POV Magazine

Fall/Winter 2021 (Issue 115)

POV is Canada's destination for documentary culture. We cover the art and business of documentary, reporting on the best in non-fiction film, photography, new media, and podcasting.

国家:
Canada
语言:
English
出版商:
POV Magazine
出版周期:
Biannually
HK$30.52
HK$48.83
2 期号

本期

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editorial

POV HAS BEEN UTTERLY TRANSFORMED over the past five years. Gone are the days when the print publication was all things—news updates, reviews, backgrounders and interviews—to all doc people. That’s changed because POV is easily available online with such content appearing 24/7. News about films, streaming services, festivals, and more can be found on our site (povmagazine.com) every day. While our publisher, Pat Mullen, expands that market, and I help as its editor, Pat, our art director Dave Donald and I are adapting POV’s print publication to keep it as a prominent part of Canada’s media landscape. The look of POV has changed: it’s bolder and more up to date graphically. You see more images in the magazine—and they’re bigger and more audacious. We are using a new set of fonts,…

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when it comes to canadian documentaries, audiences really can see it all

AUDIENCES EAGER TO WATCH CANADIAN DOCS covered in POV can find them just a click away through See It All. The Telefilm Canada initiative partners with streamers, broadcasters, and SVOD providers to make Canadian content more accessible nationwide. The See It All campaign responds to concerns from Canadian filmmakers who struggle to connect their films with audiences outside the festival circuit or theatrical windows. Whether on NFB.ca, Crave, Cineplex, CBC Gem, Tënk, AppleTV, or other platforms, See It All maximizes the discoverability of Canadian films. “For the last six years, Telefilm Canada has been doing audience research to better understand where Canadians are consuming content,” says Francesca Accinelli, vice president of promotion, communication, and international relations at Telefilm Canada. “We’ve made it our mission to make Canadian content much more discoverable.” Accinelli…

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the labour politics of factual tv

AN HISTORIC MOMENT has been reached in labour relations this fall in Canada’s factual TV industry, precisely at the moment when the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts (IATSE), the union behind entertainment production, succeeded in forcing a game-changing set of concessions in Hollywood. The class-action suit launched in October 2018 against Cineflix Productions by the lead litigant, screenwriter Anna Bourque, has been settled successfully and is bound for court approval in December 2021. This sorry tale (with, hopefully, a happy ending) shows us how gross disparities came to fester for over 20 years between scripted and factual content-making conditions. In 1991 a mere handful of Canadian independent producers were creating drama and comedy series and the occasional feature film, often—though not always—under union…

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alanis obomsawin and the power of documentary filmmaking

LIKE MANY INDIGENOUS PEOPLE, the distinguished Abenaki film-maker Alanis Obomsawin grew up in a society that was taught to hate her and people who looked like her. When she was younger, she realized that was something she wanted to change. “I think I was 12 years old when I decided that. I was fighting against the educational system that for so many generations taught children to hate us. It’s as simple as that,” explained Obomsawin. “For many generations, those [school] books taught the history of our country, and the basic reason was to take [it from us] and to make sure that people would dislike us and hate us.” As a young adult, she went on to speak with children in classroom settings about the true history of Indigenous people across…

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flee & the weight of shadows

“WHAT I LEARNED FROM AMIN’S STORY is how long shadows can be,” observes Jonas Poher Rasmussen. “These experiences grow into your life and affect you in the years after the experience. That is something you can’t see in people. You can’t see what they carry.” Rasmussen brings the unseen weight of trauma to the screen in Flee. The Danish-French director, speaking with POV during the Toronto International Film Festival where Flee was a runner-up for the People’s Choice Award for documentary after scoring the Grand Jury Prize at Sundance, recounts a journey though which he helped a friend escape his shadows. Flee shares the experience of Rasmussen’s friend, renamed Amin Nawabi in the film, as he unburdens himself of the story of his escape from Afghanistan during the 1990s amid the…

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the black + white truth about oscar peterson and racism in canada

OSCAR PETERSON IS A MUSICAL LEGEND. Every few years, we are reminded of this fact when a new building is dedicated in his honour, a protégé receives a new scholarship bearing his name, or a new hip hop album incorporates his jazzy sound. Despite the numerous accolades he has received, it never feels like enough. Further proof of Peterson’s under-appreciation is evident in the scant number of documentaries made about him. While Peterson’s life is worthy of ongoing examination, one cannot overlook the blemishes of history and elements of systemic racism from which his significant career emerged when showering him with praise. This kind of inadvertent erasure can occur even with the best of intentions. A perfect example of this is Barry Avrich’s documentary Oscar Peterson: Black + White, which uses…

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