионов долларов	143 миллиона долларов
1990	161 миллион долларов	116 миллионов долларов	27 миллионов долларов	21 миллион долларов	164 миллиона долларов
1991	163 миллиона долларов	109 миллионов долларов	29 миллионов долларов	24 миллиона долларов	162 миллиона долларов
1992	164 миллиона долларов	107 миллионов долларов	28 миллионов долларов	25 миллионов долларов	160 миллионов долларов
1993	157 миллионов долларов	102 миллиона долларов	25 миллионов долларов	24 миллиона долларов	151 миллион долларов
1994	150 миллионов долларов	101 миллион долларов	24 миллиона долларов	23 миллиона долларов	148 миллионов долларов
1995	152 миллиона долларов	97 миллионов долларов	26 миллионов долларов	21 миллион долларов	144 миллиона долларов

Смотрите также

• История канадской анимации
• Канадские пионеры в раннем Голливуде
• Imax
• Список канадских фильмов
• Список местных канадских фильмов
• Список канадских актеров
• 10 лучших канадских фильмов всех времен
• Документальная организация Канады
• Северный (жанр)
• Список кинофестивалей в Канаде
• Список мест съемок в Метро Ванкувер
• Список фильмов, снятых в Торонто
• Монреаль в фильмах
• Мировое кино

Работы цитируются

Книги

• Бэкхаус, Чарльз (1974). Канадское правительство Бюро с картинки 1917-1941 . Канадский институт кино .
• Борода, Уильям; Белый, Джерри, ред. (2002). К северу от всего: англо-канадский кинотеатр с 1980 года . Университет Альберты Пресс . ISBN  0-88864-398-5 .
• Боссин, Хе, изд. (1951). 1951 год Книга канадской киноиндустрии . Фильм -публикации Канады.
• Боссин, Хе, изд. (1961). Фильм Еженедельный 1961-62 года Книга: Канадская киноиндустрия с телевизионным разделом . Фильм -публикации Канады.
• Боссин, Хе, изд. (1963). Фильм Еженедельный 1963-64 год Книга: Канадская киноиндустрия с телевизионным разделом . Фильм -публикации Канады.
• Клэндфилд, Дэвид (1987). Канадский фильм . Издательство Оксфордского университета . ISBN  0195405811 .
• Дин, Малкольм (1981). Цензура! Только в Канаде: история цензуры кино - скандал с экрана . Vergo Press. ISBN  0920528325 .
• Дилли, Констанс (2018). Перекрестная тока: как политика кино развивалась в Квебеке, 1960-1983 . Университет Квебека Прессы . ISBN  9782760549395 .
• Даффи, Деннис (1986). Камера Запад: Британская Колумбия на фильме 1941-1965 . Британская Колумбия Архив . ISBN  0771884796 .
• Эванс, Гэри (1991). В национальных интересах: хроника Национального совета по фильмам Канады с 1949 по 1989 год . Университет Торонто Пресс . ISBN  0802027849 .
• Файлы, Джемма (2015). Экспериментальный фильм . Чизин публикации. ISBN  9781771483490 .
• Фрейтаг, Джина; Loiselle, André, eds. (2015). Канадский фильм ужасов: ужас души . Университет Торонто Пресс . ISBN  978-1-4426-2850-2 .
• Gasher, Mike (2002). Голливуд Север: художественная киноиндустрия в Британской Колумбии . Университет Британской Колумбии Пресс .
• Hofsess, Джон (1975). Внутренние взгляды: десять канадских кинематографистов . Канадский институт кино . ISBN  0070821909 .
• Джуно, Пьер (1996). Слышать наши голоса: канадское вещание и фильм для 21 -го века . Министр государственных служб и закупок . ISBN  0662241053 .
• Magder, Ted (1993). Канадский голливуд: канадский штат и художественные фильмы . Университет Торонто Пресс .
• Маршалл, Билл (2001). Квебек Национальный кино . Макгилл - Университетская издательство Университета . ISBN  0-7735-2103-8 .
• Мельник, Джордж (2004). Сто лет канадского кино . Университет Торонто Пресс . ISBN  080203568x .
• Мур, Пол (2012). Картирование массового циркуляции раннего кино: дебютирование в фильме «Побегает к побережью в Канаде» в 1896 и 1897 годах . Университет Торонто Пресс .
• Моррис, Питер, изд. (1970). Канадские художественные фильмы: 1913-69 Часть 1: 1913-40 . Канадский институт кино .
• Моррис, Питер, изд. (1978). Вооруженные тени: история канадского кино 1895-1939 . Макгилл - Университетская издательство Университета . ISBN  9780773560727 .
• Паллистер, Янис (1995). Кинотеатр Квебека: мастера в их собственном доме . Связанные университетские прессы . ISBN  0838635628 .
• Пендакур, Манджунатх (1990). Канадские мечты и американский контроль: политическая экономия канадской киноиндустрии . Garamond Press. ISBN  0920059937 .
• Сейлер, Роберт (2013). Время катушки: экспоненты фильмов и зрители фильмов в Prairie Canada, с 1896 по 1986 год . Атабаска Университет издательства . ISBN  9781926836997 .
• Спенсер, Майкл (2003). Голливуд Север: Создание канадской киноиндустрии . Cantos International Publishing. ISBN  289594007X .
• Тернер, Д. Джон, изд. (1987). Канадский индекс художественного фильма: 1913-1985 . Канадский институт кино . ISBN  0660533642 .
• Мудрый, Уиндхэм, изд. (2001). Возьмите свое важное руководство по канадскому фильму . Университет Торонто Пресс . ISBN  0802035124 .

Журналы

• Brégenthe-Heald, Dominique (2012). «Каникулы: кино, туризм и продажа Канады, 1934-1948» . Канадский журнал исследований кино . 21 (2). Университет Торонто Пресс : 27–48. doi : 10.3138/cjfs.21.2.27 . JSTOR   24411793 .
• Константинид, Зоэ (2014). «Миф о Эванджелин и происхождение канадского национального кино» . История кино . 26 (1). Издательство Университета Индианы : 50–79. doi : 10.2979/filmhistory.26.1.50 . JSTOR   10.2979/FilmHistory.26.1.50 . S2CID   191465275 .
• Fraticelli, Rina (2015). «Женщины в виде на экране: отчет октября 2015 года» (PDF) . Женщины ввиду . Telefilm Канада : 1–20.
• Gaudreault, André (1996). «Внедрение кинематографа Lumière в Канаде» . Канадский журнал исследований кино . 5 (2). Sage Publishing : 113–123. doi : 10.3138/cjfs.5.2.113 . JSTOR   24402139 .
• Маккензи, Дэвид (2013). «Ранние усилия в области культурной дипломатии: канадский проект сотрудничества и канадский туризм» . Международный журнал . 68 (4). Sage Publishing : 576–590. JSTOR   24709360 .

Нажимать

• Мэттисон, Дэвид (1985). «Первый кинофильм правительства Британской Колумбии». Relel West Magazine . Тол. 1, нет. 4
• Клади, Леонард (1998). «Telefilm празднует 30 лет» (пресс -релиз). Разнообразие .
• «История женского кинопроизводства в Национальном совете кино Канады» (PDF) (пресс -релиз). Национальный совет по фильмам Канады . 2017. Архивировано из оригинала (PDF) 2023-02-15.
• «Профиль 2021: Экономический отчет о производстве медиа-производства на экране в Канаде» (PDF) (пресс-релиз) (25 изд.). Telefilm Canada . 2021. С. 1–101.

Дальнейшее чтение

• Бидд, Дональд, изд. (1991). Руководство по фильму NFB: постановки Национального совета кино Канады с 1939 по 1989 год . Национальный совет по фильмам Канады . ISBN  0660139871 .
• Walz, Gene, ed. (1986). Воспоминание: люди и учреждения в истории канадских фильмов . MediaTexte Publications. ISBN  0969177119 .
• Джон Грисон и NFB . ECW Press . 1984. ISBN  092080280x .
• Джонс, Дэвид (1996). Лучший дворецкий в бизнесе: Том Дейли из Национального совета кино Канады . Университет Торонто Пресс . ISBN  0802071333 .
• Друик, Зоэ (2007). Проектирование Канады: государственная политика и документальный фильм в Национальном совете по кино . Макгилл - Университетская издательство Университета . ISBN  9780773532595 .
• Ричард, Валлиер (1982). Норман Макларен: манипулятор движения: Национальный совет по кино, 1947-1967 . Университет Делавэр Пресс . ISBN  0874131928 .

• Кнелман, Мартин (23 сентября 1980 г.), «Голливудский север: Канадская борьба за строительство киноиндустрии» , The Boston Phoenix , Vol. 9, нет. 39
• Knelman, Martin (1977), именно туда мы пришли: карьера и характер канадского фильма McClelland & Stewart, ISBN  978-0771045332

Внешние ссылки

• Военное искусство в Канаде: критическая история (2021) Лора Брэндон, опубликованная Институтом Арт Канады .
• Канадская база данных художественных фильмов
• Канадская энциклопедия
• Канадский фильм онлайн
• Карта фильма Торонто - карта полноразмерных художественных фильмов или телевизионных шоу, установленных в Торонто , указывающая на доступность в библиотеках Университета Торонто и публичной библиотеке Торонто