Where's Albania? : staking out the politics of the real and reality in documentary cinema

This thesis, entitled, "Where's Albania? Staking Out the Politics of the Real and Reality in Documentary Cinema," charts the documentary tradition's path from its first incarnations, as filmed travelogue or ethnographic study, for example, right through to its development as a form acting as an objective observer, reflexive commentator, and finally, as a postmodern hybrid. This thesis begins by locating the documentary tradition's origins in realism. Foregrounding documentary cinema as a realist style is important in that it is a contention that spans this entire study. After working through the numerous modes of documentary as outlined by Bill Nichols, I suggest the documentary is often best understood as a hybrid form drawing on numerous modes and conventions. This argument permits my study to make a shift into postmodern theory, wherein I examine postmodernism's relationship to the documentary both as being influenced by it, but also as subsequently forcing documentary cinema to look back at itself and reevaluate the claims it has made in the past, and how postmodernism has drawn these claims to the surface of debate. My thesis concludes with a study of the mockumentary. This analysis confirms the link between postmodernism and documentary, but perhaps more importantly, this analysis investigates postmodemism's critique of the image and representation in general, two elements historically linked to documentary cinema's success as "truth teller."

District general orders of Maj.-Gen. Sir Isaac Brock from June 27th, 1812-Oct. 16th, 1812 [and] instructions sent to officers commanding forts / by Maj.-Gen. Brock shortly before the attack on Queenston. --

"Certain of these orders ... have been printed in Col. E. Cruikshank's Documentary history of Niagara." Created on behalf of the Women's Canadian Historical Society of Toronto

Power, resistance and Spanish Residential School

This thesis explores the relationship between exercises of disciplinary power and acts of resistance as they relate to the negotiation of identities at Spanish Residential School between the years of 1878 and 1930. The school itself, originally Wikwemikong Industrial School, was administered by the Jesuits and the Daughters of the Heart of Mary and relocated to Spanish, Ontario in 1913. Various archival and printed sources have been used to reveal methods of disciplinary power that administrators used to reshape the Aboriginal students. However, despite their incessant efforts, the administrators of Spanish Residential School did not succeed in completely reforming their pupils. The documentary record, then, also suggests that students at Spanish Residential School, although confined in a very oppressive institution, creatively used opportunities to alter their circumstances.

Clendenan-Thompson family fonds

Daniel Clendenan (1793-1866) was the son of Abraham Clendenan, a private in Butler’s Rangers. He was married to Susan[na] [Albrecht ] Albright, daughter of Amos Albright. Daniel and Susan[na] had twelve children and belonged to the Disciple Church. In 1826 Daniel Clendenan purchased Part lot 14, Concession 6, Louth Township from Robert Roberts Loring. On this property he built a home and conducted the business of blacksmithing and along with William Jones operated a lumber mill. Volume 1 and the first part of Volume 2 are Daniel Clendenan’s account books. Daniel and his wife Susan are buried in the Vineland Mennonite cemetery. Daniel and Susan[na]’s youngest daughter, Sarah, married widower Andrew Thompson (1825-1901), son of Charles and grandson of Solomon. Andrew Thompson had settled in the Wainfleet area in 1854 and had owned a mill in Wellandport. Daniel Clendenan, in ill health, passed ownership of Lot 14, Concession 6, Louth Township to his son-in-law Andrew Thompson. Robert Roberts Loring, the original owner of lot 14, concession 6 in Louth was born in September of 1789 in England. He joined the 49th Regiment of Foot as an ensign in December of 1804 and arrived in Quebec the following July. He served with Isaac Brock and Roger Sheaffe. In 1806 he was promoted to lieutenant. Loring was hired by Lieutenant General Gordon Drummond and accompanied him to Ireland in 1811, but the outbreak of war in the States in 1812 drew Loring back to Canada. On June 26, 1812 Loring became a captain in the 104th Regiment of Foot. On October 29 of the same year, he was appointed aide-de-camp to Sheaffe who was the administrator of Upper Canada. During the American attack on York in April 1813, Loring suffered an injury to his right arm from which he never recovered. In December of 1813, Drummond assumed command of the forces in Upper Canada and he appointed Loring as his aide-de-camp, later civil secretary and eventually his personal secretary. Loring was with Drummond in 1813 at the capture of Fort Niagara (near Youngstown), N.Y. He was also with Drummond in the attacks on Fort Niagara, settlements along the American side of the Niagara River, and then York and Kingston. In July of 1814 he was promoted to brevet major, however he was captured at the Battle of Lundy’s Lane and he spent the remainder of the conflict in Cheshire, Massachusetts. One of his fellow captives was William Hamilton Merritt. Loring remained in the army and had numerous military posts in Canada and England. He retired in 1839 and lived the last of his years in Toronto. He died on April 1, 1848. Sources: http://www.biographi.ca/en/bio/loring_robert_roberts_7E.html and “Loring, Robert Roberts” by Robert Malcomson in The Encyclopedia Of the War Of 1812 edited by Spencer Tucker, James R. Arnold, Roberta Wiener, Paul G. Pierpaoli, John C. Fredriksen

Andrew Bloomfield collection, 2006-2012

Andrew Bloomfield, and his twin sister Victoria, were born on May 6, 1968 in Auckland, New Zealand. The following year, the family moved to Guelph, Ontario. It became apparent from the time Andrew was 14 months old that he differed considerably from his twin sister, and he was subsequently diagnosed with autism when he was four years old. As a result, he lived away from his family for much of his early life in order to participate in programs for autistic people. Andrew found this very difficult, but also made some significant progress. He became able to relate to and care for his dog, and was able to express his thoughts with Augmentative and Alternative Communication, especially using Supported Typing. His twin sister Victoria was an important person in his life, and her untimely death in a car accident in 1996 devastated him. However, his network of friends and family have provided immense support and helped him build a fulfilling and meaningful life. In 2004 Andrew founded a group of other adult communicators who "type to talk" which he named "Bridges-Over-Barriers". They meet monthly in Guelph and contributed to the 2010 volume with accompanying documentary film on DVD. He lives in his own home in Guelph, guaranteed by a housing trust, and has written several books, including an autobiography, Bridges over Barriers in My Life with Autism.

Disquietude: A Sonata-Form Inquiry Into Multiliteracies Practices in an EAL Classroom

This narrative case study describes an English as an Additional Language teacher’s struggle to understand her young adult learners’ apparent resistance toward multiliteracies pedagogical practices in a college setting. Multiliteracies Pedagogy (New London Group, 1996) advocates the use of digital media, and home languages and culture, to engage diverse youth in designing personally meaningful multimodal texts that can significantly impact learner identity, voice, and agency. This arts-based study uses an innovative sonata-style format to document the making of a class documentary, accompanied by teacher reflections on the video project in the form of poetry, journal excerpts, and classroom dialogue. The sonata form provides a unique methodology for teacher inquiry, allowing the teacher-researcher to explore the ways in which curriculum, pedagogy, and sociocultural influences intersect in the classroom. The study does not end with a clear resolution of the problem; instead, the process of inquiry leads to deeper understandings of what it means to teach in the complex worlds of diverse learners.

Raising Creativity: Exploring How Creativity Can be Nurtured in Educational Contexts

The question of how we can encourage creative capacities in young people has never been more relevant than it is today (Pink, 2006; Robinson as cited in TEDtalksDirector, 2007; Eisner as cited in VanderbiltUniversity, 2009). While the world is rapidly evolving, education has the great challenge of adapting to keep up. Scholars say that to meet the needs of 21st century learners, pedagogy must focus on fostering creative skills to enable students to manage in a future we cannot yet envision (Robinson as cited in TEDtalksDirector, 2007). Further, research demonstrates that creativity thrives with autonomy, support, and without judgment (Amabile, 1996; Codack [Zak], 2010; Harrington, Block, & Block, 1987; Holt, 1989; Kohn, 1993). So how well are schools doing in this regard? How do alternative models of education nurture or neglect creativity, and how can this inform teaching practice all around? In other words, ultimately, how can we nurture creativity in education? This documentary explores these questions from a scholarly art-based perspective. Artist/researcher/teacher Rebecca Zak builds on her experience in the art studio, academia, and the art classroom to investigate the various philosophies and strategies that diverse educational models implement to illuminate the possibilities for educational and paradigmatic transformation. The Raising Creativity documentary project consists of multiple parts across multiple platforms. There are five videos in the series that answer the why, who, how, what, and now what about creativity in education respectively (i.e., why is this topic important, who has spoken/written on this topic already, how will this issue be investigated this time, what was observed during the inquiry, and now what will this mean going forward?). There is also a self-reflexive blog that addresses certain aspects of the topic in greater depth (located here, on this website) and in the context of Rebecca's lived experience to complement the video format. Together, all video and blog artifacts housed on this website function as a polyptych, wherein the pieces can stand alone individually yet are intended to work together and fulfill the dissertation requirements for Rebecca's doctorate degree in education in reimagined ways.