Film & Performance Studies / Film Studies / Canadian Cinema

Hamilton Babylon is a fascinating study of the tension between art and business in the growth of the Canadian film industry.

Featuring chapters on Pontypool, Ginger Snaps, 1970s slasher films, Quebec horror, and the work of David Cronenberg, among many others, The Canadian Horror Film unearths the terrors hidden in the recesses of the Canadian psyche.

Bonnie Sherr Klein’s “Not a Love Story” provocatively examines the first Canadian film to explore pornography’s role in society from a feminist perspective.

In John Paizs’s ‘Crime Wave,’ writer and filmmaker Jonathan Ball offers the first book-length study of this curious Canadian film.

Few studies of Canadian cinema to date have engaged deeply with genre cinema and its connection to Canadian culture. Ernest Mathijs does just that in this volume, which traces the inception, production, and reception of Canada’s internationally renowned horror film, Ginger Snaps (2000).

Varga illuminates how the film can be viewed through the lens of Harold Innis's theories of communication and culture, opening up the work of this great Canadian political economist to film studies.

Pevere provides behind-the-scenes history and explores how the movie’s meaning and interpretation have changed over time.

Featuring interviews with McDonald himself and others involved in the film, Bruce McDonald’s ‘Hard Core Logo’ provides an engaging look at one of Canada’s most mythologized movies.

Through an exploration of My Winnipeg's major thematic concerns - memory, the cultural archive, and how people and objects circulate through the space of the city - Wershler contends that the result is a film that is psychologically and affectively true without being historically accurate.

The fifth volume in the Canadian Cinema series, this work is an accessible and engaging introduction to a controversial film and its fascinating director.

Into the Past provides a complete and systematic critical commentary on each of Maddin's feature films and shorts, from his 1986 debut film The Dead Father through to his highly successful 2008 full-length 'docu-fantasia' My Winnipeg.

Wieland specialist Johanne Sloan offers a fascinating new perspective on The Far Shore, making it more accessible by discussing Wieland's utopian fusion of art and politics, the importance of landscape within Canadian culture, and the on-going struggle over the meaning of the natural environment.

Tom McSorley traces the genesis, production, and reception of Egoyan's fourth feature film, from its Cannes Film Festival premiere to its North American commercial release.

David Cronenberg's A History of Violence - the lead title in the new Canadian Cinema series - presents readers with a lively study of some of the filmmaker's favourite themes: violence, concealment, transformation, sex, and guilt.

André Loiselle presents the first in-depth analysis of both Arcand films within the context of Quebec culture.

Dickinson has written a lively and engaging study that is sure to resonate with readers curious about the intersection of Canadian cultural production and broader issues of gender and national identity formation.