Great Canadian Film Directors

"One of Melnyk's goals is to introduce the work of these directors to a wider audience. 'We make films that very few people see. Probably 80 percent of my students had never seen a Canadian film. These directors make superb films.' But, in the end, it is a very personal thing. 'I want to see Canadian films because they do something for my soul.'" Polly Washburn, Prairie books NOW, Fall/Winter 2007

"George Melnyk's aim for his scholarly yet readable Great Canadian Film Directors is to present "a clear understanding of why Canadian directors are so crucial to the development of a distinct cinematic identity, both thematically and aesthetically." To accomplish his purpose, Melnyk, an associate professor of Canadian Studies and Canadian Film Studies at the University of Calgary, and a prolific author, focuses on the films of 20 Canadian directors in 19 essays by respected scholars, some, like the filmmakers themselves, better known than others. The diversity of the presentations is held together by broad categories of identities such as English, French, and Inuit, male and female, and in time frames of "Late Greats," "Contemporary Greats," and "Future Greats" to establish that "the breadth and depth of Canadian cinema is outstanding." In developing his thesis for the diversity and excellence of Canadian film achieved by directors such as Claude Jutra, Norman Jewison, David Cronenberg, Atom Egoyan, Patricia Rozema, immigrant Lea Pool, and Inuit artist and filmmaker Zack Kunuk, Melnyk develops the rationale for his choices and his omissions, and his preference for the adjective "great." His colleagues, in turn, scrutinize the themes and aesthetics of the directors. Kay Armatage, for example, compares the works of Nell Shipman and Joyce Weiland. Christopher Gittings profiles director John Greyson and his "queer aesthetic . [that] broadens our perspective on Canadian cinema." Aaron Taylor analyzes the work of Bruce McDonald, "the 'bad boy' of Canadian Cinema," while Jacqueline Levitin's discourse features Chinese-Canadian Mina Shum's films, and Kalli Paakspuu discusses the necrophilia in Lynne Stopkewich's work. The groundbreaking, award-winning film Atanarjuat: The Fast Runner, by Inuit director Kunuk, is the subject of Jerry White's erudite essay. Although admittedly not the last word on why or who of Canada's film directors have attained or will achieve greatness, Melnyk definitely establishes the diversity and excellence of the "Greats" included in the insightful and interesting essays in his book. Academics, film students, and teachers will find it a rewarding read." - M. Wayne Cunningham

"Canadians too often overlook the existence of film directors who have made a major contribution in defining our culture. With Great Canadian Film Directors, George Melnyk has skillfully put together essays on 20 directors by a number of scholars and critics, focusing on their diversity, complexity, imagination and talent. Why directors and not stars? Because our star system is practically non-existent....[T]he list is impressive and worth our scrutiny. Some names may be familiar, other decidedly not. Surprisingly, genders are well represented." Nicholas Spillios, Edmonton Journal, November 25, 2007

"...We should be grateful that Melnyk has been the facilitator for some excellent essays. The most original pieces include those of Jerry White on Zach Kunuk's career and artistic perspective; Jacqueline Levitin on Mina Shum's difficult but fruitful creative negotiation of her Chinese Canadian status; Patricia Gruben's thoughtful analysis of Gary Burns' work' and Bart Testa's valiant and exceedingly well informed attempt to cut through the misconceptions about Norman Jewison and his films. Students grappling with Canadian cinema for the first time will be grateful for Bill Beard's views on Atom Egoyan; Kay Armatage's feminist take on Nell Shipman and Joyce Wieland's curtailed careers; Pierre Veronneau's masterly overview of Denys Arcand's themes' Brenda Austin-Smith's astute treatment of Patricia Rozema's cinema; and Peter Dickinson's critique of Robert Lepage's oeuvre. Is is also good to see attention given to Lea Pool. ... The sins of omission are endless in any anthology, and I'm sure Melnyk would be the first to admit that another book could be published on a slew of other directors. ... As it stands, the collection contains some original work, many solid introductions, and only a few missed opportunities." Brian McIlroy, Canadian Literature, Summer 2008

"One Saturday in the winter of 1965 I talked my father into driving me to Toronto from our home in Oshawa, Ontario, to see a particular movie that I knew I would never see at the local cinema. I was 14 years old. What I saw that cold night made a profound and lasting impression on me. I grew up watching Hollywood westerns and commercial television shows and, like most people of my generation, I thoughtlessly consumed those products for escape and entertainment. Never before had I seen a film that encouraged me to think about myself, my own life and the province that was my home. The movie was called Nobody Waved Goodbye. It was produced at the National Film Board of Canada and directed by a Torontonian named Don Owen. Thus began my 40-year love affair with Canadian cinema. By becoming a passionate fan of Canadian cinema in the 1960s, I joined a relatively small group of people who go to see Canadian films because it nurtures our souls and provides us with powerful food for thought from a familiar point of view. [F]or the intrepid voluntary viewers out there, this book will be an invaluable resource-a map to navigate their courageous journey through the wonderfully contradictory worlds of our brave film artists and the almost invisible yet burning hearts of those who live on the frosty masthead of the North American continent." Clarke Mackey, Literary Review of Canada, October 2007