Cinema of Canada
| Cinema of Canada | |
|---|---|
| File:Transparentfilmcanada.png | |
| No. of screens | 3,114 (2015)[1] |
| • Per capita | 9.6 per 100,000 (2015)[1] |
| Main distributors | Universal 20.9% Disney 18.7% Warner Bros. 13.3%[2] |
| Produced feature films (2015)[3] | |
| Total | 103 |
| Fictional | 77 (74.8%) |
| Documentary | 26 (25.2%) |
| Number of admissions (2015)[4] | |
| Total | 118,000,000 |
| Gross box office (2015)[4] | |
| Total | C$986 million |
| National films | C$18.8 million (1.9%) |
Fortune and Men's Eyes[5] Kamouraska (film)[6] Eliza's Horoscope[7] Alien Thunder[7] Journey into Fear (1975 film)[8] Born for Hell[9] Shadow of the Hawk[10] King Solomon's Treasure[11] The Changeling[12] Silence of the North http://femfilm.ca/firsts.php?lang=e
James McKay introduced cel animation to the NFB.[13] (need to check on this with more info)
The Oxford Handbook of Canadian Cinema In the late 1930s there were 17,541 theaters in the United States with seating for 11 million, but the American South, including Kentucky and Maryland, only had 3,786 theaters with seating for 2 million.[14]
Financial
Check Deux Femmes en or and Meatballs (film)
| Established | Title | Record setting gross | Reference(s) |
|---|---|---|---|
| 1982 | Porky's | $11.2 million | [15] |
| 2006 | Bon Cop, Bad Cop | $12.2 million | [16] |
| Year | Production | Cost (est.) | Refs and notes |
|---|---|---|---|
| 1914 | Evangeline | $30,000 | [17] |
| 1919 | Back to God's Country | $165,000 | [18] |
| 1928 | Carry on, Sergeant! | $350,000 | [19] |
| 1947 | Whispering City[lower-alpha 1] | $750,000 | [20] |
| 1971 | Snowballin' | $800,000 | [21] |
| 1973 | The Neptune Factor | $2,500,000 | [22] |
| 1978 | Angela | $3,000,000 | [23] |
| 1979 | Murder by Decree | $5,000,000 | [24] |
| City of Fire | $5,300,000 | [25] | |
| Bear Island | $12,100,000 | [26][27] | |
| 1981 | Quest for Fire | $12,500,000 | [28] |
| 1983 | Spacehunter: Adventures in the Forbidden Zone | $14,400,000 | [29] |
| 1984 | Louisiana | $15,000,000 | [30] |
| 1990 | Bethune: The Making of a Hero | $20,000,000 | [31] |
| 1992 | Shadow of the Wolf | $31,000,000 | [32] |
Balablok
Balablok is a 1972 Canadian animated short film created by Břetislav Pojar. The film cost $37,000 to make. It won the Short Film Palme d'Or at the 1973 Cannes Film Festival.[33]
Look at page 200
Theatres
Famous Players
Look through the first 64 pages of the Pendakur book.
Nathanson became interested in the film industry while working for the E.L. Ruddy Company. He formed the Regent Theatre Company Limited with financing backing from Jack Bickell, P.W. Cushman, E.L. Ruddy, W.J. Sheppard, and James Brockett Tudhope. Nathanson was the managing director, Ruddy was president, Bickell was vice-president, and Cushman was secretary-treasurer. They purchased the Majestic Theatre in Toronto from J. Ambrose Small for $300,000 and spent $200,000 to have Thomas W. Lamb redesign the theatre. The theatre opened on 25 August 1916, with Little Lady Eileen as its first showing. The company was later renamed to Paramount Theatres.[34]
Nathanson attempted to gain the distribution rights for Paramount Pictures films and a fifty-fifty partnership after the Allen brothers rejected Adolph Zukor's offer, but Zukor stated that Nathanson needed to build more theatres.[35] The group had sixteen theatres by 1919, and formed the Famous Players Canadian Corporation on 23 January 1920, with a capital of $15 million. Max Aitken, 1st Baron Beaverbrook, whose financial offer to the Allen brothers was rejected, gave his financial support to Nathanson. Zukor formed a partnership with Nathanson, invested $100,000 into Famous Players on 5 February, and gave them the distribution rights for twenty years.[36]
During the organization's existence Bickell, Herbert Samuel Holt, Izaak Walton Killam, and William Donald Ross served on the board of directors. Zukor served as its president and Nathanson as its managing director.[36]
He formed Regal Films, with his brother Henry Nathanson as its managing director, and it had the distribution rights to films from Metro Pictures, Pathé, and Triangle Film Corporation.[35]
The company had $291,987.91 in revenue in its first year.[37] Famous Players operated twenty theatres in 1920, and grew to seventy by 1924, becoming the largest chain in Canada.[38] The compnay had 153 theatres by 1929, and 311 theatres by 1945.[39] 462 films were theatrically released in Canada between 1930 and 1931, with Famous-Lasky distributing 74 films, 16.02%, and another 92 films, 19.91, through Regal Films, one of its subsidiaries.[40]
Nathanson attempted to purchase the Allen's theatre chain for $4-5 million in 1921, but was rejected. In 1922, the Allen brothers' creditors attempted to have them declared bankrupt and formed a company to negotiate a sale with Famous Players, but the committee decided that the Allen Theatres would be able to repay its debts and rejected Nathanson's $1.05 million offer.[37] However, G.T. Clarkson decaled that Allen Theatres was bankrupt, with $1.25 million in debts and 36 theatres, and it was sold to Famous Players for $650,000 on 23 June 1923.[41][42]
Famous Players controlled the first run of films resulting in competitors, such as Nat Taylor, basing their business around the second run of films. In 1938, United Artists stopped giving their first run to Famous Players and instead gave them to Taylor, but later returned to Famous Players. Taylor rejected an offer from Nathan Nathanson for a partnership with Odeon in 1941, and instead accepted an offer from Famous Players to manage twenty-five of their theatres.[43]
On 1 March 1929, a trust was created that gave all voting control to Killam, Nathanson, and Zukor for ten years. Gaumont-British attempted to purchase Famous Players at $75 a share with Nathanson's support in 1929, but Zukor and Killam rejected the offer. Nathanson resigned from the board of directors on 18 September, after the failure of the deal. Zukor conducted a stock swap in 1930 which gave him 93.8% of the shares of Famous Players.[44]
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.[45][46] 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 on 18 March 1932.[47][48]
Nathanson attempted to create a theatre chain with Fox Film, but was unable to due to the company entering receivership.[49] Nathanson returned to the board of Famous Players and became its president in May 1933, resulting in the rest of the board resigning in protest. Holt and Ross, who left alongside Nathanson, returned with him.[50] Zukor agreed to give control of the company back to Nathanson after the expiration of the voting trust on 8 March 1939. Barney Balaban replaced Zukor as president of Paramount-Publix Corporation in 1936, and rejected the agreement.[51] Nathanson resigned from Famous Players on 14 May 1941, and Balaban selected J.J. Fitzgibbons to replace him.[49][52] Nathanson worked on creating a new theatre chain while serving as president.[53]
His brother, Henry Nathanson, formed Odeon Theatres in April 1941. It initially started with four theatres in Vancouver and expanded using equal partnerships with Henry Morton's four theatres, Jack Barron's theatre, and Henry Friedman's theatre which were later bought out. Famous Players sued Nathan over the ownership of Regal Films, managed by Henry, in 1942, but the case was dismissed in 1948.[54] Nathan attempted to hire Nat Taylor, but he rejected Taylor's demands and Taylor was instead hired by Famous Players to manage 25 theatres.[55]
The company closed 143 of its theatres between 1954 and 1965. The company operated 418 screens, 25.6% of the amount in Canada, by 1977.[56]
Nicholas Schenck, the president of Loews, whose company owned Metro-Goldwyn-Mayer met with Nathanson, Fitzgibbons, Balaban, and other people in New York to allocate MGM films between Famous Players and Odeon months after Odeon was formed. Famous Players retained MGM's films, but they would be distributed by Regal films.[57]
Gulf and Western Industries purchased Paramount in the 1960s. The regulations of the Canadian Radio and Television Commission required that at least 80% of voting shares in a company with broadcast interests in Canada be owned by Canadians. Famous Players was reorganized in 1971, with Gulf and Western's Canadian division holding 51.15% while Canadian Cablesystems Limited held 48.85%. Gulf and Western purchased the remainder of the stock in July 1981.[58]
| Year | Revenue | Refs and notes |
|---|---|---|
| 1972 | $48,494,000 | [59] |
| 1973 | $49,727,000 | [59] |
| 1974 | $60,510,000 | [59] |
| 1975 | $70,303,000 | [59] |
| 1976 | $102,557,165 | [59] |
| 1977 | $101,718,868 | [59] |
Nathan Nathanson/Odeon/Cinplex
Nathan Nathanson was born to Benjamin and Yetta Nathanson, Russian Jews. Benjamin immigrated from Tauragė to the United States in 1885, Yetta brought her five children in 1889, and the family settled in Minneapolis. Nathan worked as a paperboy as a child. In 1907, he moved to Toronto and managed concession stands at H.A. Dorsey's amusement parks. He became a salesman for the E.L. Ruddy Company, which later made posters for his movies.[60]
Nathanson served on the Toronto Region Board of Trade and Canadian Broadcasting Corporation Board of Governors.[61]
Nathanson married Violet Ruby Kuppenheimer in 1909, but they divorced in 1913. He married Irene Harris, the daughter of a newspaperman from Omaha, Nebraska. He became a citizen of Canada around 1926. He died on 27 May 1943.[61]
https://www.reuters.com/markets/europe/cineplex-approaches-cineworld-lenders-revive-merger-with-regal-wsj-2022-09-28/ https://www.cbc.ca/news/business/cineworld-takeover-cineplex-termination-1.5573054 https://globalnews.ca/news/8247627/cineworld-cineplex-recroom-sale/
NFB
John Grierson October 1939-August 1945[62] Ross McLean August 1945-January 1946[62] Ross McLean January 1946-January 1950 (interim)[62] Arthur Irwin February 1950-June 1953[62] Albert Trueman July 1953-April 1957[62] Guy Roberge May 1957-April 1966[62] Grant McLean April 1966-June 1967 (interim)[62] Hugo McPherson May 1967-July 1970[62] Sydney Newman August 1970-August 1975[62] André Lamy August 1975-January 1979[62] James de Beaujeu Domville January 1979-January 1984[62] François Macerole January 1984-May 1984[62] François Macerole May 1984-December 1988 (interim)[62] John Pennefather December 1988-September 1989 (interim)[62] John Pennefather September 1989-?[62]
https://www.canada.ca/en/national-film-board/corporate/about/history/commissioner.html https://www.jstor.org/stable/10.3138/j.ctt1287z84 https://cfe.tiff.net/canadianfilmencyclopedia/content/films/candid-eye https://www.canada.ca/en/national-film-board/corporate/about/history.html
Tom Daly oversaw Unit B as its executive producer[63]
The NFB gained its logo, Man Seeing, following a competition in 1969, and it was shown before every NFB production as a static image starting in 1970. Michael Rubbo created an animated version in 1978, and Ishu Patel created another animation in 1986. [64]
https://blog.nfb.ca/blog/2019/04/24/history-nfb-logo/
Other stuff
The Motion Picture Exhibitors and Distributors of Canada, which was inspired by the Motion Picture Producers and Distributors of America, was formed in 1922, and incorporated in 1924. It was referred to as the Cooper Organization after John Alexander Cooper, its first president. The MPEDC was controlled by Will H. Hays, the head of the MPPDA, and was formed using a $2,500 loan from him. The organization had a revenue of $27,236.56 in 1929, with $21,841.56 of it coming from American distributors.[65]
The New York Post stated that The Silent Enemy should receive a Pulitzer Prize.[66]
A censored version of The Great Train Robbery which eliminated scenes of violence and displays of the flag of the United States was released in Canada in 1927. (see page 16 of Censored! Only in Canada: the History of Film Censorship - The Scandal Off the Screen)
Carry On, Sergeant! was criticized for its inaccurate depiction of the American entry into World War I and for the usage of the American flag. The film was also criticized for having the sergeant conduct an affair. (see page 28 of Censored! Only in Canada: the History of Film Censorship - The Scandal Off the Screen)
References
- ↑ 1.0 1.1 "Cinema Infrastructure – Capacity". UNESCO Institute for Statistics. Retrieved May 8, 2017.
- ↑ "Share of Top 3 distributors (Excel)". UNESCO Institute for Statistics. Archived from the original on May 4, 2017. Retrieved May 8, 2017. Unknown parameter
|url-status=ignored (help) - ↑ "Feature Film Production – Genre". UNESCO Institute for Statistics. Retrieved May 8, 2017.
- ↑ 4.0 4.1 "Exhibition – Admissions & Gross Box Office (GBO)". UNESCO Institute for Statistics. Retrieved May 8, 2017.
- ↑ Turner 1987, p. 115-116.
- ↑ Turner 1987, p. 137.
- ↑ 7.0 7.1 Turner 1987, p. 111.
- ↑ Turner 1987, p. 186.
- ↑ Turner 1987, p. 201.
- ↑ Turner 1987, p. 222.
- ↑ Turner 1987, p. 238.
- ↑ Turner 1987, p. 289.
- ↑ Clandfield 1987, p. 114.
- ↑ Campbell 1981, p. 25.
- ↑ "Bon Cop, Bad Cop hits new high for Quebec box office". Canadian Broadcasting Corporation. September 25, 2006. Archived from the original on July 1, 2022. Unknown parameter
|url-status=ignored (help) - ↑ "'Cop' hauls in Canada b.o. nod". The Hollywood Reporter. February 9, 2007. Archived from the original on July 1, 2022. Unknown parameter
|url-status=ignored (help) - ↑ Turner 1987, p. 1.
- ↑ Turner 1987, p. 2.
- ↑ Turner 1987, p. 10.
- ↑ Turner 1987, p. 26-27.
- ↑ Turner 1987, p. 97.
- ↑ Turner 1987, p. 150.
- ↑ Turner 1987, p. 236.
- ↑ Turner 1987, p. 271.
- ↑ Turner 1987, p. 276.
- ↑ Turner 1987, p. 294.
- ↑ Files 2015, p. 35.
- ↑ Turner 1987, p. 362.
- ↑ Turner 1987, p. 400.
- ↑ Turner 1987, p. 409-410.
- ↑ Wise 2001, p. 20.
- ↑ Wise 2001, p. 253.
- ↑ Evans 1991, p. 198.
- ↑ Seiler 2013, p. 179-180.
- ↑ 35.0 35.1 Seiler 2013, p. 180.
- ↑ 36.0 36.1 Seiler 2013, p. 184.
- ↑ 37.0 37.1 Seiler 2013, p. 194.
- ↑ Pendakur 1990, p. 64.
- ↑ Seiler 2013, p. 213.
- ↑ Pendakur 1990, p. 68-69.
- ↑ Seiler 2013, p. 197.
- ↑ Seiler 2013, p. 278.
- ↑ Pendakur 1990, p. 95-96.
- ↑ Seiler 2013, p. 198-199.
- ↑ Morris 1978, p. 176-177.
- ↑ Magder 1993, p. 43-44.
- ↑ Magder 1993, p. 45-48.
- ↑ Seiler 2013, p. 203.
- ↑ 49.0 49.1 Pendakur 1990, p. 96.
- ↑ Seiler 2013, p. 205-206.
- ↑ Seiler 2013, p. 215.
- ↑ Seiler 2013, p. 223.
- ↑ Seiler 2013, p. 216-217.
- ↑ Pendakur 1990, p. 96-97.
- ↑ Seiler 2013, p. 220-221.
- ↑ Seiler 2013, p. 260-262.
- ↑ Pendakur 1990, p. 98-99.
- ↑ Pendakur 1990, p. 110.
- ↑ 59.0 59.1 59.2 59.3 59.4 59.5 Pendakur 1990, p. 114.
- ↑ Seiler 2013, p. 177-178.
- ↑ 61.0 61.1 Seiler 2013, p. 179.
- ↑ 62.00 62.01 62.02 62.03 62.04 62.05 62.06 62.07 62.08 62.09 62.10 62.11 62.12 62.13 62.14 Evans 1991, p. 334.
- ↑ Evans 1991, p. 68.
- ↑ Evans 1991, p. 149-150.
- ↑ Pendakur 1990, p. 79-81.
- ↑ Morris 1978, p. 203.
Works cited
- Campbell, Edward (1981). The Celluloid South: Hollywood and the Southern Myth. University of Tennessee Press. ISBN 0870493272. Search this book on
- Seiler, Robert (2013). Reel Time: Movie Exhibitors and Movie Audiences In Prairie Canada, 1896 to 1986. Athabasca University Press. ISBN 9781926836997. Search this book on
- Morris, Peter, ed. (1970). Canadian Feature Films: 1913-69 Part 1: 1913-40. Canadian Film Institute. Search this book on
- Turner, D. John, ed. (1987). Canadian Feature Film Index: 1913-1985. Canadian Film Institute. ISBN 0660533642. Search this book on
- Hofsess, John (1975). Inner Views: Ten Canadian Film-Makers. Canadian Film Institute. ISBN 0070821909. Search this book on
- Clandfield, David (1987). Canadian Film. Oxford University Press. ISBN 0195405811. Search this book on
- MacKenzie, David (2013). "An early effort in cultural diplomacy: The Canadian Co-operation Project and Canadian tourism". International Journal. SAGE Publishing. 68 (4): 576–590. JSTOR 24709360.
- Constantinides, Zoë (2014). "The Myth of Evangeline and the Origin of Canadian National Cinema". Film History. Indiana University Press. 26 (1): 50–79. doi:10.2979/filmhistory.26.1.50. JSTOR 10.2979/filmhistory.26.1.50. Unknown parameter
|s2cid=ignored (help) - Files, Gemma (2015). Experimental Film. ChiZine Publications. ISBN 9781771483490. Search this book on
- Wise, Wyndham, ed. (2001). Take One's Essential Guide to Canadian film. University of Toronto Press. ISBN 0802035124. Search this book on
- Gaudreault, André (1996). "The Introduction of the Lumière Cinematograph in Canada". Revue Canadienne d'Études Cinématographiques / Canadian Journal of Film Studies. SAGE Publishing. 5 (2): 113–123. doi:10.3138/cjfs.5.2.113. JSTOR 24402139.
- Morris, Peter, ed. (1978). Embattled Shadows: A History of Canadian Cinema 1895-1939. McGill–Queen's University Press. ISBN 9780773560727. Search this book on
- Klady, Leonard (1998). "Telefilm Celebrates 30 Years" (Press release). Variety.
- Brégent-Heald, Dominique (2012). "Vacationland: Film, Tourism, and Selling Canada, 1934-1948". Revue Canadienne d'Études Cinématographiques / Canadian Journal of Film Studies. University of Toronto Press. 21 (2): 27–48. doi:10.3138/cjfs.21.2.27. JSTOR 24411793.
- Pendakur, Manjunath (1990). Canadian Dreams & American Control: The Political Economy of the Canadian Film Industry. Garamond Press. ISBN 0920059937. Search this book on
- Evans, Gary (1991). In the National Interest: A Chronicle of the National Film Board of Canada from 1949 to 1989. University of Toronto Press. ISBN 0802027849. Search this book on
- Magder, Ted (1993). Canada's Hollywood: The Canadian State and Feature Films. University of Toronto Press. Search this book on
- Dean, Malcolm (1981). Censored! Only in Canada: The History of Film Censorship - the Scandal Off the Screen. Virgo Press. ISBN 0920528325. Search this book on
- Juneau, Pierre (1996). Making Our Voices Heard: Canadian Broadcasting and Film for the 21st Century. Minister of Public Services and Procurement. ISBN 0662241053. Search this book on
- Gasher, Mike (2002). Hollywood North: The Feature Film Industry in British Columbia. University of British Columbia Press. Search this book on
- Pallister, Janis (1995). The Cinema of Quebec: Masters in Their Own House. Associated University Presses. ISBN 0838635628. Search this book on
Notes
- ↑ La Forteresse, a French version of the film that was shot simultaneously, was also budgeted at $750,000. Producer Paul L'Anglais stated that the initial budget was $600,000 for both films, but later increased to $1,000,000 with 80% being spent on Whispering City and 20% spent on La Forteresse.
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