National Film Board of Canada

During McLean's tenure film production was divided into four units in 1948. Unit A dealt with agriculture, non-English, and interpretative films, Unit B dealt with sponsored, scientific, cultural, and animated films, Unit C dealt with theatrical, newsreels, tourist, and travel films, and Unit D dealt with international affairs and special projects. This system continued until its abolition on 28 February 1964 when it had seven units, five English-language and two French-language.

In 1947, Grant McLean, the cousin of the NFB commissioner, shot The People Between and the Secretary of State for External Affairs's department stated that some parts of the film were too favorable towards the Chinese Communist Party. Quebec Premier Maurice Duplessis had NFB films removed from schools using accusations of communism.

The Royal Canadian Mounted Police discovered that an employee for the NFB's Production Division, who was a communist, took photos of top-secret military equipment. The Department of National Defence prohibited the NFB from making films for it. Ross McLean followed the recommendations of the department and declared the NFB a vulnerable agency and the RCMP requested the firing of 36 employees. The RCMP requested him to fire a list of employees, McLean refused to fire any employees without their disloyalty being proven. He was not reappointed as commissioner and replaced by William Arthur Irwin in 1950. Irwin reduced the demand and only three were fired.

Vincent Paquette became the NFB's first French-Canadian filmmaker in 1941, and directed La Cité de Notre-Dame, the board's first in-house French-language film, in 1942. The number of French-Canadian employees grew to seventeen by 1945, and a quarter of the board's budget was spent on French productions. Seventy English films were released by the board in 1949, while four French films were released. The Massey Commission and Gratien Gélinas, a member of the NFB's Board of Governors, called for an improvement in French-language productions, but Duplessis opposed it.

Irwin administration

Irwin, the editor of Maclean's, was selected to replace McLean as commissioner of the NFB. The Financial Post, one of the NFB's leading critics and the sister publication of Maclean's, stopped its criticism following Irwin's selection and Kenneth Wilson, one of the NFB's strongest critics, died in a plane crash although Floyd Chalmers, the president of Maclean-Hunter, criticized Irwin for leaving Maclean's.

Film production was centralized under Irwin by having one person oversee the four film units. He selected Donald Mulholland over James Beveridge and Mulholland was criticized for ignoring French-language film production. Unit E, dealing with sponsored work, and Unit F, dealing with French-language films, were created in 1951.

The Royal Commission on National Development in the Arts, Letters and Sciences, with Massey as its chair, was formed in 1949. The NFB submitted a brief asking to have a headquarters constructed, budget increases, and to become a Crown corporation. Robert Winters, whose ministry oversaw the NFB, stated that its brief did not represent government policy. The Association of Motion Picture Producers and Laboratories of Canada submitted a brief criticizing a government monopoly, with the NFB's crown corporation request being referred to as an "expansionist, monopolistic psychology", and that they were unable to compete with the NFB as it paid no taxes and was exempt from tariffs. The commission's report supported the NFB and its requests for Crown corporation status and a headquarters were accepted.

In 1950, Irwin wrote to Robert Winters about a report on restructuring the NFB and Winters told Irwin to rewrite the 1939 Film Act as it was outdated by then. The National Film Act was passed in June, and took effect on 14 October.

A Canadian tour by Princess Elizabeth and Prince Philip was filmed using 35 mm Eastman colour-film stock, which was not available to the public yet. The film was initially meant to be two reels, worth twenty minutes, but grew to five reels as they could not determine what to cut. Irwin met with Harvey Harnick, the NFB's Columbia theatrical distributor, and J.J. Fitzgibbons, the president of Famous Players, and Fitzgibbons told Irwin that he would screen all five reels if the film was completed for a Christmas release. Royal Journey opened in seventeen first-run theatres and over course of the next two years it was screened in 1,249 Canadian theatres where it was watched by a record two million people and the film was also screened in forty other countries. The film cost $88,000, but the NFB gained a profit of $150,000 and the film's success was one of the reasons Grierson stated that Irwin "saved the Film Board".

The NFB created its first television series, Window on Canada and On the Spot, with the CBC in 1953. However, the CBC opposed increasing the number of NFB productions as they believed it was hurting CBC's growth. The majority of the filmmakers in the NFB opposed moving into television. Sydney Newman and Gordon Burwash, who supported moving into television, were sent to the United States in 1948 to learn about TV production and NBC was given the right to air NBC productions in exchange. When Newman and Burwash returned, they joined the CBC as the NFB was unable to move into television. Half of all productions by the NFB were made to air on television by 1955. In 1956, the CBC's exclusion grew to them making Hawkeye and the Last of the Mohicans with the expressed prohibition of NFB involvement and rejecting a show by the NFB based on Jake and the Kid.

Trueman administration

Irwin resigned as commissioner in May 1953, and later stated that he wanted to be more involved in film production, but his time was being taken up by administrative purposes. Albert Trueman, president of the University of New Brunswick and a member of the board of governors of the NFB and CBC, was selected by Winters to replace Irwin. A reshuffling of the cabinet had Walter Edward Harris become the new minister responsible for the NFB.

Since the foundation of the NFB its offices were divided across multiple locations in Ottawa and plans created during World War II to construct a single headquarters were not acted upon. Montreal was selected during Irwin's administration due to its bilingualism and two Canadian Broadcasting Corporation television stations being created there. Prime Minister Louis St. Laurent reached an agreement with Duplessis to allow the move. Donald Mulholland, the director of production, ended his support for the relocation to Montreal after Irwin's resignation and argued against it. Trueman did not take a position and instead sent the information to Harris. St. Laurent was angered by this and asked Winters if Trueman was attempting to sabotage the relocation and Trueman told Winters that he was just giving Harris information about the situation. The Conservatives criticized the rising cost of the headquarters' construction and attempted to block it, but failed. The building was constructed from 1953 to 1956, at a cost of $5.25 million and served as the NFB's headquarters until 2019. Most of the NFB's operations and 400 employees were moved to Saint-Laurent, Quebec, from 1955 to 1956.

In September 1954, Quebec censors demanded that the NFB pay a censorship fee of $20,500 per year and Trueman wanted to accept it in order to avoid controversy. However, a compromise was reached where the Quebec censors were given one print of each film and if they censored it then all versions would be also censored while the NFB would pay an annual fee between $2,500-3,000.

Pierre Juneau, who was sent to the United Kingdom by Irwin, was brought by Trueman to the NFB as an adviser and secretary in 1953. The creation of two assistant commissioners, one English and one French, with Juneau as the French assistant commissioner was proposed in November 1954, but was rejected by Jack Pickersgill, who replaced Harris, over the course of the next three years. André Laurendeau criticized the NFB for not creating a French-language side. In February 1957, Pickersgill allowed for Juneau to become the executive director and be in charge of financial administration and distribution. This was criticized by Montréal-Matin, Le Devoir, L'Action catholique, and other French-language media and Juneau was criticized for demoting Roger Blais, who claimed it was for him criticizing the salary inequality between French and English speakers.

Roberge administration

Trueman accepted the position of commissioner with the promise that he would later be given a more prestigious position. He resigned during the French media criticism to become head of the Canada Council in 1957. He suggested Gérard Pelletier as his successor, but Guy Roberge, a former Liberal member of the Legislative Assembly of Quebec who had written sections of the Massey report, was selected instead as the first French-Canadian commissioner. Le Devoir supported his selection and the French media ended its criticism of the NFB.

Ellen Fairclough, who became the minister responsible for the NFB in May 1958, was not interested with the organization and never saw a film created by the NFB. She declined to interfere in NFB matters despite criticism from Pickersgill, who believed that the minister was responsible for whatever went on at the NFB.

Upon his arrival at the NFB in 1953, Juneau saw the difficulties of communication between French and English speakers and supported creating separate English and French production units. Additional units for French-language film production were created in 1958. A French-language branch of the NFB that was independent of its English-language productions was formed on 1 January 1964, under the leadership of Pierre Juneau. One-third of the NFB's budget was given to French-language productions.

Drylanders, the organization's first English language feature-length fiction film, was released in 1963. In February 1964, the English-language production units were replaced by a talent pool system where producers had less power and directors had more power. The French-language production units were replaced in September 1968. The pool system lasted until its replacement by the studio system in 1971.

In 1962, Roberge proposed the creation of an organization to aid in film finance based on the National Film Finance Corporation and Centre national du cinéma et de l'image animée. The Interdepartmental Committee on the Possible Development of a Feature Film Industry in Canada, under Roberge's leadership, was formed by the secretary of state. The committee submitted a report to the 19th Canadian Ministry for the creation of a loan fund to aid the development of the Canadian film industry. The proposal was approved in October 1965, and legislation, the Canadian Film Development Corporation Act of 1966–67, for its creation was introduced in June 1966, before being approved on 3 March 1967, establishing the Canadian Film Development Corporation.

Denys Arcand, Gilles Carle, Jacques Godbout, Gilles Groulx, and Clément Perron criticized the NFB and its productions in articles written for the Cité Libre. Juneau stated that the articles were a watershed moment in the NFB's history. The men were reprimanded by Roberge. Many employees left the NFB following the reprimands including Michel Brault, Carle, Bernard Gosselin, Groulx, and Arthur Lamothe.

Juneau left the NFB in March 1966, and worked at the Canadian Radio-television and Telecommunications Commission before becoming president of the CBC. Roberge created the positions of Assistant Government Film Commissioner, held by Grant McLean and Roland Ladouceur, Director of Production for English, held by Julian Biggs, and French, held by Marcel Martin, productions.

Grant McLean administration

Roberge resigned as commissioner on 1 April 1966, and declined to be involved with the selection of his successor. Grant was appointed as the acting commissioner by Judy LaMarsh. LaMarsh was slow on the selection of a permanent commissioner. Grierson supported Grant's selection, but also put forward Newman. Hugo McPherson was selected to become commissioner in April 1967.

Maurice Lamontagne selected Gordon Sheppard, a film producer, to review Canada's cultural policy and his report, Sheppard's Special Report on the Cultural Policy and Activities of the Government of Canada, was critical of the NFB. It criticized the NFB's preference for aesthetics and cultural films instead of informational films. The report called for a reduction in NFB productions and that it should eventually be entirely replaced by private production. The External Affairs Ministry criticized Sheppard stating that he was serving his own interests.

Prior budgets were created by having the commissioner meet with the secretary of state and representatives of the Treasury before being voted on in parliament, but it was changed to having members of the Standing Committee on Broadcasting, Films and Assistance to the Arts question the commissioner and Grant was the first commissioner to go through it.

There had been multiple attempts by the NFB to create a film school and the idea received support from the External Affairs Ministry and the Sheppard Report. However, the Treasury Board of Canada had rejected efforts to fund its creation. Grierson was invited by Grant to report on the possibility of creating a film school. Grierson supported creating a school, if the External Affairs Ministry recommended that production be reduced to free up creative teachers.

The CBC terminated its contracts with the NFB in 1966. The CBC and NFB's relations soured due to the NFB's demand that no commercials be played during their films and the NFB charging $10,000–$15,000 for 30 minute films while a commercial network had received it for $800. The CBC and NFB also co-produced The Ernie Game and Waiting for Caroline which went overbudget by $50,000 and $200,000 respectively.

McPherson administration

In 1967, the Treasury Board limited the NFB's expenditures to $10 million and over the course of two years it was forced to pay for built-in higher salary costs and another salary increase due to an agreement with the SGCT union using existing funds. McPherson asked Pelletier to allow the NFB to spend over $500,000 more than its budget in order to avoiding firing 10% of the NFB's employees, and later asked the Cabinet and Treasury for more funding, but was unsuccessful. McPherson later stated that after his failure with the Treasury he waited for the perfect time to resign.

In 1969, an agreement was reached between the CBC and NFB in which the CBC would be allowed to air commercials during NFB programs. Revenue from sponsored films declined from $2.2 million to $1.6 million by August 1969.

McLaren used the stop motion technique of pixilation for Neighbours. The NFB released StopMo Studio, an app that allowed people to create their own stop motion films, in 2012. The 3D printing of sets and puppets for stop motion was first used by a NFB film in Bone Mother. The Girl Who Cried Pearls (2025) used hand-made puppets in contrast to the standard usage of 3D printing.

Children

Children were rarely featured in NFB films in the early 1940s due to a focus on documentaries related to military efforts. In 1943, Grierson increased film production aimed at children for the purpose of education. The Ti-Jeans series, first produced in the 1950s, was the most booked non-theatrical NFB film up until the 1990s. and Ti-Jean Goes Lumbering (1953) was the second most popular NFB title according to a 1960 survey.

Films about the socialization of children were produced by the NFB in the 1950s. Generational gaps and the sexual revolution were depicted in 1966 productions The Merry-Go-Round, The Game, and The Shattered Silence. NFB productions aimed at children mainly focused on the adults until the 1970s. Sexual Abuse of Children: A Time for Caring (1979) was the first NFB film to cover child sexual abuse and the number of films covering child abuse grew in the 1980s.

Cinéma vérité and Direct Cinema

In the post-war era, the NFB became a pioneer in new developments in documentary film. The NFB played a key role in both the cinéma vérité and direct cinema movements, working on technical innovations to make its 16 mm synchronized sound equipment more light-weight and portable—most notably the "Sprocketape" portable sound recorder invented for the film board by Ches Beachell in 1955. Influenced by the work of Henri Cartier-Bresson, the NFB's Studio B production unit experimented with cinema verite in its 1958 Candid Eye series. Candid Eye along with such NFB French-language films as The Snowshoers (Les Raquetteurs) (1958) have been credited as helping to inspire the cinéma vérité documentary movement. Other key cinéma vérité films during this period included Lonely Boy (1961) and Ladies and Gentlemen... Mr. Leonard Cohen (1965).

Challenge for Change/Societé Nouvelle

Running from 1967 to 1980, Challenge for Change and its French-language equivalent Societé Nouvelle became a global model for the use of film and portable video technology to create community-based participatory documentary films to promote dialogue on local issues and promote social change. Over two hundred such films were produced, including 27 films about Fogo Island, Newfoundland, directed by Colin Low and early NFB efforts in Indigenous filmmaking, such as Willie Dunn's The Battle of Crowfoot (1968).

Indian Film Crew

The Indian Film Crew was an early effort in First Nations filmmaking at the NFB, through its Challenge for Change program, initially proposed by the associate director of the CYC, Jerry Gambill, according to Noel Starblanket. George Stoney was brought in as the first executive producer of Challenge for Change. It was jointly sponsored by the Company of Young Canadians and the Department of Indian Affairs. Barbara Wilson, Tom O’Connor, Noel Starblanket, Roy Daniels, Morris Isaac, Willie Dunn, and Mike Kanentakeron Mitchell were on Canada's first all-Indigenous production unit, making groundbreaking work that helped galvanize Indigenous movements across the continent.

Giant-screen cinema

NFB documentarians played a key role in the development of the IMAX film format, following the NFB multi-screen experience In the Labyrinth, created for Expo 67 in Montreal. The film was the centrepiece of a $4.5 million pavilion, which attracted over 1.3 million visitors in 1967, and was co-directed by Roman Kroitor, Colin Low and Hugh O'Connor, and produced by Tom Daly and Kroitor. After Expo, Kroitor left the NFB to co-found what would become known as IMAX Corporation, with Graeme Ferguson and Robert Kerr. The NFB continued to be involved with IMAX breakthroughs at subsequent world's fairs, with NFB director Donald Brittain directing the first-ever IMAX film Tiger Child for Expo 70 in Osaka, and with the NFB producing the first full-colour IMAX-3D film Transitions for Expo 86 in Vancouver and the first 48 fps IMAX HD film Momentum for Seville Expo '92.

Alternative drama

In the 1980s, the National Film Board also produced a number of "alternative drama" films, which combined documentary and narrative fiction filmmaking techniques. Generally starring non-professional actors, these films used a documentary format to present a fictionalized story and were generally scripted by the filmmakers and the cast through a process of improvisation, and are thus classified as docufiction.

The alternative drama films were The Masculine Mystique (1984), 90 Days (1985), Sitting in Limbo (1986), The Last Straw (1987), Train of Dreams (1987), Welcome to Canada (1989) and The Company of Strangers (1990).

Works

As of March 2013, the NFB devotes one quarter of its production budget to interactive media, including web documentaries. The NFB is a pioneer in interactive web documentaries, helping to position Canada as a major player in digital storytelling, according to transmedia creator Anita Ondine Smith, as well as Shari Frilot, programmer for Sundance Film Festival's New Frontier program for digital media.

Welcome to Pine Point received two Webby Awards while Out My Window, an interactive project from the NFB's Highrise project, won the IDFA DocLab Award for Digital Storytelling and an International Digital Emmy Award.

Rob McLaughlin is the executive producer responsible for NFB English-language digital content and strategy, based in the Woodward's Building in Vancouver. Jeremy Mendes is an interactive artist producing English-language interactive works for the NFB, whose projects include a collaboration with Leanne Allison (Being Caribou, Finding Farley) on the webdoc Bear 71.

Virtual reality

The NFB is also recognized as a leader in virtual reality, with works such as the Webby Award-winning The Unknown Photographer, Way to Go and Cardboard Crash.

Platforms

In January 2009, the NFB launched its online Screening Room, NFB.ca, offering Canadian and international web users the ability to stream hundreds of NFB films for free as well as embed links in blogs and social sites. By mid-2013, the NFB's digital platforms had received approximately 41 million views.

In October 2009, the NFB launched an iPhone application that was downloaded more than 170,000 times and led to more than 500,000 film views in the first four months. In January 2010, the NFB added high-definition and 3D films to the over 1400 productions available for viewing online. The NFB introduced a free iPad application in July 2010, followed by its first app for the Android platform in March 2011. When the BlackBerry PlayBook launched on April 19, 2011, it included a pre-loaded app offering access to 1,500 NFB titles. In January 2013, it was announced that the NFB film app would be available for the BlackBerry 10, via the BlackBerry World app store.

In September 2011, the NFB and the Montreal French-language daily Le Devoir announced that they would jointly host three interactive essays on their websites, ONF.ca and ledevoir.com. The NFB is a partner with China's ifeng.com on NFB Zone, the first Canadian-branded web channel in China, with 130 NFB animated shorts and documentary films available on the company's digital platforms. NFB documentaries are also available on Netflix Canada.

In April 2013, the NFB announced that it was "seeking commercial partners to establish a subscription service for Internet television and mobile platforms next year. The service would be available internationally and would feature documentaries from around the world as well as the NFB’s own catalogue." As of April 2015, NFB.ca offered VOD films from partners Excentris and First Weekend Club along with NFB productions, with over 450 English and French VOD titles scheduled to be added in 2015.

Indigenous

On June 20, 2017, the NFB announced a three-year plan entitled "Redefining the NFB's Relationship with Indigenous Peoples" that commits the organization to hiring more Indigenous staff, designating 15% of its production spending for Indigenous works and offering cross-cultural training to all employees. The plan also sees the NFB building on its relationships with Canadian schools and organizations to create more educational materials about Indigenous peoples in Canada.

One of the most notable filmmakers in the history of the NFB is Alanis Obomsawin, an Abenaki director who will be completing her 50th film with the NFB in 2017.

Inuit film and animation

In November 2011, the NFB and partners including the Inuit Relations Secretariat and the Government of Nunavut introduced a DVD and online collection entitled Unikkausivut: Sharing Our Stories, makes over 100 NFB films by and about Inuit available in Inuktitut and other Inuit languages, as well as English and French.

In November 2006, the National Film Board of Canada and the Inuit Broadcasting Corporation announced the start of the Nunavut Animation Lab, offering animation training to Nunavut artists. Films from the Nunavut Animation Lab include Alethea Arnaquq-Baril's 2010 digital animation short Lumaajuuq, winner of the Best Aboriginal Award at the Golden Sheaf Awards and named Best Canadian Short Drama at the imagineNATIVE Film + Media Arts Festival.

First Stories and Second Stories

In 2005, the NFB introduced its "First Stories" program for emerging Indigenous directors from Alberta, Saskatchewan and Manitoba. Twelve five-minute films were produced through the program, with four from each province. First Stories was followed by "Second Stories," in which three filmmakers from the previous program—Gerald Auger, Tessa Desnomie and Lorne Olson—were invited back to create 20 minute films.

Wapikoni Mobile

The NFB was a founding partner in Wapikoni Mobile, a mobile film and media production unit for emerging First Nations filmmakers in Quebec.

Photography

The Still Photography Division of the Canadian Government Motion Picture Bureau was transferred to the NFB on 8 August 1941; this occurred two months after the rest of the organization was absorbed into the NFB. The Still Photography Division of the Wartime Information Board was acquired by the NFB in 1943. Nicholas Morant, George Hunter, and Ronny Jaques were employed by the Still Photography Division during World War II.

In 1944, the Still Photography Division started charging a below-standard fee for reproductions. The Commercial and Press Photographers' Association of Canada accused the division of unfair competition due to this. In 1946, the NFB changed its policies to match the standard rate of $2.50 for newspapers and $5 for magazines.

The 1950 National Film Act included photography under the NFB's purview. Employment in the division fell by 20% from 1945 to 1946, and declined from 70 employees in 1945, to 22 by 1952. The division had to rely on freelancers. The division was placed under Technical Services in 1951. The photography division did not participate in the move to Saint-Laurent due to objections from the External Affairs, Trade and Commerce, the Travel Bureau, and other federal agencies that relied on it for promotional services.

Photography/Photographie: Canada 1967, featuring 149 photographs from 52 photographers was the first annual photography exhibition organized by the division. The $554,500 budget for Canada: A Year of the Land, a 260 image photobook produced by 76 photographers for the Canadian Centennial, was greater than the budget for the overall division. For Expo 67, the division produced the People Tree, a six-storey spherical structure, at the Canadian Pavilion. The $158,500 budget for the Call Them Canadians photobook was almost equal to the division's $172,876 budget for 1966.

In 1971, two-thirds of the photography division's employees were moved to Information Canada and its photographic archive was diverted into the Library and Archives Canada and Photothèque, the commercial image bank of Information Canada. However, Information Canada was eliminated in 1975, and the images in Photothèque were returned to the NFB in 1976. In 1985, the division was turned into the Canadian Museum of Contemporary Photography. 250,000 photos were created by the division during its existence, with 25,000 being taken during World War II.

Women

The NFB has been a leader in films by women, with the world's first publicly funded women's film's studio, Studio D, followed subsequently by its French-language equivalent, Studio des femmes. Beginning on March 8, 2016, International Women's Day, the NFB began introducing a series of gender parity initiatives.

Studio D

In 1974, in conjunction with International Women's Year, the NFB created Studio D on the recommendation of long-time employee Kathleen Shannon. Shannon was designated as executive director of the new studio—the first government-funded film studio dedicated to women filmmakers in the world—which became one of the NFB's most celebrated filmmaking units, winning awards and breaking distribution records.

Notable films produced by the studio include three Academy Award-winning documentaries I'll Find a Way (1977), If You Love This Planet (1982) and Flamenco at 5:15 (1983), as well as Not a Love Story (1982) and Forbidden Love: The Unashamed Stories of Lesbian Lives (1992). Studio D was shut down in 1996, amidst a sweeping set of federal government budget cuts, which impacted the NFB as a whole.

As of March 8, 2016, researchers and librarians at the University of Calgary announced an archival project to preserve records of Studio D.