Without a strong NFB, Canadians will lose sight of who we are

By Barry Rueger
Published: Globe and Mail
June 29, 2024
1148 words

Bill Mason camera helmetWhen I finally bought myself a lovely, red canoe in 1997, it was because I spent my youth, 30 years earlier, watching the many canoeing films by the National Film Board’s legendary Bill Mason.

I recently rewatched Paddle to the Sea, the Mason classic that virtually every child in Canada saw in the 1960s in elementary school. The 1966 film tells the story of a carved, wooden toy canoe containing an “Indian” paddler. The canoe was set free in a river in Northern Ontario, and eventually was carried down through the Great Lakes and out into the Gulf of Saint Lawrence. On its journey, the little canoe was aided by many people – and one dog – who picked it up, rescued it and set it once again on its course to the ocean.

I saw that film during an era when there was no bigger thrill than entering a classroom and seeing a big 16-millimetre film projector and a collapsible white screen. Watching the film again, I noticed some things I hadn’t seen the first time. I was struck by the stereotyped First Nations paddler, but also by the powerful environmental message: The Great Lakes were being polluted by humans, with sewage and industrial waste dumped into the waters. I realized that when I saw the film for the first time, at age 8 or 9, it was the moment I first became an environmentalist, as did a great number of children in my generation.

In an age before the internet, and even cable TV, NFB releases shaped the way generations of Canadian children saw their country, saw the broader world, and saw themselves. Now, it seems as if our country has lost a collective sense of who we are. Sadly, the decline of the NFB has contributed to Canadians losing sight of who we are as a nation and what makes us unique.

As a young person, I learned about the Maritimes through films such as Rising Tide and The Sea Got in Your Blood, saw Saskatchewan grain harvested in Wheat Country, and learned about nickel mining in Sudbury in Miner. Sitting in a classroom in Kelowna, B.C., we experienced dog sleds and igloos in the Northwest Territories (At The Winter Sea Ice Camp), and saw famous singers like Paul Anka and Leonard Cohen – famous Canadian singers in an era when virtually all popular music came from the United States.

Like many of my generation, I allowed NFB films to shape me politically and socially. As I grew older, I explored the experimental and creative reaches of the NFB. The animation of Norman McLaren led me to more political films, such as his 1952 anti-war film Neighbours, and later in my mid-20s, in a church basement in Vancouver, to the controversial and influential anti-porn film Not a Love Story: A Film About Pornography. And as late as 1993, Alanis Obomsawin’s documentary Kanehsatake: 270 Years of Resistance, led me to a strong understanding of First Nations issues, and especially the standoff in Oka.

This was an era when the NFB still had a global reputation. It was well-funded, had production centres all across Canada, and most importantly, was widely known to Canadians and was a source of national pride. It was the very model of a national media organization, a model that filmmakers in other places envied.

In Britain, every person knows or has visited the British Museum. Paris has the Louvre, and Washington has the Smithsonian. Each of these institutions is a cornerstone of how those nations see themselves. Even in these divided times, Americans will look at the Smithsonian and agree: “This is our history.”

Canada lacks a national institution that teaches us who we are. Part of that reflects our relative youth as a single nation, with Newfoundland only joining Canada in 1949, and Nunavut being created 50 years after that. And part of that reflects a population spread out sparsely across our vast, far-flung country, where you can drive for a day or more between populated centres. Those distances mean that the majority of Canadians have never visited the Museum of Civilization or the National Gallery. Instead, for many decades, the National Film Board was the glue that held us together.

In May, The Walrus wrote about staffing cuts at the NFB. According to the NFB’s union, the Canadian Union of Public Employees, 80 out 380 full-time NFB positions were eliminated this year. Regional studios in Edmonton, Halifax and Winnipeg, as well as “interactive studios” in Vancouver and Montreal, have been closed. The union says the recent cuts followed several decades of underfunding. Even though both the NFB brass and the Liberal government claim that the organization is being modernized, or reinvented, the sad truth is that these are insupportable blows and that the film board was already a mere shadow of what it was when I was young. Without production centres in different regions of Canada, and without employees with the time and expertise to create and commission new works, the NFB will cease to be a force that binds our country together.

Despite the boundless reaches of YouTube and TikTok, and despite a Canadian commercial film industry churning out police dramas and Hollywood blockbusters, there is still a desperate need for Canada to have a strong Canadian media production organization that will support the filmmakers and films that Disney or Lionsgate or Netflix won’t touch.

When I was young, the government of Canada was genuinely proud of the National Film Board, and understood that it played a critical role in helping Canadians love and cherish their country. Along with the CBC, the NFB told Canadian stories to Canadians. Even though the CBC is finally seeing some funding to replace the drastic cuts of the 1980s and 90s, the production of popular TV and radio programs is different from the thought-provoking films created at the NFB.

The NFB can still be the place where films are produced that are about us, and where filmmakers of any age can go to learn their craft and produce uniquely Canadian movies and documentaries. The National Film Board can rediscover its role as a cinematic hothouse; a place where non-commercial and experimental forms can thrive, and where the kind of filmmaking happens that will once again influence filmmakers globally.

Just as it was in the past, this is still a time when Canadians – especially young Canadians – need a place where they can see themselves portrayed as genuine Canadians, not as thinly disguised Americans. For that to happen, the government needs to step away from bottom-line concerns, and embrace the value of film as art and film as an instrument for social change. That will require secure and generous long-term funding commitments, and the restoration of production offices in every corner of Canada. The National Film Board is the soul of our country, and it needs to be preserved.

Bad news

By Barry Rueger
Published: THIS Magazine
January/February, 2024
640 words
Read PDF.

THIS Magazine Jan/Feb 2024

One writer’s desperate howl for a good old-fashioned newspaper

WHEN I WAS 11, WE WENT ON A SCHOOL FIELD TRIP TO THE KELOWNA DAILY COURIER.

I can still remember the linotype machines and drum-shaped metal plates of text and pictures that were loaded into the giant presses to print the paper’s pages.

They gave us a still-hot copy of that day’s paper. I kept it for years, and for decades I‘ve subscribed to the local daily newspaper everywhere I’ve lived. For the past year, that’s been in Liverpool, on the South Shore of Nova Scotia. Since arriving, I’ve realized that we’re in a news desert; a place where Facebook is the beginning and end of local news. That situation grew even worse when the Liberal government enacted Bill C-18, the Online News Act.

Since August, two months after Bill C-18 received royal assent, Facebook has refused to allow users to post Canadian news stories. For Facebook’s owner, Meta, leaving entire towns and regions with no local news whatsoever is a better choice than agreeing to pay the news organizations whose work Facebook users have been reporting.

Liverpool is a place where daily newspapers really don’t exist. Outside of one store in Halifax we can’t buy a Globe and Mail out here, there are no local dailies, and the tiny weeklies are hard to find. Nova Scotia’s largest paper, the Halifax Chronicle Herald, recently stopped printing on  Mondays, and has cut back on its home delivery. Still, every now and then one of the big papers or the CBC would run a story about Liverpool, and someone would post a link to it on a local Facebook page. Now, even that isn’t possible, and in the meantime, the prolonged death of newspapers continues.

In September the Hamilton Spectator shut down its newsroom, and its owner Torstar is ceasing to print dozens of small local papers, moving them online instead. Similar shutdowns are happening in small-town British Columbia.  It seems Southern Ontario and parts of B.C. are about to become news deserts just like southern Nova Scotia. Yes, you can still subscribe to many publications online, but there is a tangible difference between holding a printed paper and reading news on a screen. The printed page establishes the trustworthiness of the news outlet. Having trained reporters and editors and a physical printing press requires an investment that almost always leads to serious journalism. The time and money spent on reporters and editors is one reason why the New York Times and the Globe and Mail are still considered reliable. These publications have a long history as trusted news sources, and still feel a duty to maintain those standards. One may not like their editorial slants, but few seriously question the quality of their reporting.

In Liverpool, on the other hand, we just suffered through nearly two months of a boil-water advisory, and unless you followed the Facebook page for Queens County you wouldn’t have known what was—or wasn’t—happening. Because there are no local reporters, there was also no one asking questions about why an entire town had no drinkable water.

Meta’s actions are not new. For decades, the handful of publishers who control almost all of our news outlets have dramatically reduced reporting staff while shrinking newspaper page counts, and at the same time have closed or merged dozens of small local papers that they’d acquired. What Nova Scotia’s South Shore is experiencing, and what southern Ontario and B.C. are about to experience, is the harsh reality of living in a place where media ceases to be the watchdog that holds governments and corporations accountable, and where there’s no trusted source for people to sort fact from fiction.

Sometime before 2000, 30 years after my field trip, I visited the Conrad Black-era Hamilton Spectator with a friend who worked there. My vivid memory is of hundreds of square meters of blue carpet – half of the giant newsroom – sitting empty of furniture.  Governments turned their heads while Black decimated newsrooms, just as they turn their heads today.

-BARRY RUEGER

In praise of librarians, defenders of the written word

Published: Globe and Mail
February 19, 2022
897 words

A note to librarians and public libraries:  Please feel free to republish this column as needed.  If you do so please let me know, or send me a copy, and make sure to credit myself, the Globe and Mail, and my website https://appalbarry.com.

In 1968, when I was 12 years old, my world was almost entirely defined by the science fiction that I read at the Kelowna, B.C., public library. I could name all of the spaceships in Robert Heinlein books, was intimately familiar with Mrs. Whatsit, Mrs. Who, and Mrs. Which in Madeleine L’Engle’s A Wrinkle in Time, and had read and reread I, Robot and The Martian Chronicles.

Inside the small one-story red-brick building on Ellis Street was a magic world that protected and comforted me. On those shelves I first discovered the seeds that germinated into almost every idea and belief that I have today.

I am embarrassed to admit that I don’t remember the names or faces of any of these librarians. But I remember the smell of the library, and the dust motes in the sunshine that streamed in from the big windows above the bookshelves. As I write I can feel myself pushing through the big double doors, turning left and walking into the big reading room for adults. I remember the counter where the librarians, with their ink pads and date stamps, waited to check out my books.

My family had moved to Kelowna from Calgary a few years earlier. I was the new kid. I wore glasses. I was picked on and bullied and was chosen last for every team. So I did what so many children like me do: I lived at the library, and inside the books that I brought home from its shelves.

I was a voracious reader. I’d burned through everything in the children’s section and was searching for something new. That’s when I asked one of those un-named librarians for help, and she led me out of the children’s room, and showed me the shelf of Robert Heinlein’s books for adult readers. She quietly explained to me that my library card was equally valid in either the children’s or adult section and that it would allow me to borrow any book in any part of the library. That librarian changed my life.

Twelve-year-old me couldn’t have expressed it in words, but I was overwhelmed by the honour, and the responsibility, of being told that, despite my age, I was allowed to read anything and everything in that library. For the first time in my life, I was being treated like an adult. I knew this was something special.

I remember beginning with Mr. Heinlein and Ray Bradbury and then moving on to other authors with a spaceship sticker on the spine of the book. As I scoured the shelves, I discovered that science fiction was not just about rocket ships and aliens, it was about societies and cultures.

Philip José Farmer took me along on The Fabulous Riverboat, and that twisted version of Tom Sawyer prompted me to discover the original Samuel Clemens. Ursula K. Le Guin upturned my understanding of politics and opened my eyes to characters that were neither male nor female, and surely prepared me for the coming decades of gay liberation, and now trans acceptance.

When I discovered Harlan Ellison’s groundbreaking Dangerous Visions and the sometimes drug-addled authors in that series, I realized that the world was much stranger and more fascinating than what I read in Kelowna’s The Daily Courier. And I learned that some books – such as Gore Vidal’s 1968 Myra Breckinridge – were best kept under cover for fear of outraging my father.

I stepped into the adult side of the library at a time when a seemingly endless stream of books not only explored “deviant” culture but also celebrated it as well. Reading about these dangerous and damaged people showed me that I wasn’t alone. That wasn’t something that I could learn from my family or friends. I had to learn it from books.

Being young means being unfocussed. At the same time I was devouring countercultural science fiction I was also throwing myself into non-fiction, scouring the Dewey Decimal system from the 100s – Witchcraft and Bulfinch’s Mythology – all the way down to the 900s and the Holocaust.

At 12, I already knew the horrors of Nazi Germany, and about the concentration camps at Buchenwald and Auschwitz. It never occurred to me that I might be too young to learn this part of our history.

Unfortunately, this path to enlightenment has been obstructed in McMinn County, Tenn., where the local school board recently removed Art Spiegelman’s landmark graphic memoir, Maus, from its curriculum.

McMinn County is not an isolated case. Across Canada and the United States, there are groups who demand that one book or another be removed from public view, from school curriculums, or from libraries. In the U.S. there have even been threats of criminal charges against public librarians.

Freedom to Read Week, which begins Feb. 20, is the time when our local librarians stand up for the books and authors that some people would ban. It’s also the time when some of us stand up to defend our librarians.

Every book in a library is there because a librarian believes it is worth reading. Unlike the self-appointed censors in Tennessee, my librarians in Kelowna were willing go the extra length to open doors and share the joy of learning with young people. Unlike the school board members in McMinn County, my librarians understood that reading widely and with abandon makes children stronger, and wiser, and sometimes kinder.

Music at home: When art gets social

Published: The Global Canadian (pdf)
July 12, 2018
435 words

Jack Li, clarinet and Scott Meek, piano (Music Friends past event)
Jack Li, clarinet and Scott Meek, piano (Music Friends past event)

When Tamara Leger launched Lions Bay House Concerts in 2015 she wanted to create an event that would allow neighbour to meet neighbour in the town of 500. Since then she’s found that her mix of folk, jazz, and art events has become an artistic success as well. Her concerts include a potluck dinner in a different home each time, and are as much social as musical.

In coming weeks she’ll be presenting award-winning Fingerstyle guitarist Jordan Brodie, regarded as “one of the best young guitar players in Australia”, at a private home in Dundarave on Saturday July 14th, and Montreal-based musician Cécile Doo-Kingué at a home in Lions Bay on Saturday July 28th. Continue reading “Music at home: When art gets social”

DNV proposal for $7 million worth of developer funded public art failed to get rave reviews

Published: The Global Canadian (pdf)
June 9, 2018
817 words

Lawrence Argent’s “I See What You Mean,” the great blue bear that is part of the Colorado Convention Centre

An ambitious plan to fund a decade of Public Art in the District of North Vancouver faced heavy criticism when presented to Council during an April Council Workshop. The draft plan proposed an investment of $7 million between 2018 and 2031, funded primarily by property developers through their Community Amenity Contributions (CAC).

The plan presented by Public Art Coordinator Lori Phillips and Heather Turner, Director of Recreation & Culture, included $5 million for site specific works in each of the four new “town centres “– Lynn Valley, Lynn Creek, Lions Gate, and Maplewood Village – and $2 million for works placed in areas like Edgemont, Queensdale, and Deep Cove, as well as alongside trails and in parks. The increased funding would also ensure that existing and future works can be maintained. Continue reading “DNV proposal for $7 million worth of developer funded public art failed to get rave reviews”