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Blast: '97 admissions highest in three decades," Variety, 5-11 January 1998. 8 Harvey Enchin, "Canadians Going Back to the Movies," Globe and Mail, n July 1996, Bi. This peak was a fiill six years after the same turning point in the US in 1946. 9 This argument runs counter to a growing industry feeling that megaplexes have not been as successful as they were expected to be, as evidenced by Loews Cineplex's financial troubles in 2000. For a full discussion of the megaplex, see Charles R. Acland "Cinema-going and the Rise of the Megaplex," Television and New Media i, no.

See Canadian Dreams and American Control: The Political Economy of the Canadian Film Industry (Toronto: Garamond, 1990), 51-78. 2 Canadian Heritage, The Road to Success: Report of the Feature Film Advisory Committee (Ottawa: Canadian Heritage, 1999), 3. 3 Road to Success, 3. 4 For a complete rendering of the political economic approach to Canadian culture see Pendakur, Canadian Dreams and American Control; Susan M. Crean, Who's Afraid of Canadian Culture? (Toronto: General, 1976); and Dallas Smythe, Dependency Road: Communications, Capitalism, Consciousness and Canada (Norwood, NJ: Ablex, 1981).

It then samples this collected memory, covering major trends from the wartime propaganda films to the dissident and counter-cultural films of the 19605 and '708. The film is deftly edited, the clips linked through visual associations. And, by giving unusual emphasis to the Film Board's founder and founding purpose, The Image Makers provides an apt perspective from which to consider the Film Board's subsequent work. At the beginning of the film, over footage of the abandoned Ottawa sawmill in which the Film Board was first housed, is a scratchy recording of John Grierson recalling that the Film Board was a deliberate creation to do a deliberate work.

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Canada by Life (Chicago)


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