Cinema of Pakistan

The cinema of Pakistan, or Pakistani cinema (), refers to the filmmaking industry in Pakistan. Pakistan is home to several film studios centres, primarily located in its two largest cities - Karachi and Lahore. Pakistani cinema has played an important part in Pakistani culture and in recent years has begun flourishing again after years of decline, delivering entertainment to audiences in Pakistan and expatriates abroad. Several film industries are based in Pakistan, which tend to be regional and niche in nature. Over 10,000 Urdu feature films have been produced in Pakistan since 1948, as well as over 8000 Punjabi, 6000 Pashto and 2000 Sindhi feature-length films. The first film ever produced was "Husn Ka Daku" in 1930, directed by Abdur Rashid Kardar in Lahore. The first Pakistani-film produced was "Teri Yaad", directed by Daud Chand in 1948. Between 1947 and 2007, Pakistani cinema was based in Lahore, home to the nation's largest film industry (nicknamed Lollywood). Pakistani films during this period attracted large audiences and had a strong cult following, was part of the cultural mainstream, widely available and imitated by the masses. During the early 1970s, Pakistan was the world's fourth largest producer of feature films. However, between 1977 and 2007, the film industry of Pakistan went into decline due to Islamization, strengthening of censorship laws and an overall lack of quality. Throughout the 1980s and 1990s, the film industry went through several periods of ups and downs, a reflection of its dependency on state funding and incentives. By 2000, the film industry in Lahore had collapsed and saw a gradual shift of Pakistani actors, actresses, producers and filmmakers from Lahore to Karachi. By 2007, the wounds of Pakistan's collapsed film industry began to heal and Karachi had cemented itself as the center of Pakistani cinema. This was the time new generation producers stepped into the industry with short films with quality story line and new technology led to an explosion of alternative form of Pakistani cinema. The shift has been seen by many as the leading cause for the "resurgence of Pakistani cinema". Despite the industry crisis starting in the mid-1980s, Pakistani films have retained much of their distinctive identity. Since the shift to Karachi, Pakistani films have once again began attracting a strong cult following.
History.
Silent Era (1929-1946).
The history of cinema in Pakistan began in 1929, when Abdur Rashid Kardar set up a studio and production company under the name of United Players Corporation (later renamed Playart Phototone), which would become the foundation stone for the Lahore film industry. After scouting for locations, he settled for their offices to be established at Ravi Road. The dim-lit area presented with much difficulties and shootings were only possible in the day-light, but nevertheless the area had some very important landmarks like the Ravi Forest and the tombs of Mughal emperor Jahangir and his wife Noor Jahan. It is reported that the team working at the studios would commute on tangas and even lost equipment once while traveling on the bumpy roads on the horse-drawn carriage. However basic and crude their working conditions, Kardar believed in his work and in 1930 he produced the first silent film in Lahore "Husn Ka Daku" ("Mysterious Eagle"), under his studio's banner. The film had mild success at cinemas, but prominently established Lahore as a functioning film industry. Kardar vowed on not acting in any other film and instead focusing on direction. Immediately afterwards, the studio released the film "Sarfarosh" ("Brave Heart") and film "Farebi Daku" in 1931, with Gul Hamid playing the lead role with more or less the same cast as in the previous film. This production proved equally appealing, but was able to stir noise about the Lahore film industry. Roop Lal Shori, who was a resident of Brandreth Road in Lahore, upon hearing of Lahore's growing film industry, returned to his hometown and produced "Qismat Ke Haer Pher" ("Life After Death") in 1932, which would firmly ground the film industry in Lahore. In 1946, Sajjad Gul set up Evernew Studios in on Multan Road. The following year, Eveready Pictures was established by J.C. Anand, which would go on to become the largest film production and distribution company in Pakistan.
Independence and growth (1947–1959).
In 1947, after Pakistan was created out of India; Lahore became the hub of cinema in Pakistan. Upon independence, there was a shortage of funds, filming equipment which initially paralysed the film industry. With hardships faced, the first Pakistani feature film, "Teri Yaad" released on 7 August 1948, premiering at the Parbhat Theatre in Lahore. Over the next few years, films that were released reached mediocre success until the release of "Do Ansoo" on 7 April 1950. "Do Ansoo" became the first film to attain a 25-week viewing making it the first film to reach silver jubilee status. Recovery was evident with Noor Jehan's directorial debut "Chanwey" releasing on 29 April 1951. The film became the first to be directed by a female director. Syed Faqir Ahmad Shah produced his first film with a heavy budget in 1955 " Saqlain Rizvi and Murtaza Jillani were directors, Syed Faqir Ahmad produced his second film " Jagga "in 1958 directed by his son Saqlain Rizvi, the film remained midioker in the cinema. As cinema viewership increased, "Sassi" released on 3 June 1954 by Eveready Pictures reached golden jubilee status staying on screens for 50-weeks. Legendary playback singer Ahmed Rushdi started his career in April 1955 after singing his first song in Pakistan "Bander Road Se Kemari"."Umar Marvi" released on 12 March 1956 became the first Pakistani film made in the Sindhi language. To celebrate the success of these endeavours, film journalist Ilyas Rashidi launched an annual awarding event on 17 July 1958. Named "Nigar Awards", the event is since then considered Pakistan's premier awarding event celebrating outstanding performance in various categories of filmmaking.
The Golden Era (1959–1977).
The 1960s is often cited as being the golden era of Pakistani cinema. Many stars were introduced during this period who would go on to become cinema legends on the silver screen. As black-and-white became obsolete, Pakistan saw the introduction of first colour films. Some that share the status of being firsts are Munshi Dil's "Azra" in the early 1960s, Zahir Raihan's Sangam (first full-length coloured film) released on 23 April 1964, and "Mala" (first coloured cinema scope film). In 1962 "Shaheed" was released which introduced the Palestine conflict to Pakistanis in cinemas and became an instant hit. In 1962, Pakistan's most versatile actor Mohammad Ali debuted in "Charagh Jalta Raha". It was premiered by Fatima Jinnah on 9 March 1962 at Nishat Cinema in Karachi. In September 1965, following the war between Pakistan and India, all Indian films were completely banned. A light ban had existed since 1952 in West Pakistan and since 1962 in East Pakistan, but was exercised rigorously after the War of 1965. Pakistani cinemas did not suffer much from the decision to remove the films and instead received better attendances. Realising the potential, Waheed Murad stepped into the industry. His persona led people to call him the "chocolate hero" and in essence, he became the Marlon Brando and Elvis Presley of Pakistan. In 1966, "Armaan" was released and became one of the most cherished Urdu films to ever release. The film is said to have given birth to Pakistani pop music, by introducing playback singing legends like composer Sohail Rana and singer Ahmed Rushdi. The film became the first to complete a 75-week screening at cinemas throughout the country attaining a platinum jubilee status.Waheed Murad was picturised in a song for the first time ever in director Saqlain Rizvi's "Mamta released in 1963. Another rising star during this period was Nadeem Baig, who received instant stardom with his debut film "Chakori" in 1967. The same year, he would act in another film of a different genre. Horror films were introduced with the release of "Zinda Laash", making it the first Pakistani film to display an R rating tag on its posters. Meanwhile, "Eastern Films Magazine", a tabloid edited by Said Haroon, became the most popular magazine for film buffs in Pakistan. The magazine had a question and answer section titled "Yours Impishly" which the sub-editor Asif Noorani took inspiration for from I. S. Johar's page in India's "Filmfare" magazine. Tabloids like these got their first controversial covers with the release of "Neela Parbat" on 3 January 1969, which became Pakistan's first feature-film with an adults-only tag. It ran for only three-to-four days at the box office. More controversial yet would be the offering of distribution rights in the Middle East to the Palestinian guerrilla organisation, Al Fatah, by the writer, producer, and director Riaz Shahid for his film "Zarqa" released on 17 October 1969. It depicted the activities of the organisation. Towards the late 1960s and early 1970s, political turmoil once again returned with the East Pakistan conflict brewing. Amidst concerns, the film "Dosti", released on 7 February 1971 and turned out to be the first indigenous Urdu film to complete 101 weeks of success at the box office, dubbing it the first recipient of a Diamond Jubilee. As political uncertainty took charge of the entertainment industry, filmmakers were asked to consider sociopolitical impacts of their films as evident by the fact that the makers of "Tehzeeb", released on 20 November 1971, were asked to change the lyrics with a reference to "Misr", Urdu for Egypt, that might prove detrimental to diplomatic relations of Egypt and Pakistan. So vulnerable was the film industry to the changing political landscape that in 1976, an angry mob set fire to cinema in Quetta just before the release of the first Balochi film, "Hamalo Mah Gunj". Javed Jabbar's "Beyond the Last Mountain", released on 2 December 1976, was Pakistan's first venture into English film-making. The Urdu version "Musafir" did not do well at the box office. Signs of trouble slowly began in the cinema industry as VCRs and piracy became an issue.
Decline (1977–2000).
Pakistani cinema entered into a decline during the regime of Muhammad Zia-ul-Haq (1978-1988), who began to Islamicise the country. One of the first victims of this sociopolitical change was Pakistani cinema. Imposition of new registration laws for film producers requiring filmmakers to be degree holders, where not many were, led to a steep decline in the workings of the industry. The government forcibly closed most of the cinemas in Lahore. New tax rates were introduced, further decreasing cinema attendances. Other factors such as VCRs and film piracy had a negative effect on the growth of the industry.
"Aina", released on 18 March 1977, marked a distinct symbolic break between the so-called liberal Zulfikar Ali Bhutto years and the increasingly conservative cum revolutionary Muhammad Zia-ul-Haq regime. The film stayed in cinemas for over 400 weeks, with its last screening at 'Scala' in Karachi where it ran for more than four years. It is considered the most popular film ever. Films dropped from a total output of 98 in 1979, of which 42 were in Urdu, to only 58 films of which 26 were in Urdu in 1980.. The film industry by now was on the verge of collapse as people began turning away from cinema. The filmmakers that remained in the industry, produced super hits like Punjabi cult classic "Maula Jatt" in 1979, telling the story of a gandasa-carrying protagonist waging a blood-feud with a local gangster. While Maula Jatt paved the way for films based on rural and violent anti-hero, in terms of dress, conduct, speech, and values, Maula was at odds with previous presentations of heroes and ideals of nation-building. Similarly, "Aurat Raj," released in 1979, is another film, which is hailed for its feminist narrative. Growing censorship policies against displays of affection, rather than violence, came as a blow to the industry. As a result, violence-ridden Punjabi films prevailed and overshadowed Urdu cinema. The middle class neglected the 'increasingly dilapidated and rowdy cinemas'. This film sub-culture came to be known as the "gandasa culture". In Punjabi cinema Sultan Rahi and Anjuman became iconic figures of this culture. In Pashto cinema, filmmakers were able to get around the censor policies and filled their films with soft-core pornography to increase viewership. This was done by the backing by powerful politicians.
The once romantic and lovable image of Pakistani cinema in the 1960s and 1970s had transformed into a culture of violence and vulgarity by the 1980s. This ironically came while the government under ZIa ul Haq's regime was attempting to "Islamise" the country. Being an actress associated with the current crop of productions became an understandable taboo and many middle-class people began shunning these films. Nevertheless, the influx of refugees from Afghanistan, who were denied entertainment in their own country, kept Pashto cinema alive while Punjabi cinema was fueled by young single men from the rural areas of Punjab. In 1983, legendary actor Waheed Murad died and was yet another blow to the cinema industry. Some claim he committed suicide while the media attributed his death to his disheartened view in the wake of Pakistani cinema's collapse. The director of his unfinished film "Hero", employed 'cheat shots' to complete the film and released to sold out cinemas across the country. This enthusiasm soon disappeared and not even Pakistan's first science fiction film, "Shaani", in 1989, directed by Saeed Rizvi employing elaborate special effects, could save the industry. It received an award at the Moscow Film Festival and even in Egypt and Korea, but sadly was shelved in Pakistan.
Collapse (1990–2002).
At the start of the 1990s, Pakistan's film industry was gripped with certain doom. Of the several dozen studios across the country, only 11 were operational producing around 100 films annually. By now the annual output dropped to around 40 films, all produced by a single studio. Other productions would be independent of any studio usually financed by the filmmakers themselves. This number would lower further as studios went towards producing short-plays and television commercials. The death of Waheed Murad in 1983 was only the start of the demise of iconic cinema stars of the 60s which further led to decreased interest. Anjuman quit from playback signing, Sultan Rahi was murdered in 1996, director Sangeeta put her career on hold to attended to family life while Nazrul Islam died. Controversy raged over the 1998 film "Jinnah", produced by Akbar Salahuddin Ahmed and directed by Jamil Dehlavi. Objections were raised over the choice of actor Christopher Lee as the protagonist depicting Muhammad Ali Jinnah and inclusion of Indian Shashi Kapoor as archangel Gabriel in the cast combined with the experimental nature of the script. Imran Aslam, editor of The News International, said the author wrote the script in a "haze of hashish". By 1999, a surge of new films began releasing. "Haathi Meray Saathi" produced and distributed by Eveready Pictures celebrated its Golden Jubilee bringing audience back to the cinema for 66 weeks. Other hits were Syed Noor's 1995 film "Jeeva", Saeed Rizvi's "Sarkata Insaan" and his 1997 film "Tilismih Jazira". 1998 saw the release of Noor's "Choorian", a Punjabi film that grossed Rs180 million rupees. In 1999, a Russian-Pakistani joint venture was produced and Samina Peerzada's "Inteha". Other notable productions of the late 90s included "Deewane Tere Pyar Ke", "Mujhe Chand Chahiye", "Sangam", "Tere Pyar Mein", and "Ghar Kab Aao Gay", which attempted to get away from formulaic and violent story lines. It was predicted that Pakistani cinema would have a revival. However, the public did not respond and low attendance at cinemas were recorded as the lower middle class shunned these films. The industry was pronounced dead by the start of the new millennium. By the early 2000s "an industry that once produced an average of 80 films annually was now struggling to even churn out more than two films a year". Partial successes were recorded with "Larki Panjaban" and Javed Sheikh's "Yeh Dil Aap Ka Huwa" grossing over Rs200 million rupees.
Revival and resurgence (2003-2011).
By 2003, young filmmakers in Karachi began experimenting with film and released low budget films to demonstrate that high quality content could be produced in Pakistan using limited resources. Cinema houses were declining in all major cities and a revival of cinema was being echoed throughout the media. With privatization of television stations in full swing, a new channel "Filmazia" began airing old Pakistani films as well as newer low budget productions. During this period Mahesh Bhatt, a celebrated Indian director, visited Pakistan looking for talent - particularly singers who could lend their voices to his upcoming films in India. His visit to Pakistan was to coincide with the third Kara Film Festival where he screened his film "Paap" in Karachi. Bhatt would later hire Atif Aslam for the soundtrack of his film "Zeher" and Pakistani actress Meera to play a lead-role in one of his films. By 2005, a gradual shift had begun whereby Karachi was replacing Lahore as the film hub of the country. Many film makers, producers, directors shifted to Karachi to avail new opportunities. In August 2007, Shoaib Mansoor directed and released "Khuda Ke Liye" - it became a surprise instant success at the box office and brought the middle class back to the cinemas due to its controversial theme of addressing Pakistan's social problems. The film was also released internationally, including India, where it became the first Pakistani film released there after four decades. The release of Khuda Kay Liye is seen by many as the revival of cinema in Pakistan and the cementing of Karachi as the Pakistani film and showbiz capital. Despite optimism of a solid revival, progress continued to be slow. Alongside Geo Films, the "Pakistan New Cinema Movement" was launched in 2009 with around 1400 members which facilitated networking to stimulate newer film productions. Several films were released after Khuda Kay Liye which saw limited success including Shaan Shahid's directorial project "Chup", Syed Noor's "Price of Honor", Iqbal Kashmiri's "Devdas", "Son of Pakistan", Syed Faisal Bukhari's "Saltanat", Reema Khan's "Love Mein Ghum"., "Bhai Log' and Mehreen Jabbar's Ramchand Pakistani. However it was Shoaib Mansoor to the rescue again with this 2011 film Bol which brook box office records in Pakistan.
New wave (2011-).
Shoaib Mansoor's Bol seemed to have officially "revived" the cinema of Pakistan. 2013 brought with it seven Pakistani films that were theatrically released in Pakistan, and led commentators to ponder whether it was time to announce the heralding of a 'new wave' of Pakistani cinema. Since 2011 from the digital scene two films have stood out with box office success as highest grossing Pakistani films; Waar followed by Main Hoon Shahid Afridi.
Shoaib Mansoor's "Khuda Kay Liye" (2007) and "Bol" (2011) seemed to have ushered in the "revival of Pakistani cinema". By 2013, several Pakistani films were theatrically released - the first time in over a decade. It led commentators to speculate whether it was time to announce the heralding of a 'new wave' of Pakistani cinema.
2013 proved to be a great year for Pakistani cinema. In March, "Siyaah" (meaning "Pitch black") was the first horror thriller film to be released in Pakistan in over 20 years. Directed by Azfar Jafri and written by Osman Khalid Butt, the film starred Hareem Farooq, Qazi Jabbar, Mahnoor Usman and Ahmed Ali Akbar. The film was about a dissociative personality disorder patient who uses black magic against unsuspecting relatives. The film collected over ₨2.65 crore (US$260,000) at the box office. The following month "Chambaili", an Urdu-language political thriller film directed by Ismail Jilani, was released starring Salmaan Peerzada, Khalid Ahmed, Mohammed Ehteshamuddin, Maira Khan, Shafqat Cheema and Ghulam Mohiuddin also made a special appearance. The film was a political drama exploring the subject of political corruption in Pakistan. Since the flower 'Chambaili' (lily flower) is the national flower of Pakistan, the film-makers' intentions were to encourage patriotism and nationalism in Pakistan. The film made at the box office. Waar (; , meaning "The Strike") was the winner of 2013. The action-thriller film directed by Bilal Lashari and written and produced by Hassan Rana featured Shaan Shahid, Meesha Shafi, Ali Azmat, Shamoon Abbasi, Ayesha Khan and Kamran Lashari. At the time of its release, it became the highest-grossing Pakistani film ever. This was broken by 2015 release of "Jawani Phir Nahi Ani". The film depicts events surrounding the war on terror in Pakistan, including the attack on a Police Academy in Lahore in 2009. Several other films were also released between April to October including "Ishq Khuda" directed by Shahzad Rafique, "" directed by Iram Parveen Bilal, "Main Hoon Shahid Afridi" directed by Syed Ali Raza Usama, "Zinda Bhaag" by Meenu Gaur and "Seedlings" by Mansoor Mujahid. "Main Hoon Shahid Afridi" was an action-drama film directed by Syed Ali Raza Usama and produced by Humayun Saeed and Shahzad Nasib. The film starred Humayun Saeed, Javed Shaikh and Noman Habib in the lead roles. Nadeem Baig, Shafqat Cheema, Ismail Tara, Ainy Jaffri, Hamza Ali Abbasi and Shehzad Sheikh also played important roles in the film, whilst Shahid Afridi and Ayesha Omar made special appearances. The film earned in its first week of release. However, as some commentators cautioned, declaring a film a 'hit' or a 'flop' is determined by the relationship of the budget spent and box office returns of a film and therefore several of the top-grossing films of Pakistan were technically not a 'hit'.<ref name="http://www.dawn.com/news/1051514"></ref> Nonetheless, the lack of box office returns of a Pakistani film has less to do with the film itself but more to do with the severely limited number of screens in Pakistan. Zinda Bhaag ("Run For Your Life") has been critically acclaimed with reviewers calling it 'the best film to have come out of modern-day Pakistani cinema' and a "new metaphor for Pakistani cinema" that "bode(d) well for the possibility of noteworthy Pakistani imports in years to come". Zinda Bhaag went on to be Pakistan's official submission to the Oscars, the first after a gap of fifty years but did not make the final shortlist nominees. The resurgence of new Pakistani film productions centres around the use of digital equipment and makes use of cheaper distribution with DCP compliant cinemas which started to convert around 2011, increasing rapidly to 2014 with around 30 cinemas nationwide.
2014 proved to be an equally great year, with "Na Maloom Afraad" ("Unidentified Persons") taking the 2014 box office. The Pakistani comedy thriller film was co-written and directed by Nabeel Qureshi as his directorial debut. The film starred Javed Sheikh, Fahad Mustafa, Mohsin Abbas Haider with supporting cast of Urwa Hocane, Kubra Khan and Salman Shahid. The story follows Shakeel (Sheikh), Farhaan (Mustafa) and Moon (Haider), three poor struggling individuals who chase every possible means of becoming rich, all getting into trouble as they struggle to fulfill their desires and ambitions through questionably moral ways. Other films released in 2014 included "Tamanna" directed by Steven Moore, "Sultanat" directed by Syed Faisal Bukhari, "Dukhtar" directed by Afia Nathaniel, and "O21" directed by Jami.
2015 picked off from the momentum of 2014 and 2013. "Jalaibee" (meaning "twist") was a caper action thriller film directed and written by Yasir Jaswal, produced by Eman Syed. Jalaibee was a joint production of ARY Films and Redrum Films in association with Sermad Films and Jaswal Films. The film starred prominent TV actors Danish Taimoor and Ali Safina in lead roles along with Adnan Jaffar, Sajid Hasan, Uzair Jaswal, Wiqar Ali Khan, Sabeeka Imam and Zhalay Sarhadi. Jalaibee was the first Pakistani film to be shot with the Arri Alexa camera. and was about the intertwined stories of numerous characters who are all struggling with their problems, and who somehow connect on a unifying level. The film collected before its release as Malik Riaz had bought 10,000 tickets in advance. The film had a good number of public previews came out well on them collecting which is biggest preview collections ever in Pakistan. In total, the film collected at domestic box office and around overseas, taking lifetime gross to at the end of April. In May, Pakistan's first 3D computer animated adventure film was released. "3 Bahadur" () was produced and directed by Sharmeen Obaid Chinoy. It was the first instalment in the franchise 3 Bahadur (film series) and was co-produced by Waadi Animations (a joint-venture of SOC films) and ARY Films. 3 Bahadur became Pakistan's first computer-animated feature-length film. The film focuses on three eleven-year-old friends, who rise from the unlikeliest of places to save their community from the evils that plague it. The film is set in a fictional town called "Roshan Basti" (town of light). Equipped with courage and super powers, they battle against the odds and stand up to injustice to restore peace and harmony in their once thriving community and live a very happy life. The film was theatrically released ARY Films. It became the highest-grossing animated film at the local box office breaking the previous record of "Rio 2". It grossed after 50 days of successful run in cinemas and became 7th highest-grossing film in Pakistani cinema history. Between July – September, a number of films were released beginning with "Bin Roye" ("Without Crying"). The romantic drama film directed by Momina Duraid and Shahzad Kashmiri starred Mahira Khan, Humayun Saeed, Armeena Khan, Zeba Bakhtiar, and Javed Sheikh. One of the movie's songs is directed by Haissam Hussain. The film was based on the original novel "Bin Roye Ansoo" by Farhat Ishtiaq and released worldwide on 18 July 18, 2015, the day of Eid-ul-Fitr. Bin Roye was praised by the critics. It broke all records on international markets becoming one of the highest grossing Pakistani films. The film Bin Roye was later adapted into a television series with the same name, that premiered on Hum TV on October 2, 2016. Its success was followed by Jawani Phir Nahi Ani which became the highest-grossing film of 2015 and breaking all box office records on domestic markets. The year saw some of the most critical acclaimed Pakistani films including Moor and Manto. Thes film raised the standards for Pakistani films.
2016 continued the momentum of new age Pakistani cinema - Ho Mann Jahaan was released on 1 January starring Adeel Hussain, Mahira Khan, Sheheryar Munawar and Sonya Jehan, along with veterans Bushra Ansari. The film opened to a highly successful box office weekend and went on to run for several weeks, making it the third highest-grossing films of 2016 earning 22.50 crores in total. Janaan and Actor In Law both opened on Eid weekend, becoming the first and second highest-grossing films of 2016. with 24 and 17.5 crores at the local box office and 30 crores at the international box office.


Order of the National Hero (Grenada)

The Prestige Order of the National Hero is an order of chivalry and a society of honour instituted by Queen Elizabeth II in right of Grenada through the "National Honours and Awards Act" which having been passed by the House of Representatives of Grenada on 16 November 2007 and passed by the Senate of Grenada on 27 November 2007 received Royal Assent on 31 December 2007.
Queen Elizabeth II is the sovereign of the order in her capacity as Queen of Grenada. Appointments to the Order are made by Governor-General of Grenada, as Grand Master, who acts on the advise of the Prime Minister of Grenada and the National Awards Advisory Committee.
The Governor General conducts vice regal investitures at Government House in St George's. Awards are usually announced each year on the occasion of the National Day of Grenada - 7 February.


List of Phoenician cities

This is a list of cities and colonies of Phoenicia in modern-day Lebanon, coastal Syria and northern Israel and the region of Palestine, as well as cities founded or developed by the Phoenicians in Eastern Mediterranean area, North Africa, Southern Europe, and the islands of the Mediterranean Sea.


Armant, Egypt

Armant (; Egyptian "jwnj", "jwnj šm'j" "Southern Heliopolis" or "jwnj-mntw" "the Heliopolis of the Nomad": () and known in Koine Greek as Hermonthis ()), is a town located about 12 miles south of Thebes. It was an important Middle Kingdom town, which was enlarged during the Eighteenth Dynasty. It is located today in the Luxor Governorate on the west bank of the Nile.
History.
Montu was an Egyptian god whose root of name means "nomad". Montu was associated with raging bulls, strength and war. He was also said to manifest himself in a white bull with a black face, which was referred to as the Bakha. Egypt's greatest general-kings called themselves Mighty Bulls, the sons of Montu. In the famous narrative of the Battle of Kadesh, Ramesses II was said to have seen the enemy and "raged at them like Montu, Lord of Thebes".
A temple dedicated to Montu existed at Hermonthis as early as the Eleventh Dynasty, which perhaps originated at Hermonthis. Nebhepetre Mentuhotep II is the earliest builder known with certainty. Important additions were made during the Twelfth dynasty and during the New Kingdom. Destroyed during the Late Period, a new temple was started in the reign of Nectanebo II and was continued by the Ptolemies. Cleopatra VII and Ptolemy XV Caesarion added a birth house with a sacred lake. The building remained visible until the nineteenth century, when it was recycled to build a sugar factory. Only the remains of the pylon of Thutmose III are visible today.
Two gates, one of them built by Antoninus Pius, have also been found. The Bucheum, the burial place of the sacred Buchis bulls of Hermonthis, is on the desert edge north of the city. The earliest bull burial dates to Nectanebo II, and the complex remained in use until the mid 4th century AD. The burial place of the "Mother of Buchis" cows has also been located. Extensive cemeteries of all periods are found in the neighbourhood of Hermonthis.
Under Cleopatra VII, Hermonthis became the capital of the 4th Upper Egyptian nome. The city remained in use during the Coptic era.


Connery

Connery (anglicization of the Irish surname Ó Conaire) is a surname, and may refer to:


Christine McHorse

Christine McHorse (December 21, 1948 – February 17, 2021), also known as Christine Nofchissey McHorse, was a Navajo ceramic artist from Santa Fe, New Mexico.
Early years.
Born Christine Nofchissey on December 21, 1948 in Morenci, Arizona, she was the fifth of nine children of Mark and Ethel Yazzie Nofchissey. McHorse lived off reservation in her childhood but spent summers in Fluted Rock, Arizona, herding sheep and learning about Navajo oral history from her grandmother, Zonith Bahe.
At age 14, McHorse was introduced to Picasso, Gaudi and Matisse at her boarding school, and she said these artists "opened a whole new world to us" (referring to herself and older sisters who were also attending the school).
From 1963 to 1968, she studied at the Institute of American Indian Arts (IAIA) in Santa Fe, New Mexico, when it was a high school for the arts on the campus of the Santa Fe Indian School. Originally intending to study glassblowing, she chose to study ceramics when the glassblowing major was discontinued the year she arrived, studying with Ralph Pardington (ceramics), Charles Loloma (jewelry), Allan Houser (foundry arts) and Fritz Scholder (design). She met her future husband Joel P. McHorse at IAIA and was influenced by her future grandmother-in-law, Lena Archuleta of Taos Pueblo, to begin working with ceramics.
Archuleta inspired and instructed McHorse in using the shimmering micaceous clay that was common to the Taos area, and McHorse continued to use that clay in her work.
Personal life.
In 1969 McHorse married Joel P. McHorse, a Taos Pueblo Indian and fellow art student whom she met at the Institute of American Indian Arts (IAIA). They had two children, Joel Christopher and Jonathan Thomas, originally living in Taos but later moving to Sante Fe.
Artwork and recognition.
McHorse's artwork draws inspiration from Navajo, Pueblo, and Anglo cultures. McHorse's pottery was created with a traditional coil-building method and she based her work on traditional Navajo designs and legends, influenced by the Pueblo artistry but her work is nontraditional in appearance.
Much of her work has a signature black surface, created by depriving the clay of oxygen during firing and making her creations popular in contemporary art venues. She preferred to do the firing in the traditional mode but used the electric kiln for pre-firing larger pieces, some up to two feet, to prevent the chance of breakage. She used cedarwood and cottonwood bark as fuel for her outdoor firing. Although commonly Navajo potters have applied boiled pinon-pine pitch to the surface of fired pots to make them waterproof, McHorse used the pitch to increase value contrast in her incised designs.
Her large pottery has the sound of glass when tapped.
McHorse exhibited at Santa Fe Indian Market for 23 years, winning 38 awards for both pottery and sculpture. Her work can be found in the permanent collections of the Heard Museum, the Denver Art Museum, the National Museum of the American Indian, Navajo Nation Museum, and more. McHorse's work is also featured in the catalog "Dark Light: The Ceramics of Christine Nofchissey McHorse" (Fresco Fine Art Publications).
Death.
McHorse died from complications of COVID-19 on February 17, 2021 in Santa Fe, New Mexico during the COVID-19 pandemic in New Mexico. She was 72.
Further reading.
Books
Articles


Her Grave Mistake

Her Grave Mistake is a 1914 silent Western film featuring Lon Chaney and Murdock MacQuarrie. Very little is known about who wrote or directed this film. The film is now considered to be lost.
Plot.
Roger Grant, foreman of the "Circle S" Ranch on the Mexican border, is engaged to Isabel Norris, the old ranch-owner's daughter. Grant receives word from the national guard warning him that there may be an attack by Mexicans on the pumping station at the reservoir and that he should arm his cowboys to protect it until troops can arrive. Nunez, a Mexican spy, breaks into the ranch house to steal the letter that Grant received.
When she goes to rendezvous with Grant at the ranch house, Isabel is attacked by Nunez and is choked unconscious. Grant finds Isabel on the floor and he is blamed for assaulting her. The cowboys chase after him, but Isabel awakens, finds a piece of Nunez's hat on the floor and rides out after the posse to tell them that Grant is innocent. Meanwhile, the Mexicans have attacked the reservoir, but Grant battles them all single-handed until Isabel and the reinforcements arrive. Nunez is captured and Grant is vindicated.
Reception.
Moving Picture World wrote: "A Mexican borderline story...The chief interest centers about an attack on the pumping station...There is good suspense toward the close of this, and the climax is exciting."
Motion Picture News wrote: "The story is not at all original, but Mr. MacQuarrie has a way of putting anything over he tries."


Hippodamie

Hippodamie is an opera by the French composer André Campra, first performed at the Académie Royale de Musique (the Paris Opera) on 6 March 1708. It takes the form of a "tragédie en musique" in a prologue and five acts. The libretto, by Pierre-Charles Roy, is based on a dialogue by Lucian of Samosata and concerns the Greek legend of Hippodamia.


Lukas Sandell

Lukas Sandell, (born 3 February 1997) is a Swedish handball player who was part of the Swedish national team competing in the 2021 World Men's Handball Championship in Egypt. He plays for Aalborg Håndbold.


List of Indiana state historical markers in Noble County

This is a list of the Indiana state historical markers in Noble County.
This is intended to be a complete list of the official state historical markers placed in Noble County, Indiana, United States by the Indiana Historical Bureau. The locations of the historical markers and their latitude and longitude coordinates are included below when available, along with their names, years of placement, and topics as recorded by the Historical Bureau. There are 5 historical markers located in Noble County.


The Old Mill

The Old Mill is a 1937 "Silly Symphonies" cartoon produced by Walt Disney Productions, directed by Wilfred Jackson, scored by Leigh Harline, and released theatrically to theatres by RKO Radio Pictures on November 5, 1937. The film depicts the natural community of animals populating an old abandoned windmill in the country, and how they deal with a severe summer thunderstorm that nearly destroys their habitat. It incorporates the song "One Day When We Were Young" from Johann Strauss II's operetta "The Gypsy Baron".
"The Old Mill" was the first "Silly Symphony" cartoon to be released by RKO and was added a new "Silly Symphony" logo, some new titles, and a burlap background which was used for several other Disney theatrical cartoon series like "Donald Duck", "Goofy", "Mickey Mouse", and "Pluto the Pup".
This "Silly Symphonies" cartoon was re-issued to theatres by Buena Vista Distribution.
Like many of the later "Silly Symphony" shorts, "The Old Mill" was a testing ground for advanced animation techniques. Marking the first use of Disney's multiplane camera, the film also incorporates realistic depictions of animal behavior, complex lighting and color effects, depictions of wind, rain, lightning, ripples, splashes and reflections, three-dimensional rotation of detailed objects, and the use of timing to produce specific dramatic and emotional effects. All of the lessons learned from making "The Old Mill" would subsequently be incorporated into Disney's feature-length animated films, such as "Snow White and the Seven Dwarfs" (1937), which was released a month later, as well as "Pinocchio" (1940), "Fantasia" (1940) and "Bambi" (1942).
In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".
Awards and accolades.
"The Old Mill" won the 1937 Academy Award for Best Short Subjects: Cartoons. It was included as #14 in the book "The 50 Greatest Cartoons As Selected by 1,000 Animation Professionals".
Homages.
Disney California Adventure.
"The Old Mill" is featured in the "World of Color" show at Disney California Adventure.
Disneyland.
The three mills from the short were seen in miniature on the Storybook Land Canal Boats ride at Disneyland. Beginning December 20, 2014, they were replaced by landmarks from Disney's 2013 3D computer-animated musical film "Frozen". The miniature windmills were put into storage by Walt Disney Imagineering.
Disneyland Paris.
"The Old Mill" is represented at Fantasyland at Disneyland Paris by a building resembling a Dutch windmill, which serves drinks and snacks.
"The Simpsons".
"The Old Mill" was parodied in "The Simpsons" episode "Bart Has Two Mommies", where Homer tries to win a rubber duck race by making his rubber duck cross the finish line first. The duck however floats to an abandoned windmill very similar to the one in the Disney short, with a sign declaring: "The Old Mill." The scene where the duck is nearly squashed by the water wheel is a direct reference to the most famous scene of "The Old Mill." Raymond Scott's "Powerhouse B" is heard in the scene where Homer protected the duck from the water wheel.
Home media.
"The Old Mill" was released on Laserdisc as part of Academy Award Review of Walt Disney Cartoons in 1985.
It was released on December 4, 2001 on "" and on Blu-ray on March 1, 2011, on the "Bambi" Diamond Edition Blu-ray as a special feature.
Influence.
Japanese director Hayao Miyazaki has called "The Old Mill" his favorite Disney film.


Ichabod (disambiguation)

Ichabod is a Biblical figure and () a Hebrew word meaning "inglorious."
It may also refer to:


The Country Cousin

The Country Cousin is a Walt Disney animated short film released on October 31, 1936 by United Artists. The winner of an Oscar at the 9th Academy Awards for Best Animated Short Film, the film was produced by Walt Disney, directed by Wilfred Jackson, and animated by Art Babbitt and Les Clark. As is true for most cartoons in the "Silly Symphonies" series, "The Country Cousin" was built around a musical score, which was written by Leigh Harline. The film's story was based on one of Aesop's Fables, "The Town Mouse and the Country Mouse". It was accompanied by a storybook for young children, which was common for many of the "Silly Symphonies".
Plot.
"The Country Cousin" tells the story of a mouse from "Podunk" (an American English name denoting a place "in the middle of nowhere") coming to visit his relative in the city. The opening shot/title card is of the mouse in question, Abner, staring up at the city skyscrapers, with the sign directing him to Podunk facing the opposite way. He receives a telegram (titled a "Mouse-O-Gram") from his cousin, Monty, telling him to "Stop being a hick" and come live with him in the city. Without specifying the location of Abner or Monty, the film sets out to contrast the lifestyles of the archetypal country and city inhabitants.
Abner is shown walking along a railroad towards the city, and when he arrives, the differences between the two become clear. Abner is wearing overalls and is portrayed as bumbling and oblivious to the dangers of the city, whilst Monty sports a top-hat and is acutely aware of the problems they face (as exemplified whenever he tells Abner to shush, which is also the only sign of dialogue here). Monty leads Abner to a meal that the human residents of the household have set out. The two mice begin by dining on cheese, but Abner lacks any sense of etiquette, and soon begins gorging himself on celery, cream, and mustard, the latter of which generates a reaction to the excessive heat. Cooling himself with Champagne, Abner finds himself partial to the taste, and becomes drunk, provoking the disdain of Monty. Abner begins seeing in double vision, and creates more noise by bringing down a pile of bread (causing the double visions of Monty to hide behind the real one).
Abner then assesses his reflection (which, in his intoxicated state, he thinks is someone else) in a block of jelly . As he walks away, he slips on a piece of butter lying on a saucer. The saucer, spinning and flying across the table, catches Monty on the way, and breaks several pieces of dishware too. Monty is infuriated, and as the pair are now on the floor, he attempts to find a secluded spot, safe from the sleeping pet cat. The inebriated Abner, with a great sense of bravado, kicks the cat's behind, whilst his cousin rushes back to his home (and is never seen again from that point onwards). The cat bares its teeth at Abner, which only leads him to inspect the inside of its mouth, thus bringing Abner back to his senses. He is then chased by the cat, first receiving an electric shock by jumping inside a socket (the cat receives a shock as well), and then ending up on the city street when he jumps out of the window.
Abner is faced with escaping from the footsteps of the people, a bike, an electric tram, and other vehicles. He finds himself at the city limits again, and flees back to his home town deciding that the city life just isn't for him.
LP version.
In the early 1960s, Disneyland Records released an LP version of the story, narrated by Sterling Holloway, with music by Camarata. Because the running time of the LP was about thirty minutes, more than twice the length of the original cartoon's running time, much additional material was added to the plotline of the story. On the LP cover, the story was humorously billed as being "after Aesop - way after". Also, the mice on the cover are patterned after the mice from the 1950 Disney film "Cinderella", with Lucifer as the cat.
Home media.
The short was released on December 4, 2001 on "".


Jomsborg

Jomsborg or Jómsborg () was a semi-legendary Viking stronghold at the southern coast of the Baltic Sea (medieval Wendland, modern Pomerania), that existed between the 960s and 1043. Its inhabitants were known as Jomsvikings. Jomsborg's exact location, or its existence, has not yet been established, though it is often maintained that Jomsborg was somewhere on the islands of the Oder estuary. Historian Lauritz Weibull dismissed Jomsborg as a legend.
The only medieval source that mentions a precise location of Jomsborg is "Gesta Wulinensis ecclesiae pontificum" that was discovered in the autumn of 2019.
Location.
Jomsborg is often thought to be identical with the present-day town of Wolin (also Wollin) on the southeastern tip of the isle of Wolin in northwestern Poland, probably located at Srebrna Góra hill north of the town. In the Early Middle Ages, modern Wolin was the site of a multi-ethnic emporium (then known as "Jumne" or "Julin"). The Nordic sagas use "Jómsborg" exclusively, while medieval German histories use "Jumne" or "Julin", with the alternate names, some of which may be spelling variants, "vimne", "uimne", "Jumneta", "Juminem", "Julinum", "uineta", "Vineta" and "Vinneta".
In 1931/32, Pomeranian historian Adolf Hofmeister (1883-1956) suggested, through comparison of the events reported by the different chronicles, that all these terms describe the same place, which is at or near the modern town of Wolin. However, this is by no means universally accepted; Professor and historian Steven Fanning writes: "The Trelleborg-type fortresses of Denmark have been taken to be actual examples of Jómsborg-style camps of such warriors and Wolin in Poland was believed to be the actual Jómsborg. However, all such attempts to locate Jómsborg or encampments of the Jómvikings have failed, leading many to doubt that Jómvikings ever existed outside of literature." According to Władysław Filipowiak there are several dated sources which attest to the presence of a company of armed Vikings at the end of the 10th century in Wolin, who may have been installed there as mercenaries by the Polish king Bolesław the Brave.
Other theories see Jomsborg in the northwest of nearby Usedom island, on lands now submerged. The small islands in this area are remnants of a long stretch of land between Usedom and Rügen, which fell victim to storm floods in the early 14th century. Suspected locations in this area are the Veritas grounds between the petty islands of Ruden and Greifswalder Oie, and the Peenemünde shoals. While Viking Age jewelry has been found at the site, archaeological evaluation of these theories has not yet been possible.
Fortress.
According to the "Knytlingasaga" and "Fagrskinna", Jomsborg was built by the Danish king Harold Bluetooth (910-985/86) in the 960s. The Jomsvikinga Saga mentions Danish Viking Palnatoki as its founder.
In medieval records, Jomsborg is described as a fortress with a harbour. The harbour was overseen by a stone tower mounted with catapults, built on an arch spanning over the harbour entrance which could be closed by an iron gate. According to the oldest records, the harbour had space for three ships, later records give a capacity of up to 360 ships.
According to the "Heimskringla", Jomsborg was destroyed in 1043 by Dano-Norwegian king Magnus the Good. The fortress was burned down, and many of the inhabitants were killed.
Jomsvikings.
The Jomsborg Vikings (Jomsvikings) were composed of selected warriors, adhered to a special codex, and were loyal only to their leader. Most records list as jarl of Jomsborg, Sigvald(i), son of petty king Strut-Harald of then Danish Scania. Sigvald died some time before 1010.
Curmsun Disc.
A golden disc bearing the name of Harald Bluetooth and Jomsborg appeared in Sweden in autumn 2014. The disc, also called the Curmsun Disc, is made of high gold content and has a weight of 25,23 gram. On the obverse there is a Latin inscription and on the reverse there is a Latin cross with four dots surrounded by an octagonal ridge. The inscription reads: "+ARALD CVRMSVN+REX AD TANER+SCON+JVMN+CIV ALDIN+" and translates as "Harald Gormsson king of Danes, Scania, Jomsborg, diocese of Aldinburg".
It is assumed that the disc was a part of a Viking hoard found in 1841 in the Polish village Wiejkowo near the town of Wolin by Heinrich Boldt, the maternal great-great-grandfather of Hollywood actors and producers Ben Affleck and Casey Affleck.
Gesta Wulinensis ecclesiae pontificum.
The location of Jomsborg has been a topic of debate for centuries. In the autumn of 2019 a new historical chronicle was found called , and this chronicle, apart from giving various information on the Jomsvikings and Jomsborg, also tells about the location for where Jomsborg once was to be found. The existence of the chronicle had been known since 2014 by a number of references that the rector from the parish of Groß Weckow (now Wiejkowo) made in the 1840s and 1850s in his notebooks, but the chronicle itself was unknown until a translation of the complete chronicle was found in 2019. The Swedish archaeologist Sven Rosborn has visited the location and confirms, that it both matches the descriptions of Jomsborg from the various sagas and chronicles and that various things that could be found on the surface of the location seem to match the period of time in which Jomsborg existed. The relevant parts of "Gesta Wulinensis ecclesiae pontificum" will be made available in a new book, that could be published in 2021 or perhaps later.


List of New York State Historic Markers in Clinton County, New York

This is a complete list of New York State Historic Markers in Clinton County, New York.


Laughing Bill Hyde

Laughing Bill Hyde is a lost 1918 American adventure film directed by Hobart Henley and written by Willard Mack. The film stars Will Rogers, Anna Lehr, Clarence Oliver, Joseph Herbert, Robert Conville, and Dan Mason. The film was released on September 22, 1918, by Goldwyn Pictures. It was filmed at the Fort Lee studios.


Britannia Mines Concentrator

The Britannia Mines Concentrator is a National Historic Site of Canada. The large, inclined gravity mill was built on the northwest side of Mount Sheer to assist the transfer of copper ore through the chemical and mechanical processes of the plant. It is a landmark in Britannia Beach, British Columbia some forty-five kilometers north of Vancouver.
The nearby volcanic peak of Mount Garibaldi indicates the presence of magmatic inclusions and volcanic cores, in which copper is usually found. As such, the town and mill sit on the western shore of the Britannia Range and defined by the large fjord of Howe Sound.
The mining claims were discovered in the 1880s and the Britannia Beach Mining and Smelting Company established in the Edwardian years. Copper was first mined in the area in 1903 and the distance from smelters necessitated the construction of an ore concentrator, a system to deliver ore, and a system to ship the ore concentrate. A primitive concentrator, No. 1, was built in 1904, which was upgraded with two more units, collective known as No.2, built in 1914 and 1915. A fire in 1921 destroyed these, and a concrete and steel structure to house a new concentrator was completed (immediately to the right of the 1914 plant) in early 1923. In the late 1920s, Britannia Mines was the most productive copper mine in the British Empire, and it also produced silver and gold.
Now owned by the Britannia Beach Historical Society, it is part of the Britannia Mine Museum.
Background.
In the late 1880s prospectors from Texada Island had surveyed the area for gold, one of them Dr. A. Forbes, then staked claims. It was not until 1898 that trappers among them Oliver Furry, of Furry Creek fame, discovered sulphided copper ore in a mineralized schist. A set of mining claims were made, eventually leading to the establishment of Britannia Mining and Smelting Company, which included claims for mines at four sites named Bluff, Empress, Fairview, and Jane.
Britannia Mines began mining copper ore from Mount Sheer and the surrounding area on the eastern shore of Howe Sound in 1903. Because the ore contained relatively little copper, an ore concentrate was produced before shipment to an ore processing plant. This necessitated the construction of a concentrator, and both an inclined and aerial tramway system to transport crushed ore from the mine to the concentrator. In 1904, a gravity concentrator was installed at the site, capable of processing 200 tons of ore daily. The output was a concentrate of about 10% copper, which was sent to Crofton for smelting. The first shipment was made in December 1905. A holding company called the Howe Sound Company held Britannia Beach Mining and Smelting Company. The Howe Sound Company also owned some mines on Mt. Sicker and a smelter at Crofton near Ladysmith.
Most of the high-grade ore at Britannia Beach had been mined and milled by 1912. To maintain profitability, the mining operation was expanded to mine low-grade ore, requiring a new wooden concentrator. This was installed as two parts, each made of timber, the first in 1914 and the second in 1915. Its design implemented a new flotation technique that had been tested in the original concentrator in 1912. A ground level inclined railway was built to lower the ore down from the Jane Basin mine.
Between the years 1905 and 1915 the mine increased production by a factor of ten.
Much of this was due to the outbreak of the First World War and the demand for copper shell casings and bullet jackets. The Imperial Munitions Board, a overseeing and purchasing body, received most of the copper. To further this expansion, the mine kept expanding with more plant and workers. Also, more houses had to be built to keep them. At its peak, the mine employed 900 men. In this period the ore stopped shipment to Crofton and was sent to the ASARCO smelter in Tacoma.
In the winter of 1921, a fire spread throughout the concentrator building, destroying it and terminating mining operations. Fortunately, fire crews managed to save the pelton wheel powered, hydro electric plant--a small one story structure that sat right beside No.2 Concentrator.
(The mine generated half of its power needs, and the other half came from BC Electric which strung a power line to the mine up the Capilano Valley,) A temporary decline in copper prices provided the company with an incentive to upgrade the concentrator, and it hired San Francisco metallurgical engineering firm Bradley, Bruff, and Labarthe to design a new structure to house it.
Expansion.
In 1922, Britannia Mines began building a new gravity concentrator capable of processing 2,500 tons of ore daily. The monolithic concrete and steel structure to house it, No. 3 Concentrator, was completed in January 1923 on the northwest side of Mount Sheer, and by 1925 Britannia Mines produced more copper ore concentrate than any other mining operation in the British Empire, a distinction it held until 1930. During this time it also produced "significant amounts of silver and gold". The No. 1 Concentrator, which sat adjacent to the mine wharf, was dismantled.
To feed the large new works, dozens of miles of tunnels were cut to ore bodies. The adits stretch high into the mountains and down in the mountain below sea level. Large fans for ventilation, electric lights, pumps and air drills assisted the work.
At No. 3 Concentrator, ore was crushed and pulverised in ball mills. It was then ground into a powder and run through separation machines and flotation mills.
After, it was graded and dried. Ore concentrate is roughly 40 percent metal and needs to go to a smelter for further refining.
Britannia Beach was a company town with its own company store. Workers lived in town and were unable to leave except by scheduled Union Steamship Company boat. Highway 99 was not completed until 1955. The company was very strict with its workers and difficult to work for. The company was unionized only after the war, in 1946. Men had few safety precautions and used hard rock air drills without ear protection. Britannia Beach miners would often go deaf, receiving no compensation.
Description.
The 20-storey building dominates its site, its windows facing northwest into Howe Sound. The building is roughly rectangular, with a base about wide and deep. Each level is between . A ventilation shed added in 1926 protrudes from the top.
The mill received ore at its peak, from its base, where it entered the concentrator. It passed down stages of the concentrator by gravity, through eight levels of the structure. From the bottom level, it was piped directly into the hold of a cargo ship.
Britannia Beach remained in operation until 1974. Many of its business records are held by the UBC Special Collections.
National Historic Site.
The Britannia Mines Concentrator is owned by the Britannia Beach Historical Society, and is part of the Britannia Mine Museum.
The industrial building has become the setting for several films and television programs.


Cinema of Canada

The cinema of Canada or Canadian cinema refers to the filmmaking industry in Canada. Canada is home to several film studios, primarily located in four metropolitan centres: Toronto, Vancouver, Montreal, and Halifax. Industries and communities tend to be regional and niche in nature. Approximately 1,000 Anglophone-Canadian and 600 Francophone-Canadian feature-length films have been produced, or partially produced, by the Canadian film industry since 1911.
Notable filmmakers include David Cronenberg, Guy Maddin, Atom Egoyan, Patricia Rozema, Sarah Polley, Deepa Mehta, Thom Fitzgerald, John Greyson, Clement Virgo, Allan King, Michael McGowan, and Michael Snow, Claude Jutra, Gilles Carle, Denys Arcand, Jean Beaudin, Robert Lepage, Denis Villeneuve, Jean-Marc Vallée, Léa Pool, Xavier Dolan, Philippe Falardeau, and Michel Brault.
The cinema of English-speaking Canada is heavily intertwined with the cinema of the neighbouring United States: though there is a distinctly Canadian cinematic tradition, there are also Canadian films that have no obvious Canadian identity (examples include "Porky's" and "Meatballs"), Canadian-American co-productions filmed in Canada (including "My Big Fat Greek Wedding" and the "Saw" series); American films filmed in Canada (including the "Night at the Museum" and "Final Destination" films, among hundreds of others); and American films with Canadian directors and/or actors. Canadian directors who are best known for their American-produced films include Norman Jewison, Jason Reitman, Paul Haggis, and James Cameron; Cameron, in particular, wrote and directed the highest and third highest-grossing films of all time, "Avatar" and "Titanic", respectively.
Canadian actors who achieved success in Hollywood include Mary Pickford, Norma Shearer, Christopher Plummer, Donald Sutherland, Michael J. Fox, Keanu Reeves, Jim Carrey, Ryan Gosling, Rachel McAdams, Ryan Reynolds, and Seth Rogen among hundreds of others.
History.
Early years.
The first films that were shot in Canada were made at Niagara Falls, by Frenchmen Auguste and Louis Lumière in June 1896 and Edison Studios in December 1896. James Freer is recognized as the first Canadian filmmaker. A farmer from Manitoba, his documentaries were shown as early as 1897 and were toured across England, under the title "Ten Years in Manitoba", in an effort to promote immigration to Manitoba.
The first fiction film, "Hiawatha, the Messiah of the Ojibway", was made in 1903 by Joe Rosenthal. The first Canadian feature film, "Evangeline", was produced by the Canadian Bioscope Company in 1913 and shot in Nova Scotia.
In 1917, the province of Ontario established the Ontario Motion Picture Bureau, "to carry out educational work for farmers, school children, factory workers, and other classes." The Canadian Government Motion Picture Bureau followed suit in 1918. The British Columbia Patriotic and Educational Picture Service, which produced and distributed short films about British Columbia in an attempt to counteract "Americanism" in Hollywood films, operated from 1920 to 1923.
The Cinematograph Films Act 1927 established a quota of films that had to be shown in British cinemas that would be shot in Great Britain as well as nations in the British Empire that stimulated Canadian film production. However the Cinematograph Films Act 1938 mollified the British film industry by specifying only films made by and shot in Great Britain would be included in the quota, an act that severely reduced Canadian film production.
In 1938, the Government of Canada invited John Grierson, a British film critic and film-maker, to study the state of the government's film production and this led to the National Film Act of 1939 and the establishment of the National Film Board of Canada, an agency of the Canadian government. In part, it was founded to create propaganda in support of the Second World War, and the National Film Act of 1950 gave it the mandate "to interpret Canada to Canadians and to other nations." In the late 1950s, Québécois filmmakers at the NFB and the NFB "Candid Eye" series of films pioneered the documentary processes that became known as "direct cinema" or "cinema vérité".
Federal government measures as early as 1954, and through the 1960s and 1970s, aimed to foster the development of a feature film industry in Canada; in 1968 the Canadian Film Development Corporation was established (later to become Telefilm Canada) and an effort to stimulate domestic production through tax shelters peaked in the late 1970s (see "Meatballs" below).
1960s.
The 1961 surrealist 3-D horror film "The Mask" was the first Canadian film to be extensively marketed in the United States since the silent film era. Toronto filmmaker Don Owen's drama "Nobody Waved Good-bye" (1964) is said to have "virtually inaugurated the modern English-Canadian feature-film" and was on the 1984 Toronto International Film Festival list of the Top 10 Canadian Films of All Time. David Secter's 1965 drama "Winter Kept Us Warm" was the first English-Canadian film ever screened at the Cannes Film Festival. Larry Kent directed low-budget counter-culture films such as "The Bitter Ash" (1963), "Sweet Substitute" (1964), and "High" (1967). Michael Snow's 1967 experimental 45-minute structural film "Wavelength" is considered a landmark of avant-garde cinema and was named by the Village Voice as one of the 100 best films of the 20th century.
Gilles Carle's 1965 comedy-drama "La vie heureuse de Léopold Z (The Merry World of Leopold Z)" helped inaugurate a popular national cinema in Quebec. Michel Brault's 1967 drama "Entre la mer et l'eau douce (Between Salt and Sweet Water)" enjoyed critical success and was screened at the 1969 Cannes Film Festival. This film helped launch the career of actress Geneviève Bujold, who would go on to become a major star of Canadian and international films. Paul Almond's 1968 thriller "Isabel", starring Bujold, won four Canadian Film Awards and was among the first Canadian films to be distributed by a major Hollywood studio.
1970s.
1970 saw the release of the influential drama film "Goin' Down the Road", directed by Toronto's Donald Shebib. This film has been listed on each of the once-a-decade Toronto International Film Festival polls of the greatest Canadian films of all time. Bob Clark directed several notable Canadian films in the 1970s including the early slasher film "Black Christmas" (1974) and the mystery thriller "Murder by Decree" (1979), which picked up five Genie Awards, including Best Actor for Christopher Plummer. Toronto-based director David Cronenberg first emerged as a notable figure in Canadian cinema during the late 1970s with the seminal body horror films "Shivers" (1975), "Rabid" (1977) and "The Brood" (1979).
Montreal-based director Claude Jutra won critical acclaim for historical dramas such as "Mon Oncle Antoine (My Uncle Antoine)" (1971) and "Kamouraska" (1973). The former film has been a fixture on the TIFF polls of the Top 10 Canadian Films of All Time. Gilles Carle's films "La Vraie Nature de Bernadette (The True Nature of Bernadette)" (1972) and "La Mort d'un bûcheron (The Death of a Lumberjack)" (1973) both won multiple Canadian Film Awards and were entered at the Cannes Film Festival. Denys Arcand established himself as a filmmaker of note with "La maudite galette (Dirty Money)" (1972) and "Réjeanne Padovani" (1973). Michel Brault became the first (and to date, only) Canadian to win Best Director at Cannes, sharing the award for his film "Les Ordres (Orders)" (1974), which is often listed as one of the best Canadian films of all time. Jean Beaudin's historical drama "J.A. Martin photographe (J.A. Martin Photographer)" (1977) won a Cannes Film Festival Award for Best Actress for Monique Mercure.
1980s.
This decade would see David Cronenberg direct the body horror classics "Scanners" (1981), "Videodrome" (1983) and "Dead Ringers" (1988), the latter of which won 10 Genie Awards, including Best Motion Picture, and is considered one of the greatest Canadian films of all time. Frequent Cronenberg collaborators around this time included actors Nicholas Campbell, Stephen Lack and Robert A. Silverman, cinematographer Mark Irwin, and composer Howard Shore.
The 1980s saw the emergence of the loosely-affiliated Toronto New Wave group of directors, including Atom Egoyan, John Greyson, Bruce McDonald and Patricia Rozema among others. Rozema's 1987 comedy-drama "I've Heard the Mermaids Singing" was the first English-language Canadian feature film to win an award at the Cannes Film Festival, and won a Genie Award for Best Actress for Sheila McCarthy. Winnipeg-based Guy Maddin launched his career as a feature film director with 1988's "Tales from the Gimli Hospital".
Montreal's Denys Arcand gained international recognition in the 1980s with such films as 1986's "Le Déclin de l'empire Américain (The Decline of the American Empire)" and 1989's "Jésus de Montréal (Jesus of Montreal)", which each won prizes at the Cannes Film Festival and took home multiple Genie Awards including Best Motion Picture. Francis Mankiewicz's 1980 drama "Les Bons débarras (Good Riddance)" won eight Genie Awards, including Best Motion Picture, and has been named on several occasions as one of the Top 10 Canadian Films of All Time by the Toronto International Film Festival. Jean-Claude Lauzon's 1987 crime thriller "Un Zoo la nuit (Night Zoo)" was screened at the 1987 Cannes Film Festival and won a record 13 Genie Awards including Best Motion Picture.
Micheline Lanctôt directed the drama films "L'Homme à tout faire (The Handyman)" (1980) and "Sonatine" (1984), becoming the first woman to win the Genie Award for Best Director for the latter film. Léa Pool won several accolades for dramas such as "La Femme de l'hôtel (A Woman in Transit)" (1984), which won a Genie Award for Best Actress for Louise Marleau, and "Anne Trister" (1986).
This decade saw the release of several Canadian slasher films that would become cult favourites, such as "Prom Night" (1980), "Happy Birthday to Me" (1981), and "My Bloody Valentine" (1981). The 1981 science fiction film "Threshold" won Donald Sutherland a Genie Award for Best Actor. The 1983 Bob and Doug Mackenzie comedy "Strange Brew", directed by and starring Rick Moranis and Dave Thomas, was among the first English-language Canadian comedy films to achieve commercial success and is considered a cult classic. The film earned over $8.5 million at the box office on a $4 million budget and won the Golden Reel Award for highest-grossing domestic film of the year.
1990s.
Atom Egoyan directed several films which won widespread critical acclaim in the 1990s: "The Adjuster" (1991) won awards at several festivals, "Exotica" (1994) won the FIPRESCI Prize at Cannes as well as eight Genie Awards including Best Motion Picture, and "The Sweet Hereafter" (1997) became the first Canadian film to win the Grand Prix at Cannes, won seven Genies including Best Motion Picture, and was nominated for two prizes at the 70th Academy Awards. The latter film is frequently cited as one of the greatest Canadian films of all time, placing third in both the 2004 and 2015 TIFF polls. Actors Maury Chaykin, Bruce Greenwood, Elias Koteas, Don McKellar and Sarah Polley each appeared in two of these films, and Egoyan's wife Arsinée Khanjian acted in all three.
David Cronenberg polarized audiences and critics alike in the 1990s with films such as "Naked Lunch" (1991), "Crash" (1996) and "Existenz" (1999). Bruce McDonald directed cult favourites including "Highway 61" (1991) and "Hard Core Logo" (1996), the latter of which won Toronto Film Critics Poll for Best Canadian Film. Don McKellar's directorial debut "Last Night" (1998) featured an ensemble cast of notable Canadian stars such as Sandra Oh (who won her second Genie Award for Best Actress), Callum Keith Rennie, Sarah Polley, David Cronenberg, Geneviève Bujold and McKellar himself. The film picked up a prize at Cannes along with the Toronto Film Critics Association award for Best Canadian Film and three Genie Awards.
Several noted Canadian films exploring the theme of sexuality were released in this decade, including John Greyson's "Zero Patience" (1993) and "Lilies" (1996) and Thom Fitzgerald's "The Hanging Garden" (1997). Toronto director Clement Virgo's 1995 feature film debut "Rude" was nominated for eight Genie Awards, won the Toronto Film Critics Poll for Best Canadian Film and is credited with helping usher in a Black Canadian film aesthetic. Lynne Stopkewich's controversial 1996 erotic thriller "Kissed" won a Best Actress Genie Award for Molly Parker. Vincenzo Natali's 1997 independent science-fiction horror film "Cube" achieved signficant cult status and would go on to spawn a film series.
Jean-Claude Lauzon's 1992 coming of age-fantasy film film "Léolo" won three Genie Awards and is now considered one of the best Canadian films of all time, but it was to be his last film as his life was cut short by a 1997 plane crash. Montreal's Denis Villeneuve made his feature directorial debut with the 1998 drama "Un 32 août sur terre (August 32nd on Earth)", which was screened in the Un Certain Regard section at the 1998 Cannes Film Festival.
The 1997 ice hockey comedy "Les Boys (The Boys)" became the biggest domestic box-office success in Canadian history up to that point, with a take surpassing $7 million in Quebec along with another $4 million in the US and would spawn a series of sequels and a TV series.
2000s.
Denis Villeneuve continued his ascent in the 2000s with the films "Maelström" (2000) and "Polytechnique" (2009), which both took home multiple Genie Awards, including Best Motion Picture. Denys Arcand's "Les Invasions barbares (The Barbarian Invasions)" (2003) was the first Canadian film to win the Academy Award for Best Foreign Language Film and won two awards at Cannes, as well as six Genies including Best Motion Picture and a second Best Actor win for Rémy Girard. The 2005 ice hockey biopic "Maurice Richard (The Rocket)", directed by Charles Binamé, won nine Genies including acting awards for Roy Dupuis (his second win for Best Actor), Julie Le Breton and Stephen McHattie. Jean-Marc Vallée's 2005 coming of age film "C.R.A.Z.Y." won 11 Genie Awards including Best Motion Picture, and in 2015 it was ranked among the Top 10 Canadian Films of All Time by Toronto International Film Festival critics. Montreal director Xavier Dolan's 2009 debut feature film "J'ai tué ma mère (I Killed My Mother)", in which he also starred, picked up three awards at the 2009 Cannes Film Festival.
The 2001 epic film "", directed by Inuit filmmaker Zacharias Kunuk, won the Caméra d'Or (Golden Camera) at Cannes, picked up six Genie Awards including Best Motion Picture, and was named the greatest Canadian film of all time by a 2015 Toronto International Film Festival poll of filmmakers and critics. Atom Egoyan's 2003 historical drama "Ararat" won five Genie Awards including Best Motion Picture and a Best Actress award for Arsinée Khanjian. Sarah Polley made her feature film directorial debut with "Away from Her" (2006), which received two nominations at the 80th Academy Awards and won seven Genie Awards including Best Motion Picture and an unprecedented third Best Actor win for Gordon Pinsent. The First World War drama "Passchendaele" (2008), directed by and starring Paul Gross, picked up five Genies including Best Motion Picture and received the Golden Reel Award for Canada's top-grossing film of 2008.
Winnipeg director Guy Maddin, known for incorporating the aesthetics of Silent-era films into his work, won international acclaim in the 2000s for such films as "Cowards Bend the Knee" (2003), "The Saddest Music in the World" (2003), "Brand Upon the Brain!" (2006), and "My Winnipeg" (2007), the latter of which won the Toronto Film Critics Association award for Best Canadian Film and was named by Roger Ebert as the tenth best film of the decade. Actors Darcy Fehr and Louis Negin each appeared in three of these films.
This decade saw the release of numerous popular Canadian comedy films such as ' (2002), "Men with Brooms" (2002), "Bon Cop Bad Cop" (2006), "Fido" (2006), and ' (2006). The police comedy "De père en flic (Father and Guns)" (2009) was a box-office smash in Quebec and would later be followed by a sequel.
2010s.
The Genie Awards were merged with TV's Gemini Awards in 2013 and renamed the Canadian Screen Awards.
Xavier Dolan continued his rise to prominence in the 2010s, directing and sometimes starring in multiple-award-winning films such as "Les amours imaginaires (Heartbeats)" (2010), "Laurence Anyways" (2012), "Tom à la ferme (Tom at the Farm)" (2013), "Mommy" (2014), and "Juste la fin du monde (It's Only the End of the World)" (2016), the latter of which became the second Canadian film to win the Grand Prix at Cannes.
Denis Villeneuve's 2010 film "Incendies" was nominated for an Academy Award for Best Foreign Language Film and won eight Genie Awards including Best Motion Picture. He followed this up with the English-language surrealist neo-noir psychological thriller "Enemy" (2013), which earned numerous accolades including the 2014 Toronto Film Critics Association award for Best Canadian Film, before departing for Hollywood.
Philippe Falardeau won acclaim for the 2011 film "Monsieur Lazhar", which was nominated for an Academy Award for Best Foreign Language Film and won six Genie Awards including Best Motion Picture. Kim Nguyen's 2012 film "Rebelle (War Witch)" picked up ten Canadian Screen Awards including Best Motion Picture and was nominated for an Academy Award for Best Foreign Language Film, making the third consecutive year a film from Quebec was nominated. The 2013 drama "Le Démantèlement (The Dismantling)", directed by Sébastien Pilote, won a second Best Actor prize for Gabriel Arcand at the Canadian Screen Awards. Sophie Deraspe's 2019 drama "Antigone" was well-received by critics and won five Canadian Screen Awards including Best Motion Picture.
This decade saw impressive directorial debuts from several English-language Canadian filmmakers. Brandon Cronenberg's feature-length directorial debut, the 2012 science fiction horror film "Antiviral", competed in the Un Certain Regard category at the 2012 Cannes Film Festival. Albert Shin directed the films "In Her Place" (2014) and "Disappearance at Clifton Hill" (2019) which were both nominated for multiple Canadian Screen Awards. Matthew Rankin's feature-length directorial debut, the surrealist historical comedy-drama "The Twentieth Century" (2019), won prizes at various film festivals and took home three Canadian Screen Awards.
The 2010s saw a resurgence in Canadian horror and exploitation films such as "Hobo with a Shotgun" (2011), "Backcountry" (2014), "The Void" (2016), "Les Affamés (Ravenous)" (2017), "Pyewacket" (2017), and "Random Acts of Violence" (2019).
Contemporary production and distribution.
As in all cinema, the line between broadcast and cinema continues to be blurred in Canada as the means of production and distribution converge.
A typical Canadian film production is made with money from a complex array of government funding and incentives, government mandated funds from broadcasters, broadcasters themselves, and film distributors. International co-productions are increasingly important for Canadian producers. Smaller films are often funded by arts councils (at all levels of government) and film collectives.
The National Film Board of Canada is internationally renowned for its animation and documentary production. More recently it has been criticized for its increasingly commercial orientation; only one third of its budget is now spent on the production of new films.
Much of Canada's film industry services American producers and films driven by American distribution, and this part of the industry has been nicknamed "Hollywood North".
The major production centres are Toronto, Montreal and Vancouver. In 2011, Toronto ranked third in North America, behind only Los Angeles and New York City, in total industry production; however, for several years previous, Vancouver's industry outputs exceeded those for Toronto.
Alliance Atlantis (acquired by CanWest Global Communications in 2007) is the major Canadian distributor of American and international films and in 2003 it ceased to produce films (and almost all television) to focus almost exclusively on distribution. Lions Gate Entertainment has also become a major distributor in recent years.
Distribution continues to be a problem for Canadian filmmakers, though an established network of film festivals also provide important marketing and audience exposure for Canadian films. The largest and most prominent festivals are the Toronto International Film Festival, considered one of the most important events in North American film, and the Vancouver International Film Festival, but a large number of film festivals throughout the country, both general interest events and specialty festivals devoted to particular genres of film, provide important opportunities for both Canadian and international filmmakers to gain exposure. See also List of film festivals in Canada. Very often, however, a Canadian film's largest opportunity to achieve a significant audience comes from negotiating television carriage rights with a broadcaster such as CBC Television, Crave or Showcase.
Film awards.
Canada's national film awards were first introduced in 1949 as the Canadian Film Awards. Often plagued with organizational problems, they were taken over in 1978 by the Academy of Canadian Cinema and Television to become the Genie Awards; in 2012, the Academy merged the Genie Awards with its Gemini Awards program for English-language television production to create the contemporary Canadian Screen Awards.
Although all Canadian films regardless of language are eligible for the Canadian Screen Awards, Québec Cinéma also presents the separate Prix Iris program for film production in Quebec. A few other regions in Canada also have their own regional film and television production awards, including the Rosie Awards in Alberta and the Leo Awards in British Columbia.
Many of Canada's film festivals present awards to honour the best Canadian and international films screened at each annual event; the most famous and important of these are the awards presented by the Toronto and Vancouver film festivals. The Toronto International Film Festival People's Choice Award, in particular, has built an international reputation as one of the first major "precursor" awards to the Academy Award nomination race. Annual critics' awards are also presented by the Toronto Film Critics Association, the Vancouver Film Critics Circle and the Association québécoise des critiques de cinéma.
Various local chapters of ACTRA, Canada's labour union for actors and actresses, present annual ACTRA Awards to honour performances in film and television production within the chapter's local service area; ACTRA formerly presented Canada's main national television awards from 1972 to 1986, when they were taken over by the Academy of Canadian Cinema and Television as the Gemini Awards. Craft awards are also presented by the Directors Guild of Canada for film and television direction, the Writers' Guild of Canada for screenwriting, the Canadian Society of Cinematographers for film and television cinematography, and the Canadian Alliance of Film and Television Costume and Arts Design for costume design.
As well, the Toronto International Film Festival polls film critics and festival programmers from across Canada to announce an annual Canada's Top Ten list of the year's best Canadian feature and short films.
Problems in the Canadian film industry.
Of all Canadian cultural industries, English-Canadian cinema has the hardest time escaping the shadow of its American counterpart. Between the marketing budgets of mainstream films, and the largely US-controlled film distribution networks, it has been nearly impossible for most distinctively Canadian films to break through to a wide audience.
Although Canadian films have often received critical praise, and the National Film Board has won more Academy Awards than almost any other institution (for both their animation and documentary work), in many Canadian cities moviegoers do not even have the option of seeing such films, as they have poor distribution and are not shown at any theatres. One "This Hour Has 22 Minutes" sketch parodied an Atom Egoyan-like director whose films had won numerous international awards, but had never actually been released or exhibited.
Almost all Canadian films fail to make back their production costs at the box office. For example, "Men With Brooms" made CA$1,000,000 in its general domestic release, which by Canadian standards is fairly high. However, it was made on a budget of over CA$7,000,000. French-Canadian films, on the other hand, are often more successful—as with French-language television, the language difference makes Quebec audiences much more receptive to Canadian-produced films. In most years, the top-grossing Canadian film is a French-language film from Quebec. (See also Cinema of Quebec.) By comparison, Australian films, made in a country with a smaller population than Canada's, more frequently make their money back from the domestic market. Many do comparatively better; the best known example is "Mad Max", made with the then unknown Mel Gibson, and with a budget of A$350,000, and which made A$5.6 million in its domestic release alone.
Although many Canadians have made their names in Hollywood, they have often started their careers in Los Angeles, despite Toronto, Vancouver or Montréal being thriving filmmaking centres in their own right. Some actors or directors who have started their early careers in Canada include: David Cronenberg, John Candy, Lorne Michaels, Dan Aykroyd, Michael J. Fox, Mike Myers, Ivan Reitman, Derek Harvie, Seth Rogen, Eugene Levy, Tom Green, Scott Mosier, and Paul Haggis. However, despite these successes, several actors have favoured moving to Los Angeles to further pursue their careers.
Canada's difficulties in the film industry are often difficult to explain. The following explanations have been proposed for why Canadian films and television have often failed to establish an audience in Canada or internationally:
Case studies: "Porky's" and "Meatballs".
For many years the most successful Canadian film of all time at the Canadian box office was "Porky's"; it was produced by a Canadian team (though directed by Bob Clark, an American, and shot in Florida), but only with one of the major American studios backing distribution. ("Porky's" record was widely reported as broken in 2006 by the bilingual police comedy "Bon Cop, Bad Cop", but that assessment does not take inflation into account. "Porky's" still retains its status as the most successful Canadian film internationally.)
"Meatballs" makes an excellent case study on common criticisms of the Canadian film industry. Produced and shot entirely in Canada on a budget of CA$1,600,000, it was a tremendous hit, one of the most financially successful Canadian films of all time. As with "Children of a Lesser God", although it takes place in a summer camp, there is nothing recognizably Canadian about the location or the characters, except for a Montreal Canadiens sweater. The starring role went to American comedian Bill Murray in his earliest featured film role. The chief love interest was played by Canadian Kate Lynch, who won the Genie Award that year for Best Actress. The casting of Americans in the "Tax-Shelter Era", as well as today, often caters to an American audience. However, it provided Murray with his breakout role. Almost all of its box office gross was in the United States, where it took in US$43,000,000. It received a much more limited release in Canada.
In 2010, "" grossed more than $280 million at the box office internationally and nearly $7 million domestic, making it the most successful production in Canadian film history.
Current developments.
The Department of Canadian Heritage gave Telefilm Canada more funds in 2001 to help develop the Canadian film industry, with the goal of having Canadian feature films obtain five per cent of the domestic box office by 2005. Telefilm divided this between English films then capturing four per cent of the market and French films at 12 per cent. At first, the new initiative did not seem to be making much progress: at the end of 2003, English films represented only one per cent of the domestic box office, while French films made up 20 per cent. The overall goal of the Canada Feature Film Fund now is to have Canadian feature films capture five per cent of the domestic box office by 2006, one year behind schedule. It is now 2014 and they have not met their goal.
According to Telefilm Canada, "From Script to Screen", the two-year-old feature film policy created to improve the success rate of Canadian films, is seeing results. Before the initiative, the market share for Canadian films was 1.4 per cent and is now 3.6 per cent. Furthermore, the French-language cinema accounts for 20 per cent of the market.
In recent years, there has been a cultural resurgence in Canada's aforementioned documentary stream. Films exploring Canada's identity and role on the world stage have become popular. Due to a political and social split between their American counterparts, Canadian independent documentaries have begun garnering a cult status. Current examples are Mark Achbar's award-winning and top grossing Canadian feature documentary "The Corporation", and Albert Nerenberg's underground hit "Escape to Canada". These films not only nurture homegrown talent, inspiring local industry but also creating a unique voice for Canada itself.
In 2015 two Canadian co-productions, partly funded by Telefilm Canada, were nominated for Best Picture at the 88th Academy Awards: "Room" and "Brooklyn".
Notable films.
For all the industry's challenges, quite a few Canadian films have succeeded in making a cultural impact. Some of the most famous or important Canadian films include:
Directors.
Canadian film tends to be more director-driven than star-driven, and have much more in common with the European "auteur" model of filmmaking than with the Hollywood star system. The most famous Canadian film directors are very often the real star power of their films, more so than the actors they cast. Notable Canadian film directors include:
Notable Canadian expatriate directors who are or have worked primarily in Hollywood include:
See also .
Actors.
While countless Canadian-born actors have worked in Hollywood over the decades, there are a large number who have enjoyed significant success in the domestic cinema of Canada. This is a list of performers who have received multiple Canadian Screen Award nominations and/or appeared in many notable Canadian-made films (including international co-productions). Most of these actors are Canadians, but some foreign-born performers who have achieved notable distinction in the Canadian film industry are also included.
Notable Canadian expatriate film actors who are or have worked primarily in Hollywood and only occasionally, if at all, appeared in Canadian-produced films include:
See also .


Point Atkinson Lighthouse

Point Atkinson Lighthouse is a lighthouse erected on Point Atkinson, a headland in southwestern British Columbia named by Captain George Vancouver in 1792, when he was exploring the Pacific Northwest in the ship "Discovery". The first wooden lighthouse went into service in 1875 and was replaced by a reinforced concrete structure in 1914.
History.
The first lighthouse at the site was a wooden structure with an attached keeper's house, built by Arthur Finney of Nanaimo in 1874. It did not go into service until the following year because initially the wrong light was sent from England. The light was above the sea and was visible for . When the visibility was poor, ship captains would sound their foghorn three times, prompting the lightkeeper to pump a horn by hand until the vessel signalled that it was safe to desist.
In 1889, Canadian Pacific Steamships demanded that a fog alarm be added. This was located in a separate building to the west of the lighthouse. It had a rotating drum which was driven by steam to make an audible sound. In 1902, this was replaced by a diaphone fog alarm in which a slotted piston moved inside a similarly slotted cylinder.
The present lighthouse was built in 1914 on granite boulders jutting out into Burrard Inlet in West Vancouver, Canada. The concrete structure was considered at the time innovative in lighthouse design. It is now automated and still in use.
The Point Atkinson Lighthouse may be reached by hiking the Valley Trail in Lighthouse Park.


A Kiss in a Taxi

A Kiss In A Taxi is a lost 1927 American silent comedy film starring Bebe Daniels and directed by Clarence Badger. It is based on a French play, "A Kiss in a Taxi", produced on Broadway in 1925. Famous Players-Lasky produced and Paramount Pictures distributed.


Captain Macklin

Captain Macklin is a 1915 American short drama film directed by John B. O'Brien. A lost film.