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Le présent article, qui s'appuie sur des documents d'archives et des périodiques spécialisés tels que Movie Makers et American Cinematographer, examine les liens entre la promotion gouvernementale du tourisme au Canada et le monde du cinéma amateur pendant la Seconde Guerre mondiale. Malgré les pénuries et les mesures de rationnement ayant limité les voyages et déplacements à des fins récréatives de part et d'autre de la frontière canado-américaine, l'idée selon laquelle les campagnes de tourisme au Canada avaient cessé au cours de cette période est erronée. Les dollars des touristes américains étaient nécessaires pour soutenir l'effort de guerre, tandis que la réalisation de films personnels renforçait le discours entourant le bon voisinage et la coopération en temps de guerre. En particulier, l'Office national du film du Canada (ONF) adopta des approches novatrices et rentables pour appuyer le tourisme par l'entremise du cinéma en encourageant la réalisation de films de voyage personnels, comme en témoignent le concours Come to Canada de 1942 et le soutien à la carrière du couple de cinéastes Budge et Judith Crawley.

Using archival documents and such specialist periodicals as Movie Makers and American Cinematographer, this essay examines the intersection between governmental tourism promotion in Canada and the world of amateur filmmaking during the Second World War. Despite rationing and shortages that limited travel for recreational purposes across the Canadian-American border, the notion that tourism campaigns in Canada ceased is erroneous. American tourist dollars were necessary to sustain the war effort, while personal filmmaking reinforced the wartime discourse of neighbourliness and cooperation. In particular, the National Film Board embraced innovative and cost-effective approaches to endorsing tourism through film by encouraging personal travel moviemaking, as seen in its 1942 "Come to Canada" contest and the nurturing of Budge and Judith Crawley's career.

Peter Pan in Scarlet was written a couple years back by Geraldine McCaughrean. It was the first officially recognized sequel to the original Peter Pan story. It was an outstandingly good book, telling the tale of how the grown-up Lost Boys, plagued by dreams, return to Neverland where they find that something has gone terribly wrong there. In honor of this book, I decided to create a trailer for it.

There are a lot of tricks to make your low-budget, amateur film project look fancy. I demonstrate some of these in my trailer for Peter Pan in Scarlet. One of them is color. Use the brightness and contrast to give your film a good, vivid look. Or a dreary one; whatever fits the mood. Also use other color modifiers to your advantage, although these vary depending on the editing program which you use. Another thing is blur.

Right away in this movie you get the feel that this is The Blair Witch Project in the sea, instead of the woods. The amateur-ish camera work is nearly identical in both flicks. What pissed me off about this movie is that there's no call for it. In The Blair Witch Project, you know right away that all of the footage is supposed to be shot by these amateurs, that just like playing around with a video camera. It serves a purpose, to give the feel that these kids shot the whole thing themselves. In Open Water, the main characters do not shoot this themselves (although that probably would've worked a lot better) and the filmmakers were just trying to give it the same feel, although it was just plain unnecessary. The budget was fairly miniscule here ($130,000) but digital cameras are pretty damn cheap these days, and I don't know why they went the Blair Witch route.

Besides that, for a movie that is only 79 minutes long, it sure does take awhile to get going, or at least it seems this way. The whole flick feels like an incredibly long 79 minutes, but it probably could've even been shorter in the beginning, by at least 5 minutes. The story goes like this: an overworked couple (Daniel Travis and Blanchard Ryan) go on this ocean diving excursion and by a miscommunication, are left alone in the ocean, proving the worthlessness of the "buddy system."

There are a couple of things here which got on my nerves. There is one part, a few hours into their ocean solitude, where a boat is coming right for them. Now, we know they're not going to be saved, but they just don't tell us why. They show the boat coming at them, and the next shot is them alone again. What happened to that frickin boat? They just glossed over it, which is retarded because if it was really coming right at them, which it looked like, there had to have been something fairly dramatic to happen for that boat to miss them. Another thing is there is a part where they try to use their plastic face masks to reflect light and get the attention of a big tanker-like boat. That makes sense, except for that it's a plastic mask, and the guy has a big frickin metal knife that would've done the job about a trillion times better than those stupid masks. I'm not saying that I'm Jacques Cousteau or anything, but damn! It just didn't make sense.

A collection of amateur family films showing working rural life for film-maker Richard D. Brickell on his mechanised wheat farm in Glynde, East Sussex, from the 1960s to the 1980s. The collection also includes: scenes of the 700th anniversary of The Battle of Lewes in 1964; various family events; holidays to Cornwall and Norfolk; and trips to Austria and Hong Kong.

This film shows a series of views of a rural hilly landscape filmed from a moving vehicle, followed by a series of portraits shots of members of the family outside a house. There are scenes of a temple filmed from a moving vehicle; views of a garden with a small shrine style temple; and scenes at an Orangery. The film closes with a couple, filmed in portrait, standing on a bridge.

This amateur film shows a series of views of a rural hilly landscape, filmed from a plane and later a moving vehicle. The film also includes views from a hillside of farmland and a bay out to sea. The later part of the film shows night-time scenes of a busy urban street with illuminated street signage.

This film shows wedding scenes, including the bride and her family gathered in the garden of a house; the wedding party arriving at the church with the minister [bride and her father] for portraits in the Churchyard. The bride wears a white dress with long sleeves, the bridesmaids in green high necked floor length dresses. The couple leave for the reception in a decorated open backed Land Rover whilst guests take group photographs on the steps [also on TID: 7681]

This film shows various scenes from Sally's wedding reception in a marquee. There are portrait shots of family members and guests with babies and a three tiered wedding cake on a table, where the couple stand together to cut the cake.

Barstow continued filming in 16mm until 1985, when he switched first to 8mm and then to video. The new processes enabled him to record live commentary (and were considerably cheaper). While converting his old 16mm stock, Barstow was able to add soundtracks and narrations. Over seven decades, he has amassed more than one hundred amateur video productions, which he has shown to church groups, historical societies, and a growing number of film organizations, including Northeast Historic Film (www.oldfilm.org) and Home Movie Day (www.homemovieday.com). He has also donated twelve of his works to the Library of Congress.

When Shirley Clarke made her screen version of The Connection inNew York a few months ago, she financed the production by methodsfamiliar in (he theatre but almost untested in the cinema. A couple ofhundred small investors took shares in the enterprise; they were given noHuarantee that they would ever see their money again, and there was noadvance commitment to a distributor. John Cassavetes' Shadows was onlylompleted after money had been raised through a broadcast appeal.Lionel Rotfosin went into the business of running a cinema to ensure thatOn Ilia Howcry and Come Back, Africa got a showing in New York. Inbrume, sttme young directors have been able to finance their films out oflegacies, money lent or given by parents or friends. 041b061a72