The National Film Board of Canada, w in its seventh decade, is internationally acclaimed as a beacon of n-commercial filmmaking. In Projecting Canada Zoe Druick shows that the NFB, born out of a nation-building project, continues to be inextricably involved in the discourses of nation, techlogy, and social scientific kwledge that shape the Canadian cultural landscape. Based on newly uncovered archival information and readings of numerous NFB films, Projecting Canada explores the NFB's historical connection to 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 priorities 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 many 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.
Zoe Druick teaches media and cultural studies, communications, Simon Fraser University.