Reel Diversity: A Teacher's Sourcebook is a resource manual for teachers who want to infuse the concepts of diversity and social justice into their secondary and college courses. Lecturers and workshop presenters will also appreciate this text for its practical uses. The authors present proven guidelines for teaching diversity using a framework that deconstructs national opinion and culture from both majority and minority perspectives. Emphasizing the development of a shared language among teachers and learners, the text provides a list of important definitions about difference and power. It discusses the role of the teacher in minimizing cultural dominance, prejudice, and discrimination in society. The text includes an extensive section on designing a diversity education course, and teachers will benefit from the suggested instructional activities, readings, assignments, and advice on creating a classroom atmosphere for these issues. More than just another book on film literacy and criticism, this manual stands out from the competition for its practical, user-friendly mini-lessons using film clips from mainstream Hollywood feature films to illustrate the 25 diversity definitions provided in the text, and develops a list of questions following each clip that can be used to encourage cross-cultural dialogue.

Founded in 1997 by producer Anita Lee and journalist Andrew Sun, the Toronto Reel Asian International Film Festival is a unique showcase of contemporary Asian cinema and work from the Asian diaspora. The festival fosters the exchange of cultural and artistic ideals between East and West, provides a public forum for homegrown Asian media artists and their work and fuels the growing appreciation for Asian cinema in Canada. In Reel Asian: Asian Canada on Screen, contributors, many of them filmmakers, examine East and Southeast Asian Canadian contributions to independent film and video. From artist-run centres, theories of hyphenation, distribution networks and gay and lesbian cinema to F-words, new media technologies and sweet n' sour controversies, Reel Asian: Asian Canada on Screen presents a multi-faceted picture of independent Asian film in Canada. The collection highlights the screen as a site for the reflection, projection and reimagination of identities and communities. Includes: David Eng, Ann Marie Fleming, Richard Fung, Monika Kin Gagnon, Colin Geddes, Kwoi Gin, Mike Hoolboom, Alice Ming Wai Jim, Cheuk Kwan, Julia Kwan, Anita Lee, Helen Lee, Karin Lee, Keith Lock, Pamila Matharu, Christine Miguel, Tan Hoang Nguyen, Midi Onodera, Mieko Ouchi, Alice Shih, Mina Shum, Mary Stephen, Ho Tam, Loretta Todd, Khanhthuan Tran, Phil Tsui, Paul Wong, Su-Anne Yeo, Iris Yudai and Wayne Yung.

A revolutionary tool for corporate and academic trainers, We’ve Scene It All Before harnesses the power of mainstream Hollywood film to enhance educational sessions about diversity and social justice. This resource manual offers practical guidance on how to effectively use the concept of difference as a starting point towards true inclusion.

Based on newly uncovered archival information and a close reading of numerous NFB films, Projecting Canada explores the NFB's involvement with British Empire communication theory and American social science. Using a critical cultural policy studies framework, Druick develops the concept of "government realism" to describe films featuring ordinary people as representative of segments of the population. She demonstrates the close connection between NFB production policies and shifting techniques developed in relation to the evolution of social science from the 1940s to the present and argues that government policy has been the overriding factor in determining the ideology of NFB films. Projecting Canada offers a compelling new perspective on both the development of the documentary form and the role of cultural policy in creating essential spaces for aesthetic production.

Profiling individuals from business, politics, the arts, religion, and other sectors, this work contains biographical information on some 705 living African Canadians who are either "pioneers or trailblazers; those occupying senior positions; those making a difference in their communities; those being innovative and creating a niche for themselves or others." Entries provide narrative summaries of the individuals' accomplishments as well as contact information and lists of honors, publications, and role models Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).

Atlantic Canada has a rich tradition of storytelling and creativity that has extended to critical and audience praise for films from the region’s four provinces. Until now there has been no comprehensive history of this diverse body of work. In Shooting from the East, Darrell Varga traces the emergence of art cinema in the 1970s and ’80s, and subsequent rise of a contemporary commercial feature film and television industry by way of representative examples of a great range of titles, including The Adventure of Faustus Bidgood, Life Classes, The Disappeared, and Trailer Park Boys. He provides analysis of documentary filmmaking to emphasize concerns such as the establishment of the regional National Film Board studio and the influence of broadcast policy, but also considers significant recurring themes including the environment, the body, race and First Nations, and the North. Through critical analyses of key films and interviews conducted with filmmakers from all corners of the region, Varga uncovers patterns of meaning across diverse productions and interrogates the concept of region in relation to prevailing notions of national cinema and transnational media culture. With a focus on short films and an extensive history and analysis of the filmmaking production co-operatives located in each province, Shooting from the East sheds light on the creative processes and local economic and cultural conditions for making images on the edge of the Atlantic.

Creative Industries in Canada is a foundational text that encourages students to think critically about creative industries within a Canadian context and interrogate the current state and future possibilities of the industry. While much of current creative industries literature concerns the United Kingdom, the United States, and Asia, this text captures the breadth of how Canadian industries are organized and experienced, and how they operate. This ambitious collection aims to guide students through the current landscape of Canadian creative industries through three thematic sections. “Production” collects chapters focused on how national discourses and identities are produced through creative industries and the tensions that exist between policy and media. “Participation” explores how we engage with these industries in different roles: as consumer, creator, policy-maker, and more. “Pedagogies” explores how education impacts inclusion and visibility in creative industries. Truly intersectional, Creative Industries in Canada provides students with practical industry knowledge and frameworks to explore the current state of the field and its future. With a broad application to many undergraduate programs, this text is a must-read resource for those pursuing media studies, arts management, creative and cultural industries studies, communications, and arts and humanities.