16 Matches Found
John and Yoko in the presidential suite at the Hilton Amsterdam, which they had decorated with hand-drawn signs above their bed reading "Bed Peace." They invited the global press into their room to discuss peace for 12 hours every day.
A live recording of Carol Channing's revue on Broadway, filmed for early Canadian pay-TV.
Released in 1968 and often referred to as Canada’s first music video, The Ballad of Crowfoot was directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB. The film is a powerful look at colonial betrayals, told through a striking montage of archival images and a ballad composed by Dunn himself about the legendary 19th-century Siksika (Blackfoot) chief who negotiated Treaty 7 on behalf of the Blackfoot Confederacy. The IFC’s inaugural release, Crowfoot was the first Indigenous-directed film to be made at the NFB.
A young singer-songwriter abandons his life in his hometown and moves to the city to make it big. He achieves fame, but it comes at a price.
Opera by Harry Somers portraying Metis leader Louis Riel and his Northwest Rebellion. 1969 CBC-TV production based on the original 1967 opera.
A portrait of jazz saxophonist Sonny Rollins during a period of self-exile, filmed practicing and reflecting on music, politics, and artistic independence across New York City.
Two ballet dancers perform a dance enhanced with surreal after-image visuals.
In this short animation film the triangle achieves the distinction of principal dancer in a geometric ballet. The triangle is shown splitting into some three hundred transformations, dividing and sub-dividing with grace and symmetry to the music of a waltz. The film's artist and animator is René Jodoin, whose credits include Dance Squared and several collaborations with Norman McLaren.
This animated short is a play on motion set against a background of multi-hued sky. Spheres of translucent pearl float weightlessly in the unlimited panorama of the sky, grouping, regrouping or colliding like the stylized burst of some atomic chain reaction. The dance is set to the musical cadences of Bach, played by pianist Glenn Gould.
Squares and other geometric shapes appear to "dance" along to music through their ever-changing movements.
Perhaps the only film whose content is totally based on the musical form known as canon. The first sequence is a simple demonstration of the canon "Frere Jacques" where four cubes dance and combine with one another on a checkerboard. The second sequence show four little human-like figures dancing in space. The third and most elaborate sequence shows a human going through several strange gesticulations. Through multiple printing we realize that the man, as in the previous sequences, is part of a visual canon and is making the gestures to himself. As we hear variations on the canonic theme so too do we witness visual variations: a woman and cat enters the canon. To show the musical technique of inversion, the image of the man is printed upside down.
A film between reality and fiction about a popular singer, played by Joël Denis, idol of that time. He is surrounded by a host of great actors and real and famous characters from the 60s.
An experiment in pure design by film artists Norman McLaren and Evelyn Lambart. Lines, ruled directly on film, move with precision and grace against a background of changing colors, in response to music specially composed for the films.
Claude Léveillée expresses the frustrations of a taxi driver steering his vehicle through the obstacle course of downtown traffic. Accelerated camera action heightens the fury and the frenzy.
Those sensual machines, steam tractors, reveal a remarkable ability to perform to music.