• List of IllustrationsAcknowledgments Introduction
• 1. Constructing the Filmic Borderlands
• 2. Liminal Borderlands
• 3. Racialized Borderlands
• 4. Gendered Borderlands
• 5. Crime and Punishment
• 6. Revolution and War Epilogue Notes Filmography Bibliography Index.
• (source: Nielsen Book Data)

The concept of North American borderlands in the cultural imagination fluctuated greatly during the Progressive Era as it was affected by similarly changing concepts of identity and geopolitical issues influenced by the Mexican Revolution and the First World War. Such shifts became especially evident in films set along the Mexican and Canadian borders as filmmakers explored how these changes simultaneously represented and influenced views of society at large. Borderland Films examines the intersection of North American borderlands and culture as portrayed through early twentieth-century cinema. Drawing on hundreds of films, Dominique Bregent-Heald investigates the significance of national borders; the ever-changing concepts of race, gender, and enforced boundaries; the racialized ideas of criminality that painted the borderlands as unsafe and in need of control; and the wars that showed how international conflict significantly influenced the United States' relations with its immediate neighbors. Borderland Films provides a fresh perspective on American cinematic, cultural, and political history and on how cinema contributed to the establishment of societal narratives in the early twentieth century.
(source: Nielsen Book Data)

• List of IllustrationsAcknowledgments Introduction
• 1. Constructing the Filmic Borderlands
• 2. Liminal Borderlands
• 3. Racialized Borderlands
• 4. Gendered Borderlands
• 5. Crime and Punishment
• 6. Revolution and War Epilogue Notes Filmography Bibliography Index.
• (source: Nielsen Book Data)

The concept of North American borderlands in the cultural imagination fluctuated greatly during the Progressive Era as it was affected by similarly changing concepts of identity and geopolitical issues influenced by the Mexican Revolution and the First World War. Such shifts became especially evident in films set along the Mexican and Canadian borders as filmmakers explored how these changes simultaneously represented and influenced views of society at large. Borderland Films examines the intersection of North American borderlands and culture as portrayed through early twentieth-century cinema. Drawing on hundreds of films, Dominique Bregent-Heald investigates the significance of national borders; the ever-changing concepts of race, gender, and enforced boundaries; the racialized ideas of criminality that painted the borderlands as unsafe and in need of control; and the wars that showed how international conflict significantly influenced the United States' relations with its immediate neighbors. Borderland Films provides a fresh perspective on American cinematic, cultural, and political history and on how cinema contributed to the establishment of societal narratives in the early twentieth century.
(source: Nielsen Book Data)

• Introduction: where to concentrate
• He was still the chief: Masayesva's imagining Indians
• Into the city: ordered freedom in The exiles
• The native presence in film: House made of dawn
• A concordance of narrative voices: Harold, trickster, and Harold of Orange
• I don't do portraits: Medicine River and the art of photography
• Keep your pony out of my garden: Powwow highway and "being Cheyenne"
• Feeling extra magical: the art of disappearing in Smoke signals
• Making his own music: death and life in The business of fancydancing
• Sharing the kitchen: Naturally native and women in American Indian film
• In the form of a spider: the interplay of narrative fiction and documentary in Skins
• The stories pour out: taking control in The doe boy
• Telling our own stories: seeking identity in Tkaronto
• People come around in circles: Harjo's Four sheets to the wind
• Epilogue: Barking water and beyond.

In Indigenous North American film Native Americans tell their own stories and thereby challenge a range of political and historical contradictions, including egregious misrepresentations by Hollywood. Although Indians in film have long been studied, especially as characters in Hollywood westerns, Indian film itself has received relatively little scholarly attention. In Imagic Moments Lee Schweninger offers a much-needed corrective, examining films in which the major inspiration, the source material, and the acting are essentially Native. Schweninger looks at a selection of mostly narrative fiction films from the United States and Canada and places them in historical and generic contexts. Exploring films such as Powwow Highway, Smoke Signals, and Skins, he argues that in and of themselves these films constitute and in fact emphatically demonstrate forms of resistance and stories of survival as they talk back to Hollywood. Self-representation itself can be seen as a valid form of resistance and as an aspect of a cinema of sovereignty in which the Indigenous peoples represented are the same people who engage in the filming and who control the camera. Despite their low budgets and often nonprofessional acting, Indigenous films succeed in being all the more engaging in their own right and are indicative of the complexity, vibrancy, and survival of myriad contemporary Native cultures.
(source: Nielsen Book Data)

• Introduction: where to concentrate
• He was still the chief: Masayesva's imagining Indians
• Into the city: ordered freedom in The exiles
• The native presence in film: House made of dawn
• A concordance of narrative voices: Harold, trickster, and Harold of Orange
• I don't do portraits: Medicine River and the art of photography
• Keep your pony out of my garden: Powwow highway and "being Cheyenne"
• Feeling extra magical: the art of disappearing in Smoke signals
• Making his own music: death and life in The business of fancydancing
• Sharing the kitchen: Naturally native and women in American Indian film
• In the form of a spider: the interplay of narrative fiction and documentary in Skins
• The stories pour out: taking control in The doe boy
• Telling our own stories: seeking identity in Tkaronto
• People come around in circles: Harjo's Four sheets to the wind
• Epilogue: Barking water and beyond.

In Indigenous North American film Native Americans tell their own stories and thereby challenge a range of political and historical contradictions, including egregious misrepresentations by Hollywood. Although Indians in film have long been studied, especially as characters in Hollywood westerns, Indian film itself has received relatively little scholarly attention. In <em>Imagic Moments</em> Lee Schweninger offers a much-needed corrective, examining films in which the major inspiration, the source material, and the acting are essentially Native. Schweninger looks at a selection of mostly narrative fiction films from the United States and Canada and places them in historical and generic contexts. Exploring films such as <em>Powwow Highway, Smoke Signals, </em> and <em>Skins</em>, he argues that in and of themselves these films constitute and in fact emphatically demonstrate forms of resistance and stories of survival as they talk back to Hollywood. Self-representation itself can be seen as a valid form of resistance and as an aspect of a cinema of sovereignty in which the Indigenous peoples represented are the same people who engage in the filming and who control the camera. Despite their low budgets and often nonprofessional acting, Indigenous films succeed in being all the more engaging in their own right and are indicative of the complexity, vibrancy, and survival of myriad contemporary Native cultures.
(source: Nielsen Book Data)

• Machine generated contents note:
• Introduction. Early Moviegoing and the Regulation of Fun
• 1. Rendezvous for Particular People: The Local Roots of Mass Culture
• 2. Socially Combustible: Panicky People and Flammable Films
• 3. Showmanship in Formation: Incorporating the Civic Work of Competition
• 4. Senseless Censors and Startling Deeds: From Police Beat to Bureaucracy
• 5. Everybody's Going: Introducing the Mass Audience to Itself
• Conclusion: Wartime Filmgoing as Citizenship.

"Using Toronto as a case study, and focusing on a period from the opening of the first theaters showcasing moving pictures in 1906 to the end of World War I, Now Playing locates the origins of our present-day mass audience in the culture of cities. Paul S. Moore examines the emergence of everyday moviegoing and its regulation through neglected details like fire safety, newspaper ads, serial films, and amusement taxes, connecting them to more familiar themes of studio ownership of theaters, censorship, and journalism. In Toronto - a foreign city inside the American mass market - patriotism ultimately comes to the fore as civic forms of showmanship turn the simple act of "going to the movies" into a form of citizenship." --Book Jacket.

• Introduction: working on screen / Malek Khouri and Darrell Varga
• In search of the Canadian labour film / David Frank
• Communists, class, and culture in Canada / Scott Forsyth
• The image of the 'people' in the CBC's Canada: a people's history / Darrell Varga
• Work it girl! Sex, labour, and nationalism in Valerié / Rebecca Sullivan
• Not playing, working: class, masculinity, and nation in the Canadian hockey film / Bart Beaty
• Other-ing the worker in Canadian 'gay cinema': Thom Fitzgerald's The hanging garden / Malek Khouri
• Whose museum is it anyway? Discourses of resistance in the adaptation of The Glace Bay Miners' Museum into Margaret's Museum / Peter Urquhart
• Activating history: Sara Diamond and the Women's Labour History Project / Susan Lord
• Dirty laundry: re-imagining the Canadian Pacific Railway and the construction of the nation / Margot Francis
• Look like a worker and act like a worker: stereotypical representations of the working class in Quebec fiction feature films / André Loiselle
• Inscriptions of class and nationalism in Canadian 'realist' cinema: Final offer and Canada's sweetheart: the saga of Hal C. Banks / Joseph Kispal-Kovacs
• Rule and the representation of class relations in Canadian film / John McCullough
• Counter narratives, class politics, and metropolitan dystopias: representations of globalization in Maelström, waydowntown, and La moitié gauche du frigo / Brenda Longfellow.

As themes in film studies literature, work and the working class have long occupied a peripheral place in the evaluation of Canadian cinema, often set aside in the critical literature for the sake of a unifying narrative that assumes a division between Québécois and English Canada's film production, a social-realist documentary aesthetic, and what might be called a 'younger brother' relationship with the United States. In Working on Screen, contributors examine representations of socio-economic class across the spectrum of Canadian film, video, and television, covering a wide range of class-related topics and dealing with them as they intersect with history, political activism, globalization, feminism, queer rights, masculinity, regional marginalization, cinematic realism, and Canadian nationalism. Of concern in this collection are the daily lives and struggles of working people and the ways in which the representation of the experience of class in film fosters or marginalizes a progressive engagement with history, politics, and societies around the world. Working on Screen thus expands the scholarly debates on the concept of national cinema and builds on the rich, formative efforts of Canadian cultural criticism that held dear the need for cultural autonomy.

• t.
• 1. L'imaginaire filmique
• t.
• 2. Les politiques cinématographiques.

• LE CINÉMA QUÉBÉCOIS
• TOME 2; Table des matières; Introduction_Le cinéma, expression de la politique québécoise et canadienne; Partie 1_Fondements théoriques, structurels et organisationnels; Chapitre 1_Récits de politiques et composantes de l'industrie cinématographique; Partie 2_La politique cinématographique québécoise; Chapitre 2_Émergence et politisation du secteur cinématographique; Chapitre 3_Le cinéma et l'affirmation de l'identité québécoise; Chapitre 4_Le récit identitaire mis à l'épreuve; Chapitre 5_Dynamiques de l'intervention québécoise à l'aube de l'an 2000.

• Partie 3_La politique cinématographique canadienneChapitre 6_L'État canadien, Hollywood et l'Office national du film; Chapitre 7_L'implication étatique dans les secteurs public et privé; Chapitre 8_L'identité canadienne, les industries culturelles et le libre-échange; Chapitre 9_Les modalités récentes de l'intervention canadienne; Conclusion_Le cinéma et la question identitaire; Bibliographie.