000			03774cam a2200469Mi 4500
001			on1037916154
003			OCoLC
005			20240726105328.0
008			130828s2013 qucac ob 001 0 eng d
040			_aSTF _beng _epn _erda _cSTF _dNLC _dIDEBK _dCELBN _dNT _dE7B _dCCO _dCDX _dJSTOR _dNLGGC _dDEBSZ _dYDXCP _dCOO _dEBLCP _dLOA _dAGLDB _dMOR _dPIFAG _dFVL _dOTZ _dMERUC _dZCU _dIOG _dU3W _dEZ9 _dOCLCF _dOCLCO _dWRM _dUAB _dVNS _dNRAMU _dICG _dVT2 _dCOCUF _dCEF _dINT _dAU@ _dOCLCQ _dOCLCO _dUWO _dWYU _dYOU _dS8J
016			_a20139016767
016			_z20139016759 (print)
016			_aC20139016759
020			_a9780773588943
020			_a9781299828476
020			_a9780773541450
043			_an-cn---
045			_ax4x7
050	0	4	_aTR26 _b.O345 2013
049			_aMAIN
100	1		_aPayne, Carol. _e1
245	1	0	_aThe official picture : _bthe National Film Board of Canada's Still Photography Division and the image of Canada, 1941-1971 / _cCarol Payne.
260			_aMontreal [Canada] : _bMcGill-Queen's University Press, _c(c)2013.
300			_a1 online resource (x-xix, 244 pages) : _billustrations, portraits.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aMcGill-Queen's/Beaverbrook Canadian Foundation studies in art history ; _vv. 10
504			_a2
505	0	0	_apart 1. Surveying the history of the still photography division, 1941-1971 -- _tpart 2. Readings in the archive -- _tpart 3. Revisiting the archive.
520	0		_a"Mandated to foster a sense of national cohesion The National Film Board of Canada's Still Photography Division was the country's official photographer during the mid-twentieth century. Like the Farm Security Administration and other agencies in the US, the NFB used photographs to serve the nation. Division photographers shot everything from official state functions to images of the routine events of daily life, producing some of the most dynamic photographs of the time, seen by millions of Canadians - and international audiences - in newspapers, magazines, exhibitions, and filmstrips.
520	0		_aIn The Official Picture, Carol Payne argues that the Still Photography Division played a significant role in Canadian nation-building during WWII and the two decades that followed. Payne examines key images, themes, and periods in the Division's history - including the depiction of women munitions workers, landscape photography in the 1950s and 60s, and portraits of Canadians during the Centennial in 1967 - to demonstrate how abstract concepts of nationhood and citizenship, as well as attitudes toward gender, class, linguistic identity, and conceptions of race were reproduced in photographs. The Official Picture looks closely at the work of many Division photographers from staff members Chris Lund and Gar Lunney during the 1940s and 1950s to the expressive documentary photography of Michel Lambeth, Michael Semak, and Pierre Gaudard, in the 1960s and after. The Division also produced a substantial body of Northern imagery documenting Inuit and Native peoples. Payne details how Inuit groups have turned to the archive in recent years in an effort to reaffirm their own cultural identity.
530			_a2 _ub
610	2	0	_aNational Film Board of Canada. _bStill Photography Division.
650		0	_aPhotography _zCanada.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=515336&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hTR _m2013 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c96723 _d96723
902			_a1 _bCynthia Snell _c1 _dCynthia Snell