Created in 1974 by the NFB, Studio D released more than 220 films before shutting its doors over two decades later in 1997, the year it premiered its last two titles. This acclaimed and wide-ranging body of work—produced entirely by women—won an impressive total of more than 130 awards, including three Oscars.
To commemorate International Women’s Day, this instalment of Curator’s Perspective pays tribute to the visionary directors of the world’s first—and to this day, solely—publicly funded feminist filmmaking studio.[i] To celebrate the 50th anniversary of its founding, and thanks to a collective effort by several NFB departments to help showcase Studio D’s seminal contribution to cinema, we’ve uploaded 90 of the studio’s films, many of which were previously unreleased in digital format. You can watch all of them for free on the nfb.ca channel Studio D: The Women’s Film Studio.
The channel includes Studio D’s second Oscar winner, Terre Nash’s If You Love This Planet (1982), which features a lecture given to students by outspoken nuclear critic Dr. Helen Caldicott, president of Physicians for Social Responsibility in the USA. Her message is clear: disarmament cannot be postponed. Archival footage of the bombing of Hiroshima and images of its survivors seven months after the attack heighten the urgency of her call.
If You Love This Planet, Terre Nash, provided by the National Film Board of Canada
Note that this is the second part of my blog post on Studio D. Click on this link if you’d like to read the first part, Kathleen Shannon and the Formative Years.
Studio D’s Dazzling Filmography (1975–1997)
According to the NFB’s records, Studio D’s first production was released in 1975[ii] and its final project came out in 1997[iii] (dates that don’t precisely align with the official dates of the studio’s founding and dissolution, which are 1974 and 1996, respectively). During its 22 years of production, Studio D released 131 individual films[iv] (123 titles originally produced in English[v] and eight titles originally produced in French[vi]), with 48 of these titles also released in their corresponding English[vii] or French[viii] versions, as well as three compilations[ix] (37 films) and a series of eight re-released, recontextualized films.[x] This makes for a grand total of 229 films, an impressive average of 10 films a year over 22 years.
Studio D’s first-ever produced/released film was Great Grand Mother (1975), by Lorna Rasmussen and Anne Wheeler. This is an ode to the women who settled the Prairies, from the days of early immigration to 1916—when Manitobans became the first women in Canada to receive the provincial vote—and beyond. These testimonies, complemented by excerpts from letters, diaries and newspapers of the day read over re-enacted scenes and archival photographs, launched Studio D down a path of growing success in the years to come.
Great Grand Mother, Anne Wheeler & Lorna Rasmussen, provided by the National Film Board of Canada
Cutting-Edge Filmmaking in All Its Forms
Studio D’s content is as impressive as its numbers. Although renowned for documentaries like the acclaimed Flamenco at 5:15 (1983) by Cynthia Scott, which claimed the third Oscar for a film made by the studio and the 8th Oscar for an NFB film, the studio also produced fiction films such as Midi Onodera’s iconic Skin Deep (1992), the only theatrical feature made by the multi-awarded director. Studio D also made great animation like The Town Mouse and the Country Mouse (1980), the last film by “First Lady of Canadian Animation” Evelyn Lambart. The filmmaker uses her well-known aesthetic—paper cut-outs and brightly coloured backgrounds—to revisit Aesop’s tale of two mice with vastly different lifestyles, and I invite you to watch it at the link below.
The Town Mouse and the Country Mouse, Evelyn Lambart, provided by the National Film Board of Canada
During the 1970s and 1980s, Studio D hired Canadian women filmmakers from across the country (British Columbia, Manitoba, Quebec, etc.) and every ethnic background, including Black, European and Indigenous directors, surpassing most (if not all) other national cinemas in its diversity of voices. It was a real rarity in the 1970s and 1980s for Black, Asian or Indigenous people, members of the 2SLGBTQIA+ community and female immigrants to be hired to bring female perspectives to their national cinema. Carol Geddes’ Doctor, Lawyer, Indian Chief (1986) is an excellent example of Studio D’s concern for inclusion, with its tribute to Indigenous women across Canada, from the Yukon legislature’s first Indigenous woman minister, to a deck hand on a fishing boat, a teacher, a lawyer, and a band council chief.
Doctor, Lawyer, Indian Chief, Carol Geddes, provided by the National Film Board of Canada
Keys to Success: Diversity, Inclusion and Changing Leadership Vision
The richness of Studio D’s films reflected its creative foundation: women from all backgrounds and cultures exploring a broad range of topics, with a focus on First Nations, youth, Black communities, Asian traditions, Latin American cultures, African worldviews and the perspectives of 2SLGBTIA+ communities.
This pluralistic approach was also the result of occasional changes in the Studio’s leadership and vision. Studio D started under the executive direction of Kathleen Shannon (1974–1986), under whom the studio’s productions focused more on “local perspectives,” in films like Beverly Shaffer’s Gurdeep Singh Bains (1977), about a 13-year-old Canadian Sikh whose family runs a dairy farm near Chilliwack, British Columbia, or Shaffer’s Benoît (1978), about a highly accomplished 11-year-old violinist from Joliette, Quebec.
Benoît, Beverly Shaffer, provided by the National Film Board of Canada
Later on, under Rina Fraticelli’s leadership (1986–1991), Studio D continued to explore local perspectives, but Fraticelli also placed an emphasis on stories with international scope, in films such as Donna Read’s Goddess Remembered (1989), which salutes 35,000 years of the goddess-worshipping religions of the ancient past, or Premika Ratnam’s Children of War (1986), a short doc about teenagers from war and conflict zones. The latter focuses on the 1985–1986 International Youth for Peace and Justice Tour, featuring young people from Central America, southern Africa and Northern Ireland, and their interaction with Canadian students.
Children of War, Premika Ratnam, provided by the National Film Board of Canada
And lastly, under Ginny Stikeman’s direction (1991–1996), Studio D explored issues and themes from the past that were highly relevant to women’s contemporary experience, in such films as Dora Nipp’s Under the Willow Tree: Pioneer Chinese Women in Canada (1997), the stories of the first Chinese women to come to Canada and of subsequent generations of Chinese Canadian women, and Aerlyn Weissman and Lynne Fernie’s Forbidden Love: The Unashamed Stories of Lesbian Lives (1992), which delves into the history of Canadian queer women’s experiences in the mid-20th century. Interviews, archives and a fictional narrative based on 1950s pulp novels are woven throughout a film that’s equal parts funny, poignant and empowering.
Forbidden Love: The Unashamed Stories of Lesbian Lives, Aerlyn Weissman & Lynne Fernie, provided by the National Film Board of Canada
Studio D’s Awards and Legacy
Studio D’s body of work was regularly praised and recognized throughout the two decades it remained active. Almost half of its productions (56 titles, to be exact) earned 133 awards from every corner of the globe, although most of the honours came from North America and Europe. The top five awarded Studio D films are Beverly Shaffer’s I’ll Find a Way (1977, 10 awards), Weissman and Fernie’s Forbidden Love (8 awards), Shaffer’s To a Safer Place (1987, 7 awards), Nash’s If You Love This Planet (7 awards), and Scott’s Flamenco at 5:15 (7 awards). I invite you to watch the latter, Oscar-winning short, an impressionistic record of a flamenco dance class given to senior students of the National Ballet School of Canada by two great teachers from Spain, Susana and Antonio Robledo. The film shows the young North American dancers—inspired by the flamenco rhythms and mesmerized by Susana’s incredible energy—joyously merging with an ancient Roma culture.
Flamenco at 5:15, Cynthia Scott, provided by the National Film Board of Canada
Studio D in the 1990s
In the last seven years of its existence, Studio D sought to further chronicle NFB history—specifically, its own history, offering audiences a look at the gains made by women directors at the studio over the two preceding decades. In 1989, Sidonie Kerr directed 15th Anniversary, a feature-length film that compiles excerpts from Studio D productions, reflecting the range and diversity of accomplishments of the studio’s staff and independent filmmakers. And in 1990, the studio released Five Feminist Minutes, a collection of 16 films on feminist issues made by Canadian independent women filmmakers. Included on our Studio D: The Women’s Film Studio channel are Cathy Quinn and Frances Leeming’s The Untilled Story (1990), Mary Lewis’s Come Into My Parlour (1990) and Catherine Anne Martin’s Minqon Minqon: Wosqotomn Elsonwagon (1990), as well as the contribution of multi-award-winning Ann Marie Fleming, New Shoes: An Interview in Exactly Five Minutes (1990), which combines narrative shorthand and visual poetics to trace the trajectory of a love affair gone bad.
New Shoes: An Interview in Exactly Five Minutes, Ann Marie Fleming, provided by the National Film Board of Canada
Continuing its historical focus, in 1991 Studio D collected nine shorts directed by Kathleen Shannon in 1974 and 1975 (before the studio was created) and released them under the series title Working Mother, acknowledging the importance of Shannon’s pre-studio films to the success of the women’s studio. In 1994, to commemorate its 20th anniversary, the studio released Cheryl Sim and Janice Brown’s Twenty Years of Feminist Filmmaking, a montage of clips that was presented at the National Action Committee on the Status of Women.
Twenty Years of Feminist Filmmaking, Cheryl Sim & Janice Brown, provided by the National Film Board of Canada
The Closing of Studio D, and Kathleen Shannon’s Legacy
As mentioned above, in 1997 Studio D released its last two productions, namely Nipp’s Under the Willow Tree and Gerry Rogers’ Kathleen Shannon: On Film, Feminism & Other Dreams, a memorable look at Shannon and the studio. The film tells a story of struggle and success, offering a journey into the life of an extraordinary woman who was driven by the fire of her convictions.
Kathleen Shannon: On Film, Feminism & Other Dreams, Gerry Rogers, provided by the National Film Board of Canada
Shannon was presented with the Order of Canada in 1986, and in 1988 the NFB created the Kathleen Shannon Award for non-fiction films, presented annually at the Yorkton Film Festival. She also received three honorary degrees: a Doctor of Laws from Queen’s University in 1984, a Doctor of Letters from York University in 1996, and a Doctor of Humane Letters from Mount Saint Vincent University in 1997.
In 1996, Studio D closed due to decreased government funding and layoffs at the NFB (the two films released subsequently, in 1997, had received their funding before the studio shut down). Kathleen Shannon passed away shortly after, on January 9, 1998, in Kelowna, British Columbia, but her work and the work of Studio D’s pioneering women lives on.
Please take some time to celebrate the 50th anniversary of this unique studio’s founding by watching some of these enduring gems of feminist filmmaking on our channel, Studio D: The Women’s Film Studio. Enjoy!
Header Image: If You Love This Planet (1982) by Terre Nash
[i]Gail Vanstone, D is for Daring: The Women behind the Films of Studio D (Toronto: Sumach Press, 2007), pp. 36–37.
[ii] Just-A-Minute (1975) by Mary Aitkin, Mary Daemen, Tina Horne, Joan Hutton, Sharon Madden, Terre Nash, Margaret Pettigrew, Patricia Robertson, Candace Savage; produced by Diane Beaudry, Kathleen Shannon.
[iii] Kathleen Shannon: On Film, Feminism & Other Dreams (1997) by Gerry Rogers.
[iv] Firewords: Louky Bersianik, Jovette Marchessault, Nicole Brossard (1986) by Dorothy Todd Hénaut was later cut in three parts and released separately as: Firewords, Part 1: Louky Bersianik (1986) by Dorothy Todd Hénaut, Firewords, Part 2: Jovette Marchessault (1986) by Dorothy Todd Hénaut, and Firewords, Part 3: Nicole Brossard (1986) by Dorothy Todd Hénaut; while Behind the Veil: Nuns (1984) by Margaret Wescott was later cut in two parts and released separately as: Behind the Veil: Nuns – Part 1 (1984) by Margaret Wescott and Behind the Veil: Nuns – Part 2 (1984) by Margaret Wescott; and some researchers count these productions as original films, which is not the case in this article.
[v] In alphabetical order: 1. 15th Anniversary (1989) by Sidonie Kerr; 2. A Balancing Act (1992) by Helena Cynamon; 3. Abortion: Stories from North and South (1984) by Gail Singer; 4. Adam’s World (1989) by Donna Read; 5. Adèle and the Ponies of Ardmore (1984) by Char Davies; 6. After the Montreal Massacre (1990) by Gerry Rogers; 7. A Love Affair with Politics: A Portrait of Marion Dewar (1987) by Terre Nash; 8. Alternate Route (1997) by Denise Withers; 9. A Mother and Daughter on Abortion (1987) by Gail Singer; 10. An Unremarkable Birt (1978) by Diane Beaudry; 11. A Safe Distance (1986) by Tina Horne; 12. Asking Different Questions: Women and Science (1996) by Gwynne Basen, Erna Buffie; 13. Attention: Women at Work! (1983) by Anne Henderson; 14. A Web Not a Ladder (1993) by Bonnie Dickie; 15. A Writer in the Nuclear Age: A Conversation with Margaret Laurence (1985) by Terre Nash; 16. Beautiful Lennard Island (1977) by Beverly Shaffer; 17. Behind the Veil: Nuns (1984) by Margaret Wescott; 18. Benoît (1978) by Beverly Shaffer; 19. Beyond Memory (1986) by Louise Lamarre; 20. Boys Will Be Men (1980) by Donald Rennick; 21. Children of War (1986) by Premika Ratnam; 22. Dark Lullabies (1985) by Abbey Jack Neidik, Irene Angelico; 23. DES: An Uncertain Legacy (1985) by Bonnie Andrukaitis, Sidonie Kerr; 24. Doctor, Lawyer, Indian Chief (1986) by Carol Geddes; 25. Dream of a Free Country: A Message from Nicaraguan Women (1983) by Kathleen Shannon, Ginny Stikeman; 26. Eve Lambart (1978) by Margaret Wescott; 27. Fair Trade (1990) by Barbara Doran; 28. Firewords: Louky Bersianik, Jovette Marchessault, Nicole Brossard (1986) by Dorothy Todd Hénaut; 29. First Take Double Take (1986) by Paula Fairfield; 30. Flamenco at 5:15 (1983) by Cynthia Scott; 31. Forbidden Love: The Unashamed Stories of Lesbian Lives (1992) by Aerlyn Weissman, Lynne Fernie; 32. Four Centuries: The Firearm in Canada (1982) by Joan Henson; 33. Fragments of a Conversation on Language (1990) by Nora Alleyn; 34. From the Shore (1990) by Barbara Doran; 35. Gathering Together (1990) by Kathleen Shannon; 36. Goddess Remembered (1989) by Donna Read; 37. Great Grand Mother (1975) by Lorna Rasmussen, Anne Wheeler; 38. Gurdeep Singh Bains (1977) by Beverly Shaffer; 39. Half the Kingdom (1989) by Francine E. Zuckerman, Roushell Goldstein; 40. Hands of History (1994) by Loretta Todd; 41. Harmony and Balance (1990) by Kathleen Shannon; 42. Head Start: Meeting the Computer Challenge (1984) by Diane Beaudry; 43. I Want to Be an Engineer (1983) by Beverly Shaffer; 44. If You Love This Planet (1982) by Terre Nash; 45. I’ll Find a Way (1977) by Beverly Shaffer; 46. I’ll Never Forget You (1990) by Kathleen Shannon; 47. Illuminated Lives: A Brief History of Women’s Work in the Middle Ages (1989) by Ellen Besen; 48. In Her Chosen Field (1989) by Barbara Evans; 49. It’s Just Better (1982) by Beverly Shaffer; 50. Kathleen Shannon: On Film, Feminism & Other Dreams (1997) by Gerry Rogers; 51. Julie O’Brien (1981) by Beverly Shaffer; 52. Just a Lady (1980) by Susan Trow; 53. Keepers of the Fire (1994) by Christine Welsh; 54. Kevin Alec (1977) by Beverly Shaffer; 55. Laila (1980) by Diane Beaudry; 56. Listening for Something… Adrienne Rich and Dionne Brand in Conversation (1996) by Dionne Brand; 57. Long Time Comin’ (1993) by Dionne Brand; 58. Louise Drouin, Veterinarian (1981) by Margaret Wescott; 59. Making Babies (1992) by Gwynne Basen; 60. Making Perfect Babies (1992) by Gwynne Basen; 61. Maud Lewis: A World Without Shadows (1976) by Diane Beaudry; 62. Mile Zero: The SAGE Tour (1988) by Bonnie Sherr Klein; 63. Mother Earth (1991) by Terre Nash; 64. Motherland: Tales of Wonder (1994) by Helene Klodawsky; 65. Moving On (1986) by Tina Horne; 66. My Friends Call Me Tony (1975) by Beverly Shaffer; 67. My Name Is Susan Yee (1975) by Beverly Shaffer; No Longer Silent (1986) by Laurette Deschamps; 68. No Time to Stop (1990) by Helene Klodawsky; 69. Not a Love Story: A Film About Pornography (1981) by Bonnie Sherr Klein; 70. Nuclear Addiction: Dr. Rosalie Bertell on the Cost of Deterrence (1986) by Terre Nash; 71. Older Stronger Wiser (1989) by Claire Prieto; 72. On Our Own (1984) by Laurette Deschamps; 73. Our Dear Sisters (1975) by Kathleen Shannon; 74. Patricia’s Moving Picture (1978) by Bonnie Sherr Klein; 75. Portrait of the Artist–As an Old Lady (1982) by Gail Singer; 76. Prairie Album (1979) by Blake James; 77. Priorities and Perspectives (1990) by Kathleen Shannon; 78. Return Home (1992) by Michelle Wong; 79. Russian Diary (1989) by Terre Nash, Bonnie Sherr Klein; 80. Rusting World (1980) by Laurent Coderre; 81. Sea Dream (1979) by Ellen Besen; 82. Sisters in the Struggle (1991) by Ginny Stikeman, Dionne Brand; 83. Skin Deep (1995) by Midi Onodera; 84. Some American Feminists (1977) by Margaret Wescott, Nicole Brossard, Luce Guilbeault; 85. Speaking of Nairobi (1986) by Tina Horne; 86. Speaking Our Peace (1985) by Terre Nash, Bonnie Sherr Klein; 87. Spirit of the Kata (1985) by Sharon McGowan; 88. Sun, Wind and Wood (1978) by Dorothy Todd Hénaut; 89. Sylvie’s Story (1986) by Tina Horne; 90. Taking Charge (1996) by Claudette Jaiko; 91. Texts and Contexts (1990) by Kathleen Shannon; 92. Thin Dreams (1986) by Susie Mah; 93. The Best Time of My Life: Portraits of Women in Mid-life (1985) by Patricia Watson; 94. The Burning Times (1990) by Donna Read; 95. The Dreams of the Night Cleaners (1996) by Leila Sujir; 96. The Famine Within (1990) by Katherine Gilday; 97. The Impossible Takes a Little Longer (1986) by Anne Henderson; 98. The Lady from Grey County (1977) by Janice Brown; 99. The Legacy of Mary McEwan (1987) by Patricia Watson; 100. The Man Who Stole Dreams (1987) by Joyce Borenstein; 101. The Right Candidate for Rosedale (1979) by Anne Henderson, Bonnie Sherr Klein; 102. The Town Mouse and the Country Mouse (1980) by Evelyn Lambart; 103. The Way It Is (1982) by Beverly Shaffer; 104. This Borrowed Land (1984) by Bonnie Kreps; 105. Through Ignorance or Design: A Discussion of Stereotypes (1990) by Kathleen Shannon; 106. To a Safer Place (1987) by Beverly Shaffer; 107. Too Dirty for a Woman (1984) by Diane Beaudry; 108. Toward Intimacy (1992) by Debbie McGee; 109. Toying with Their Future (1990) by Claire Nadon; 110. Turnaround: A Story of Recovery (1984) by Moira Simpson; 111. Twenty Years of Feminist Filmmaking (1994) by Cheryl Sim, Janice Brown; 112. Under the Willow Tree: Pioneer Chinese Women in Canada (1997) by Dora Nipp; 113. Unnatural Causes (1989) by Maureen Judge; 114. Veronica (1977) by Beverly Shaffer; 115. Waterwalker (1984) by Bill Mason; 116. When the Day Comes (1991) by Sharon McGowan; 117. When Women Kill (1994) by Barbara Doran; 118. Where Credit Is Due (1990) by Barbara Doran; 119. Widening the Circle (1994) [by Danielle Dyson, Cheryl Sim, Barbara Hutchinson, Patricia Diaz, Annette Clarke, Nicole Hubert]; 120. Wisecracks (1991) by Gail Singer; 121. Women in the Shadows (1991) by Norma Bailey; 122. Working Towards Peace (1990) by Kathleen Shannon; 123. Worth Every Minute (1987) by Catherine Macleod, Lorraine Segato.
[vi] In alphabetical order: 1. Arrêtons d’en demander (1996) by Nicole Giguère; 2. Femmes en campagne (1989) by Dagmar Teufel; 3. Intérieur nuit (1989) by Sarah Butterfield; 4. Le Plafond de verre (1992) by Sophie Bissonnette; 5. Les Pouvoirs de l’âge (1989) by Liette Aubin; 6. Le Travail piégé (1984) by Dagmar Teufel; 7. Se donner des «elles» (1993) by Ginette Pellerin; 8.s Quelle pilule! (1990) by Sylvie Van Brabant.
[vii] In alphabetical order: 1. A Time to Reap, English version/title of French original Femmes en campagne (1989) by Dagmar Teufel; 2. Careers to Discover, English version/title of French original, Se donner des «elles» (1993) by Ginette Pellerin; 3. Enough Is Enough, English version/title of French original, Arrêtons d’en demander (1996) by Nicole Giguère; 4. Pills Unlimited, English version/title of French original, Quelle pilule! (1990) by Sylvie Van Brabant; 5. The Glass Ceiling, English version/title of French original, Le Plafond de verre (1992) by Sophie Bissonnette; 6. The Power of Time, English version/title of French original, Les Pouvoirs de l’âge (1989) by Liette Aubin; 7. The Treadmill, English version/title of French original, Le Travail piégé (1984) by Dagmar Teufel; 8. Working Nights, English version/title of French original, Intérieur nuit (1989) by Sarah Butterfield.
[viii] In alphabetical order: 1. À propos de Nairobi, French version/title of English original, Speaking of Nairobi (1986) by Tina Horne; 2. Benoît, French version/title of English original Benoît (1978) by Beverly Shaffer; 3. Bien naître, French version/title of English original, An Unremarkable Birt (1978) by Diane Beaudry; 4. C’est la vie…, French version/title of English original, The Way It Is (1982) by Beverly Shaffer; 5. Ces femmes qui tuent, French version/title of English original, When Women Kill (1994) by Barbara Doran; 6. C’est surtout pas de l’amour – Un film sur la pornographie, French version/title of English original, Not a Love Story: A Film About Pornography (1981) by Bonnie Sherr Klein; 7. Côté coeur… , French version/title of English original, Toward Intimacy (1992) by Debbie McGee; 8. Déclin, French version/title of English original, Rusting World (1980) by Laurent Coderre; 9. D.E.S. : un triste heritage, French version/title of English original DES: An Uncertain Legacy (1985) by Bonnie Andrukaitis, Sidonie Kerr; 10. Des soins sans mesure, French version/title of English original, When the Day Comes (1991) by Sharon McGowan; 11. Double Voix, French version/title of English original, First Take Double Take (1986) by Paula Fairfield; 12. Femmes au travail!, French version/title of English original Attention: Women at Work! (1983) by Anne Henderson; 13. Flamenco à 5 h 15, French version/title of English original Flamenco at 5:15 (1983) by Cynthia Scott; 14. Je trouverai un moyen, French version/title of English original I’ll Find a Way (1977) by Beverly Shaffer; 15. La Cage dorée, French version/title of English original, On Our Own (1984) by Laurette Deschamps; 16. Laila, tireuse de joints, French version/title of English original, Laila (1980) by Diane Beaudry; 17. La Fin d’un long silence, French version/title of English original, No Longer Silent (1986) by Laurette Deschamps; 18. La Terre notre mère, French version/title of English original, Mother Earth (1991) by Terre Nash; 19. L’Avortement – Histoire secrète, French version/title of English original Abortion: Stories from North and South (1984) by Gail Singer; 20. L’Enfant dans le mur, French version/title of English original, To a Safer Place (1987) by Beverly Shaffer; 21. Le Mille zéro : la tournée SAGE, French version/title of English original, Mile Zero: The SAGE Tour (1988) by Bonnie Sherr Klein; 22. Le Rat de maison et le Rat des champs, French version/title of English original, The Town Mouse and the Country Mouse (1980) by Evelyn Lambart; 23. Les Affaires au féminin, French version/title of English original, A Web Not a Ladder (1993) by Bonnie Dickie; 24. Les Armes à feu au Canada – 400 ans d’histoire, French version/title of English original, Four Centuries: The Firearm in Canada (1982) by Joan Henson; 25. Les Terribles Vivantes – Louky Bersianik, Jovette Marchessault, Nicole Brossard, French version/title of English original Firewords: Louky Bersianik, Jovette Marchessault, Nicole Brossard (1986) by Dorothy Todd Hénaut; 26. Le Temps des bûchers, French version/title of English original The Burning Times (1990) by Donna Read; 27. L’Ordinateur en tête, French version/title of English original Head Start: Meeting the Computer Challenge (1984) by Diane Beaudry; 28. Louise Drouin, vétérinaire, French version/title of English original, Louise Drouin, Veterinarian (1981) by Margaret Wescott; 29. Maud Lewis – Sans ombre, French version/title of English original, Maud Lewis: A World Without Shadows (1976) by Diane Beaudry; 30. Nous sommes des ingénieures, French version/title of English original I Want to Be an Engineer (1983) by Beverly Shaffer; 31. Nouvelle Mémoire, French version/title of English original Beyond Memory (1986) by Louise Lamarre; 32. On s’en occupe, French version/title of English original, Taking Charge (1996) by Claudette Jaiko; 33. Pas le temps d’arrêter, French version/title of English original, No Time to Stop (1990) by Helene Klodawsky; 34. Rêve roulis, French version/title of English original, Sea Dream (1979) by Ellen Besen; 35. Si cette planète vous tient à cœur, French version/title of English original If You Love This Planet (1982) by Terre Nash; 36. Souvenirs des Prairies, French version/title of English original, Prairie Album (1979) by Blake James; 37. Sur les traces de la déesse, French version/title of English original Goddess Remembered (1989) by Donna Read; 38. Une terre à soi, French version/title of English original, In Her Chosen Field (1989) by Barbara Evans; 39. Question d’équilibre, French version/title of English original A Balancing Act (1992) by Helena Cynamon; 40. Quelques féministes américaines, French version/title of English original, Some American Feminists (1977) by Margaret Wescott, Nicole Brossard, Luce Guilbeault.
[ix] Just-A-Minute (1976), 11 films. produced by Diane Beaudry, Kathleen Shannon; Five Feminist Minutes (1990), 16 films.produced by Mary Armstrong, Nicole Hubert; Working Mothers compilation film (1991), “… and They Lived Happily Ever After” (1975) by Kathleen Shannon, Irene Angelico, Anne Henderson; It’s Not Enough (1974) by Kathleen Shannon; Like the trees (1974) by Kathleen Shannon; Luckily I Need Little Sleep (1974) by Kathleen Shannon; Mothers Are People (1974) by Kathleen Shannon; Our Dear Sisters (1975) by Kathleen Shannon; The Spring and Fall of Nina Polanski (1974) by Joan Hutton, Louise Roy; They appreciate you more (1974) by Kathleen Shannon; Tiger on a Tight Leash (1974) by Kathleen Shannon; Would I Ever Like to Work (1974) by Kathleen Shannon.
[x] How They Saw Us series (1977) by Anne Pearson, that include How They Saw Us: Careers and Cradles (1977); How They Saw Us: Is It a Woman’s World? (1977); How They Saw Us: Needles and Pins (1977); How They Saw Us: Proudly She Marches (1977); How They Saw Us: Service in the Sky (1977); How They Saw Us: Wings on Her Shoulder (1977); How They Saw Us: Women at War (1977); How They Saw Us: Women at Work (1977).
