montréal – -Translation – Keybot Dictionary

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  Terres en Vues / Arts v...  
Édition : Éditions du Boréal, Montréal, 240 p. ill.
Publisher: Editions du Boréal, Montréal, 240 p. ill.
  Regards autochtones sur...  
4-5 août 2011 / Montréal et Kanhawake
August 4-5 2011 / Montreal & Kanhawake
  Nomade en ville | Festi...  
Marco Colin a quitté Mashteuiatsh pour Montréal afin de poursuivre une carrière de comédien.
Marco left his Lac-Saint-Jean reserve to settle in Montreal and to make his dream of becoming a comedian come true.
  Remise de prix | Festiv...  
Roland Smith est un ex-propriétaire de salle expérimenté qui a administré et programmé les premières salles de cinéma de répertoire établies au Québec; le Verdi, l’Outremont, L’autre Cinéma et Le Laurier à Montréal seulement.
Roland Smith is a former cinema owner who administered and programmed the first repertory movie theatres established in Canada; the Verdi, the Outremont, L’autre Cinéma and Le Laurier in Montréal alone. He also extended his passion to the Cartier in Québec City, the Festival in Sherbrooke, the Lumière in Trois-Rivières, as well as the Vendôme in Hull. He operated in this milieu during the 60s 70s and 80s. The Outremont was the most determining in his long career which, from 1971 to 1987, offered movie lovers more than 500 different films each year, films often shunned by the standard networks. It was in these locations that the films of Allen, Bergman, Leone, Polanski and many others were first seen. His Revue de Cinéma also experienced great success with a quarterly run of 325,000 copies, as well as his integrated Video store which offered the same quality and variety as the theatrical programming. Today, he continues his long journey by returning to the roots of his cinema experience; theatrical screening. « Roland Smith has succeeded through the variety of his programming, in bringing a definite direction to the artistic dimension of film », said Pierre Lampron, the ex-president of SODEC. His mission seems clear: to make use of all the milieus that offer him the chance to show great films, and thus share his infinite passion for this 7th art.
  Terres en Vues / Arts v...  
À l'automne 2005, deux galeries françaises ont présenté ce cheminement très particulier d'une artiste qui réussit à faire vivre dans la fulgurance les traces d'un passé lointain. L'artiste est représentée à Montréal par la Guilde canadienne des métiers d'arts.
A painter and engraver from the Malecite nation in Quebec, Ginette Aubin is currently concentrating on an open body of work, drawing deeply on the history of her people Her works are found in several private and public collections, in Canada and Europe alike In Autumn 2005, two French galleries presented the very particular path taken by an artist who succeeds in making the traces of a distant past live in a flash of revelation. Ms Aubin is represented in Montreal by the Canadian Guild of Crafts.
  Terres en Vues / Arts v...  
De larges fenêtres donnent sur une rue bruyante de Montréal. Nous sommes décidément au cour de la ville, nos regards butant sur un écran démesuré allumé en permanence. Pourtant, le lieu est chargé à bloc d'une créativité hors du commun.
Matoush's paintings are inscribed in her people's memory. They appear as signs, prosaically carrying out the sign's purpose of showing the way. Strange canoes, borrowed from cave paintings discovered in Ontario, cross the fiery skies in these paintings. Certain archaeologists sought evidence of the Viking presence in the Great Lakes in these pictograms, but this denied the First Nations' own spirituality and the reality of their historical occupation of the territory. For Matoush, painting these Shamans' canoes as they transport souls is first and foremost a gesture of affirmation, a matter of urgency and dignity, in the face of the heavy veils of ignorance in which we too often shelter our fragile certainties. As the series develops, the signs gain purity, and become symbols of a sacred universe where compassionate beings open the path to healing.
  Terres en Vues / L'orga...  
Mohawk originaire de Kahnawake, Alana-Dawn Phillips poursuit des études à l'Université Concordia (Childs Studies) tout en travaillant à APTN (Aboriginal Peoples Television Network). Très active depuis une dizaine d'années au sein d'organismes communautaires et culturels oeuvrant à Montréal, elle a été associée à plusieurs reprises aux activités du festival Présence autochtone.
Alana-Dawn Phillips is a Mohawk woman originally from Kahnawake, Quebec. Currently studying part-time at Concordia University in Child Studies, while working full-time at APTN (Aboriginal Peoples Television Network). She has been an active member of the Aboriginal community of Montreal for over 10 years and has previously worked various summers for the First Peoples' Festival.
  Terres en Vues / Six ci...  
Le premier, Jayson, allait bien mais, au moment du tournage, il venait de vivre une rupture avec sa blonde et s'est alors retrouvé dans la rue. Le deuxième, feu Charlie Adams, ne voulait pas au départ venir vivre à Montréal.
For Qallunajatut (Urban Inuk), I wanted to make a film about Inuit in the city. There was a gradual change; we were nomads in camps. Nowadays, we live in permanent villages, and many of us live in the big city. The film follows three characters. The first, Jayson, was doing well, but during filming, he had just broken up with his girlfriend and found himself in the streets. The second, the late Charlie Adams, did not want to go to live in Montreal at first. He had to go south for medical reasons and living in the city was a very difficult experience for him. As for Pitsulata, she had been living in the city for quite some time and found her way: everything was going well for her. She is a social worker and helps others with the problems they face.
  Terres en Vues / Arts v...  
Plusieurs de ces femmes étaient d'origine autochtone. Sur un mur de la rue St-Laurent à Montréal, les barques chamaniques survolent une ville en proie au mal et à la détresse. Deux des composantes majeures de l'ouvre de Glenna Matoush, sa révolte face au sort réservé aux siens et sa compassion qui agit comme un baume sur la souffrance, éclatent au grand jour.
More recently, in September 2003, as part of the Living Monument project, she took part in the creation of a mural in memory of the 63 women sex workers who have been murdered in Vancouver since 1978. Many of these women were of Aboriginal origin. On a wall of St-Laurent Street in Montreal, the Shamanic rafts soar over a city beleaguered by evil and distress. Two of the major components of Glenna Matoush's artwork, her revolt against the lot set aside for her people and the compassion that acts as a balm against suffering, take pride of place.
  Terres en Vues / Les Ir...  
Il a vu du Cap Tourmente à l'archipel de Montréal une forte présence des derniers Iroquoiens du Saint-Laurent, plus de 10 000 personnes qui vivaient de la culture du maïs, de la pêche et de la chasse d'appoint.
During his river journeys, he saw many villages and campsites. From Cap Tourmente to the Montreal archipelago, he saw the strong presence of the St. Lawrence Iroquoians, more than 10,000 people living by growing corn and fishing, rounded out by hunting.
  Terres en Vues / Prix  
La Fondation Rigoberta Menchu Tum et sa représentante à Montréal, madame Lesvia Vela, se joignent à Terres en vues pour une cinquième année afin de souligner la qualité de ces oeuvres de combat et d'espoir.
The Rigoberta Menchú prize salutes essential works. Films of urgency, hard-hitting documentaries or patient inventories of flaunted hopes, or better still, accounts of small communities resisting their disappearance, all find a place to make their story known at First Peoples' Festival. The Rigoberta Menchú Tum Foundation and its Montreal representative, Ms Lesvia Vela have joined forces with LandInSights for the fifth year in a row to honour the quality of these works of struggle and hope.
  Terres en Vues / Six ci...  
L'important n'est donc pas où vous vous trouvez  : ainsi moi qui vit à Montréal, je n'ai aucune difficulté à m'affirmer comme Inuit, d'autant mieux que je maîtrise la langue (quoique je pense qu'on peut être Inuit même en ne connaissant pas la langue).
The idea for my other film, Umiaq Skin Boat, came when I learnt that a group of people in my community had decided to build a traditional sea mammal skin craft: an umiaq. I thought it was interesting because no umiaq had been built in this region for at least fifty years. I know many stories revolving around the umiaq.
  Waves Across the Seaway...  
Mêlant allègrement jazz, droits autochtones, hip-hop, soirées de lutte, musique country et bingo, K103 diffuse depuis une baraque située sur le bord de la voie maritime du St-Laurent et se fait entendre partout à Montréal et ses banlieues, établissant des liens au-delà du malentendu culturel qui sépare les Mohawks et leurs voisins.
Quirky portrait of K103.7 FM, the radio station that broadcasts from Kahnawake, Quebec, the Mohawk reserve located twenty minutes from downtown Montreal. Bingo, native rights, hip-hop and wrestling are all in the mix at this one-of-a-kind community radio station. The K broadcasts a ton of attitude from a shack on the edge of the St. Lawrence Seaway and is heard all across the big city and its suburbs, straddling the wide cultural gap between Mohawks and their neighbours.
  Terres en Vues / Six ci...  
Tracey Deer, une Mohawk de la communauté de Kahnawake, est diplômée en études cinématographiques de Dartmouth College, une composante de la préstigieuse Ivy League, en 2000, avec deux mentions d'excellence. Tout de suite après, elle travaille au bulletin de nouvelles du soir de CanWest Broadcasting, à Montréal.
Tracey Deer, a Mohawk from the community of Kahnawake, obtained her bachelor's degree in Film Studies from the Ivy League Dartmouth College in 2000, graduating with two awards of excellence. Immediately afterward, she began working for CanWest Broadcasting's nightly news program in Montreal. Four months later she joined Rezolution Pictures, also out of Montreal, as a production assistant on a feature-length documentary they had just begun. Within three months she was promoted to co-director and co-DOP of One More River, a 96-minute process documentary that followed the emotional and political turmoil involved within the Cree Nation when they signed a new deal to allow more hydroelectric damning on their land. The film won the Best Documentary Award at the Rendez-vous des Cinema Quebecois in Feb. 2005 and was nominated for the Donald Brittain Best Social/Political Documentary at the Geminis. The film was broadcast on APTN in March 2005. Her second film, Mohawk Girls, a 63-minute process documentary, was a solo effort that she directed, filmed and wrote about the lives of three Mohawk teenagers growing up on the Kahnawake reserve, which was co-produced with Rezolution Pictures and the National Film Board. It won the Alanis Obomsawin Best Documentary Award at the Imaginenative Film Festival in 2005 and aired on APTN in February 2006. Her latest projects are a feature documentary examining the concept of modern Native identity, also with Rezolution Pictures and the National Film Board, co-directing a feature documentary about the Mohawk immersion elementary school in Akwesasne, with Mushkeg Media, and two short fiction films that her production company, Mohawk Princess Pictures, is presently developing.
  Terres en Vues / Six ci...  
En 1994 il arrive à Montréal pour une formation d'opérateur de caméra auprès de l'Office national du film du Canada. Dans cette fonction, Rickard y a créé de plusieurs films documentaires destinés à la télédiffusion, dont Multiple Choices (Alison Burns), et First Nation Blue (Dan Prouty).
In 1994, he went south to Montreal to train as a camera operator with the National Film Board of Canada. In this capacity, Rickard did cinematography on several NFB documentary films for broadcast, including Multiple Choices (Alison Burns), and First Nation Blue (Dan Prouty). He worked on a number of other independent productions, and in 1996 was producer/director of the CBC North TV series Maamuitau.
  Films et vidéos | Festi...  
Kanakan Balatingos de son nom indigène, alias Aureus Solito, était encore un cinéaste émergent quand il reçut en 2005 le prix de la revue Séquences pour le meilleur documentaire au festival Présence autochtone de Montréal.
Kanakan Balatingos, his indigenous name, AKA Aureus Solito, was still an emerging filmmaker when he received the Séquences journal prize for best documentary at 2005 Montreal First Peoples Festival. This was his first international award; long before his film Busong was selected for the “Directors’ Fortnight“ section at the Cannes festival.
  Terres en Vues / Arts v...  
Urgence, urgence, des crânes semblent hurler, les digues se sont refermées, cauchemar sous les barrages, des villages sont noyés, des territoires rayés de la carte, l'humanité désemparée allume la télé pour le match final. Glenna Matoush n'a pas tout lu sur la « Paix des Braves », elle est allée là-bas et un beau matin une grande rivière a coulé dans son atelier de Montréal.
Here Matoush's highly shamanic art, with such an attention to the suffering of souls, confronts the devastation of the land. Instead of a book, Matoush gave us a river to read. Bonne Nuit Eastman River is a hard-hitting work, a blow against ruthless development.
  Terres en Vues / Arts v...  
Né le 10 juin 1964 sur l'Île de Ustupu, Kuna Yala au Panama, Oswaldo De Leon Kantule peint depuis 1980. Au début des années 1990, il commence à exposer ses ouvres à Boston, Washington et Panama City, jusqu'à Montréal, en 2003, où il réside et travaille.
Born on July 10th, 1964 on Utupu Island, Kuna Yala in Panama, Oswaldo De Leon Kantule has painted since 1980. Early in the 1990s, he began to show his works in Boston, Washington and Panama City, and finally in Montreal, where he lives and works, in 2003.
  Terres en Vues / Arts v...  
Les bâtons d'amitiés font ensuite le voyage vers Montréal, où ils sont installés en fonction du lieu choisi. Des rituels spécifiques et des performances (chants et danses) accompagnent les étapes de la performance.
Afterwards, the poles of friendship will journey to Montreal, where there will be installed according to the site chosen. Specific rituals and performances (chants and dances) will accompany the stages in the performance.
  Terres en vues | Festiv...  
TERRES EN VUES est le maître d'oeuvre du festival Présence autochtone, faisant de Montréal, durant dix jours en août, le chef-lieu de la créativité indigène des trois Amériques.
LANDINSIGHTS is the driving force behind the First Peoples' Festival, making Montreal the nerve centre of Indigenous Creativity from the three Americas for ten days in August.
  Terres en Vues / Prix  
Nulle fatalité n'est liée au fait de se retrouver dans l'itinérance à Montréal. Inuk urbain démonte les mécanismes de délocalisation et de dislocation, les facteurs d'aliénation qui poussent maints autochtones à venir grossir les rangs des sans abris.
Finding yourself on the streets in Montreal is not the outcome of mere chance. Urban Inuk delves into the mechanisms of relocation and dislocation behind the alienation pushing so many Aboriginal people into the ranks of the homeless. Pathos and pessimism have no place in such an approach. If you can understand something, you can also change it. For this strikingly realistic portrait of Inuit living on the margins of society, dreaming of their native tundra as they drift around the city, between nostalgia and the blues, the Montréal First Peoples' Festival 2006 jury awards the Rigoberta Menchu grand prize to Inuk urbain.
  Ia Orana Québec | Festi...  
Une délégation du Centre des Métiers d’Art de Polynésie française à Montréal réalise sur place un tiki monumental en quelques jours.
In Montreal, a delegation from the French Polynesian Art Crafts Centre creates a monumental tiki on the spot in a few days.
  Contact | Festival Prés...  
Montréal, Québec
Montreal, Québec
  Terres en Vues / Six ci...  
Tracey Deer, une Mohawk de la communauté de Kahnawake, est diplômée en études cinématographiques de Dartmouth College, une composante de la préstigieuse Ivy League, en 2000, avec deux mentions d'excellence. Tout de suite après, elle travaille au bulletin de nouvelles du soir de CanWest Broadcasting, à Montréal.
Tracey Deer, a Mohawk from the community of Kahnawake, obtained her bachelor's degree in Film Studies from the Ivy League Dartmouth College in 2000, graduating with two awards of excellence. Immediately afterward, she began working for CanWest Broadcasting's nightly news program in Montreal. Four months later she joined Rezolution Pictures, also out of Montreal, as a production assistant on a feature-length documentary they had just begun. Within three months she was promoted to co-director and co-DOP of One More River, a 96-minute process documentary that followed the emotional and political turmoil involved within the Cree Nation when they signed a new deal to allow more hydroelectric damning on their land. The film won the Best Documentary Award at the Rendez-vous des Cinema Quebecois in Feb. 2005 and was nominated for the Donald Brittain Best Social/Political Documentary at the Geminis. The film was broadcast on APTN in March 2005. Her second film, Mohawk Girls, a 63-minute process documentary, was a solo effort that she directed, filmed and wrote about the lives of three Mohawk teenagers growing up on the Kahnawake reserve, which was co-produced with Rezolution Pictures and the National Film Board. It won the Alanis Obomsawin Best Documentary Award at the Imaginenative Film Festival in 2005 and aired on APTN in February 2006. Her latest projects are a feature documentary examining the concept of modern Native identity, also with Rezolution Pictures and the National Film Board, co-directing a feature documentary about the Mohawk immersion elementary school in Akwesasne, with Mushkeg Media, and two short fiction films that her production company, Mohawk Princess Pictures, is presently developing.