Evil Grows - Carolyn Mamchur



Evil Grows: A documentary

Statement of Relevance

In today’s world, where family ties seem to torn asunder, where crime is on the increase, where too many First Nations men and women are filling the jails, when we can read in the newspaper that someone on a Canadian bus gets decapitated while sleeping, it is time to examine the nature of evil, the nature of legend, the nature of how cultures deal with the threat of growing evil in our troubled world. This research will examine evil by focusing on two specific aspects of the subject: archetypal legends of evil and one family forced by the tribe to live in isolation. The research will explore evil and how society in general responds to it; how various cultures have responded archetypely and how one BC aboriginal community deals with violence with a particular examination, case study style, of Matt Williams and his son, Greg Williams.

This will, then, constitute an enthnographic study resulting in conference presentations, published papers, and a documentary film intended to creatively explore the subject in a way which will provide an authentic avenue for others to engage in reflection and understanding.

Filmmaking is a new incarnation of oral tradition, a reinvention of storytelling in contemporary society where humankind today is constantly bombarded with stimuli and attention diversions. A documentary takes one out of circulation and deposits the viewer into a time and place for the duration of the film. It is more engaging and compelling for an audience member because they see into the subject’s troubled or glossy eyes, and hear the angst, trepidation or fear in their voices. We can experience what it is like to be in a maximum security prison, as well as the traditional potlatch of the Kwakuitl, including its songs and ceremony, experiences mainstream society does not get in their everyday lives. In a phrase we are prepared to go into the dark so others might see the light.

In making such a film, the filmmakers find that the entire community becomes invested and provides greater access due to the presence of the film crew, the lights, the camera and so on; they too understand the opportunity to have their thoughts and feelings projected throughout the world.

In the documentary form we are afforded the opportunity to present our findings to the world stage through feature film exhibition, television broadcast, and DVD distribution to educational institutions throughout the world. We can present the film to film festivals such as The Sundance Film Festival, Montreal’s First People's Festival, The Sami World Film Festival in Finland, The Denver Indigenous Film Festival, The Cine Las Americas International Film festival in Austin, Texas, and The Wairoa Maori Film Festival in New Zealand.

Our publications and presentations will be geared to both the academic refereed journals and conferences and important aboriginal communities, specifically, the Institute of Native American Studies in Georgia. The National Museum of the American Indians in Washington, DC, and the Canadian Museum of Civilization in Ottawa. We expect that the documentary will find a home in the Canadian Human Rights Museum in Winnipeg.

Summary of Proposed Research/Creation

Great stories are created by powerful and mysterious inner processes (Bonnet, 2006). The purpose of our project is to examine the paradigm of evil by creating a documentary film based on interviewing the peoples of Kwakuitl in British Columbia, and inspired by the sad story of Matt Williams, a member of the tribe banished for three generations and of his son, Greg Williams, now serving a life sentence in Prince Albert Penitentiary for impaling a young woman.

We will explore myth and legend in an attempt to expose the collective unconscious that exists in the world today. Jung (1980) choose the term “collective” over “individual” because it is universal, with its contents and modes of behavior more or less present everywhere.

The propensity for violence in certain Aboriginal/First Nation communities is often attributed to non-conforming societal pressures following decades of federal assimilation policy imposed upon past generations’ traditional culture and language. Such suppositions are with merit.

Experts believe that should the current trend continue unchecked, Aboriginal people could comprise 25 percent of Canada’s correctional population in less than 10 years, even though they are less than three percent of the adult Canadian population. (Native Woman’s Association, 2006).

The stories of the elders around the evil characters as described in Bakwus legend, known as The Wild Man of the Woods in Kwakuitl culture, will inform our understanding and our own story telling in the documentary. We believe that stories can guide us to our full potential and can lead to a profound understanding of ourselves and the world. We turn to such supporters of the necessity of art as Annie Dillard who believes that as the world is falling apart around us, it is the responsibility of the story teller to put it together again. (Dillard, 1982)

The objectives of this research are:

• To explore the nature of evil in the world today.

• To research the way society responds to evil it cannot understand.

• To explore evil through a study of archetypes.

• To achieve greater insight into traditional customs of Kwakuitl and Ojibway.

• To present an objective, unbiased perspective of the world view of the Kwatkuitl and Ojibway.

• To legitimize the oral traditions through logical examination of the legends including participation of spiritual ceremonies.

• To examine a case study of the Williams family and their banishment from the tribe.

• To preserve the specific legends and teachings of the Kwakuitl and Ojibway.

Detailed Description

Conceptual Framework

We accept the multicausal approach to understanding evil that includes both biological and sociocultural environmental causes. (Peters, 2008). Our responsibility to prevent social violence obligates us to search for the motives and environments that will encourage good and discourage evil.

Our work is informed by Jung’s (1970) insistence that it is important to explore the unconscious and one’s capacity for evil and his description of the shadow which examined the power of the collective societal unconscious. We also feel a connection to the notion that we are continually interacting via both our physical behavior and thought patterns with the whole, thereby altering, however slightly, the next "frame." Everything we have previously seen or experienced affects what we presently see or experience (Shepard, 1990 in Gough & Shacklett, 1994). We must accept the fact, that not only every individual, but every age and culture has crafted its own sensory reality. However, unlike ancient societies, most of the time we don't recognize that patterns/symbols can originate from the archetypal realm. Evil can be considered a force resulting from ignorance of what is required to remain in balance with the creative force. (Gough & Shacklett, 1994) p.

Contribution to the enrichment of Canadian culture

The research team has uncovered a natural inclination toward violence that comes from within the traditional culture of the Kwakuitl in British Columbia: based on the Bakwus legend, known as The Wild Man of the Woods in Kwakuitl culture. This spirit, like the dreaded Windigo of Ojibway lore, is said to be ‘pure evil’, bent on destroying the lives of the people he infects, and typically invades those of weak mind or spirit.

More than mere legends of decades past, both Bakwus and Windigo continue to maintain a presence in the contemporary lives of these First Nations who for their part partake in periodic religious ceremonies designed to appease the spirits.

An elaborate culture related to the Underworld of the Dead, not unlike the Egyptian Book Of the Dead dating back to 1240 BC, exists in the everyday lives and minds of many First Nations in Canada. The culture is based on the oral traditions of its peoples and is not readily accessible to the general public trying to understand these ancient and archetypal beliefs.

The team will research the legends around Bakwus and Windigo and its impact on modern tribal customs.

Artistic, scholarly, intellectual, social and cultural significance of the research, including the use of knowledge

Traditional Western culture as exemplified in works of Hume, Mill, Hartshorne and Marx look at the presence of evil as an obstacle. The approach we want to examine is more like the Gurunse’s of Ghana who look at the co-existence of God and evil and their belief in healing. (Ayonogo, 1999). The narrative inquiry we are linking to story telling accepts the fact that the function of the Shadow in story and in life is to challenge the her and give her a worthy challenge and the telling of the story is an awakening of the consciousness and a path to enlightenment. (Vogler, 1992)(Tallman,2005)(Whitmont, 1969)

To help us understand that oral traditions are legitimate we might consider the words of Leroy Littlebear (Blackfoot), professor of Native Studies at Harvard. He states there could not be lies incorporated into the traditional teachings because it would introduce chaos, which could jeopardize the entire tribe’s existence. (Warrior Spirits (documentary), 2002) It is not that the actual facts of the myth is believed, it is that the truth behind the myth that is crucial. Often interpretations by researchers suffer distortions due to what Toelken (1969) called cultural myopia. We are aware of this and it is our hope that Jeremy as a First Nations story teller himself, and me as a Jungian, will not limit things into typical Western categories. We feel as did Malinowski (1971(1926) that sacred tales play a most important function, closely connected with the nature of tradition, with the continuity of culture and with the relation between age and youth, and with the human attitude to the past, entering deeply into the tribal life of the community. (in Jones, 2008 ep. 79)

When considering the anthropology of a traditional storytelling culture it should be noted that a talented storyteller made sure there were memorable elements to the story so that when it was retold generation later, the essence of the story -its very moral- would still remain, even if specific words in the story changed.

Storytelling is important to all cultures of the world, regardless of bloodline. It helps define our value systems. In the case of Aboriginal cultures which were largely nomadic, there was no point to a written system of recording history because the exercise of oral tradition had sustained them well for centuries.

The other factor requiring examination here is the issue of traditional faith. As part of the assimilation policies of the Canadian government many Aboriginals have been Christianized forced into adopting new ideas and value systems. We feel this is very inadequate and the research and resulting documentary is designed to provide a more authentic and enlightened paradigm. Too often cultures not understanding aboriginal ways consider ceremonies such as the sweat lodge or shake tent to be devil worship. At worst, they’re no longer relevant to who they are today. We take a very different approach in examining the dark side from a more Jungian perspective which finds truth in myth. “What we are to our inward vision, and what man appears to be subspecie aeternittis, can only be expressed by way of myth.” (Jung, p.3)

Very little information exists in the entire historic record of the legends and beliefs of our identified First Nations. This is in part due to the nature of anthropologists’ research methods and how they apply critical thoughts and biases toward the traditional cultural beliefs. It is also in part the researchers themselves as non-Aboriginals not having the trust of the community members, and thus withhold crucial information. Any reluctance to share has been related to the perception by Aboriginal communities of exploitation for personal gain and cultural appropriation by non-Aboriginal researchers. Finally, the lessons contained in the stories -and by extension moral value system- have not been perceived by ‘mainstream’ society to hold any value.

Originality and expected contribution

One case worth investigating as a natural exploration of is that of Greg Williams, a multiple convicted killer carrying out his sentence in Prince Albert, Saskatchewan and slated for release in 2012. Williams has worked with Mamchur on a previous project.

Alford (2007) comments that Kekes ,in Facing evil, asks the question: Is evil best understood in terms of the extreme acts of a savage few, such as Robespierre and Charles Manson, or do we best approach evil as something we all possess? This project attempts to look at that question from both points of view. The trigger for our research was my previous work with Williams and his father.

The Williams’ story demonstrates a pan-Aboriginal belief system in the forces of good and evil, and how they use the spirit world and ceremony to keep the peace. Greg Williams and his father, Matt Williams have not had any connection to the traditional cultural teachings; without a spiritual base the father and son could not understand how to deal with the evil. I interviewed Greg Williams in prison as part of research for the screenplay, “Cemetery Road”. His father, Matt, who was taken from his father and put in a residential school, and subsequently spent most of his life in various prisons in Canada and the United States, was banished from his tribe for three generations. Greg was that second generation who could not return to the tribe; or would his children be allowed to return. Examining the practice of banishment into nature, and the ability or inability of either Matt or Greg to respond to that banishment is one of the questions we wish to explore.

The value of banishment into nature as a way of finding the self again will be explored through the process of interviewing and creating the documentary. Banishmenet on the Plains was done as a means to essentially say, look, if you misbehave according to how we police ourselves, you go off over there, and when you feel you can come back and adhere to what we believe is accepted behavior, then you are welcome to return.

Suitability and expected effectiveness of plans to communicate research results

While the answers to overcoming evil exist within the traditional cultural teachings, there are those such as Greg who are contemporary Indians who have no true connection to the culture, and thus cannot avail themselves (or trust in) the methods with which to keep the evil at bay. Everything in Greg and Matt's personal history points to the assimilation policies of the federal government...while this is not it's own excuse, it means the link to the traditional way of life which has sustained his people has been broken. The strength of a people is in its community and being ostracized has a very real effect.

In order to insure a holistic and transformational look at evil, we will be using a variety of methods, some traditional, as interviewing and documentation; some less traditional, as narrative inquiry; and others new on the lexicon of mixing symbol and science, as imaginal inquiry and arkhelogy.

• Imaginal inquiry best expressed in poetic diction: “When you see a severed head rolling down the path toward our field, ask of it, ask of it – the secrets of the heart: for of it you will learn our hidden mystery”. (Jalal ‘Uddin in Cobb 1992, p.232). Said another way, and adapted from Thomas Mann, “if we can do it, we will do it. If we cannot, it will be done to us.” (Giegerich, 2006, p.249) We will take the difficult journey of exploring evil as manifested in Greg Williams via interview, archival study of court records, journal of Greg Williams, diary of the woman who married him in prison whom he also killed in prison, letters of Greg Williams, his father, sister, wife.

• Arkhelogy is a method for interpreting one’s own material and provides a way to acquire, and organize information you receive from other people for the purpose of writing about the universal nature of people. (Van Bergen, 2007) (Morrison, 1978). We will use our own knowledge, often called ancestral knowledge or flooding, which requires self examination as well as archetypal study ia0n understanding and presenting knowledge that may not be pleasant in a non-judgmental way.

• Narrative Inquiry, finding ourselves in three-dimensional space, using a set of understanding that point us backward and forward, inward and outward, and locates us in place. Clandinin & Connelly, 2000, p. 54.

• Interviewing is based on fifteen years of interviewing traditional elders across North America regarding traditional knowledge and culture. An offering, such as tobacco, is given to a respected Elder who has been sanctioned by the community to speak on its behalf. The research team will sit and talk about what knowledge is sought, and how it is to be used –invariably for educational purposes, but also to preserve and legitimize these beliefs before any film or video camera is brought out into the community. Once approval has been given by the Elder(s) the research team shall commence recording.

• Creation of a documentary film. The very process of creating the film is in itself a form of creative and artistic research, giving opportunity for the research team to experience a lived experience in the writing, shooting, editing, and collaborative discussion of artistic choices.

This work grows out of the Principle Investigator’s previous work research the Greg Williams story from the perspective of “how could a woman marry a man who has impaled a young woman on a steel rod? The research involved in that project resulted in the discovery of Matt Williams’ being isolated from the community for three generations. This has led to the present study with a different focus: the response we have to violence. Merging this question with the Principle Investigator’s work in the archetypes of various cultures and art mediums and the Collaborators knowledge of and interest in aboriginal customs has led to this present research and hopefully will open new doors to further research and interest and understanding of a complex and feared topic that haunts us all.

Both the Principle Investigator, Collaborator, and Consultant( Jeremy Torrie) believe in the power of film to both understand and be understood, which we feel, as Northrope Fry has often counseled, is the responsibility of the educated mind.

Jeremy Torrie is working with the Principle Investigator and Collaborator as a Consultant due to his strong ties with the communities and his ability to work on the documentary. Without him it would be difficult to access the elders we need. Without me it would be difficult to access the knowledge of our case study (that was a four year proect, involving travel to England, Tofino and to interview Williams in prison. The Collaborator has immense experience in bringing aboriginal stories to light via the medium of film. We will be seeking outside funding to pay for our Consultant. We have included his expenses only in this proposal.

• 3 Year Plan

o Year One, April 2009- March 2010

▪ Investigate responses to evil that is so dark, society has no place to understand or deal with it. How do they deal with? That is one of our key investigative questions.

▪ Research legends of various aboriginal peoples.

▪ Analyze previous collected documentation around Greg Williams to focus on perceptions of evil rather than “the love story gone bad”

▪ Find various footage that may be used in our examination of violence and society’s response to violence (footage of Greyhound beheading incident) (footage of “exorcism” of Violeny criminal which resulted in death and jail term for exorciser).

▪ May: Travel to Tofino to gain permission from Elders of the Kwakuitl community to bring film crew for documentary. (Principle Investigator, Consultant who has close connections to community).

▪ Begin to analyze the data from point of view of researcher: what have we discovered regarding this particular case study’s view of violence and how to deal with it.

▪ Create treatment (30 page outline of potential documentary, which may change during the discovery process of filming.

▪ Travel with Principle Investigator, Collaborator, Director of Photography, Sound Recordist, Researcher to shoot and have Potlatch Ceremony.

▪ Prepare paper for conference presentation (funding from other sources_

o Year Two: April 2010- March 2011

▪ Rethink and rewrite the script (which may change from treatment as a result of footage and discovery along the way.

▪ Storyboard

▪ Edit footage and sound track (will seek additional funding from other sources to defray travel costs associated with PI to take part in editing process.)

▪ Send out to various media for dissemination (CBC, film festivals, TV stations, CHUM,

▪ Write various articles based on research around violence in general public and response from this case study. “Banishing violence”; “The Life of Legends”; “Archetypes of the Devil”.

▪ Present at a conference in Georgia

▪ Submit to film festivals

o Year Three: April 2011 – March 2012

▪ Anticipated travel to two film festivals, one International (New Zealand) (one Canadian (Montreal)

Dissemination:

Film: Dissemination will mainly be in the showing of the documentary. Because of both the collaborator and the consultant’s close ties with the aboriginal film world, we foresee dissemination go be almost guaranteed. In addition, the principle investigator has access to dissemination through schools and at the university. It is possible to submit the work to film festivals which will give it a wider, even a world audience.

Research aspect: In addition, three articles and a minimum of one conference presentation will be delivered.

Bibliography

Alford, C., 2006, “Evil Be Thou My Good”, The Good Society - Volume 14, Number 2, pp. 13-16.

Ayorogo, P., 1999, Openness to God: A comparative study of African and Western philosophy concerning the problem of evil, PH.D. dissertation, Boston College, 403 p. AAT 9930871.

Bonnet, J. 2006, Stealing fire from the gods, 2nd Ed. Michael Wiese Productions, Studio City, CA.

Clandinin, D. & Connelly, M. 2000, Narrative inquiry: Experience and story in qualitative research, Jossey Bass, San Francisco, CA.

Cobb, N., 1992, Archetypal imagination, Lindisfarne Press, Hudson, NY.

Dillard, A., 1982, Living by fiction, ,,arper & Row, New York, New York.

Giegerich, W., 2006, “The Burial of the Soul in Technological Civilization”, inPsyche & Nature: A Journal of archetype and culture, Spring Journal, New Orleans, LA, p.197-256.

Gough, W. & Shacklett, R., 1994, “Science of Good and Evil”, Proceedings of the Eleventh International Conference on the study of shamanism and alternate modes of healing, Santa Sabina Center, San Rafael, CA.

Jones, R., 2008, “Storytelling, socialization and individuation, in Education and Imagination; Post-Jungian perspectives, (Jones, R, Clarkson, A., Congram, S. & Stratton, N. (eds.) Routledge, London, England.

Jung, C., 1980, The archetypes and the collective unconscious, 2nd edition, Princeton Univesity Press, Princeton, New Jersey.

Jung, C., 1970, “Self-knowledge” in Collected works of C.G. Jung, Vol. 10, 2nd ed. Princeton University Press, p. 293-301.

Jung, C. 1962, Memories, dreams, reflections, New York: Harcourt, Brace & Company.

Peters, K., 2008, “Understanding and responding to human evil: A multicausal approach” Zygon, Vol. 43, #3, pp. 681-704.

Morrison, T., 1978, Lecture given in class of Harry Crews, University of Florida, Gainesville, Fla.

Tallman, B. 2006, Archetypes for spiritual direction, Paulist Press, New York, New York.

(2006), “Number of Aboriginal People in Canada’s Prisons Growing”, Native Women’s Assoc. of Canada,

Van Bergen, J., 2007, archetypes for writers: Using the power of your subconscious. Michael Wiese Productions, Studio City, CA.

Vogler, C. 1992, The writer’s journey: Mythic structure for storytellers & screenwriters, Michael Wiese Productions, Studio City, CA.

Whitmont, E. 1969, The symbolic quest, Princeton University Press, Princeton, New Jersey.

Description of Team

The principle investigator, Dr. Carolyn Mamchur, has been a professor in the faculty of Education since 1979. She has taught literature and creative writing for over forty years, starting as a high school teacher, and presently as a full professor in the education department. She has been teacher/therapist for a school for delinquent girls, working closely with First Nations groups in Saskatchewan. She has built upon her doctoral work in Jungian archetypes, resulting in several books and the emergence of a new book on the use of archetypes for creative writing and for use in the film industry. She has been senior advisor to over 100 students earning Master’s and Ph.D. degrees, has taught courses in the faculty of education in this field for 23 years, has worked as a consultant for Canadian chiefs, has helped to develop indigenous schools and worked with at risk aboriginal students on the Sunshine Coast. As a trainer in the field of film, she has been an advisor for Praxis (Simon Fraser University’s Screen Writing Training facility) offered courses for producers/directors/writers at the Banff School of Fine Arts and for Telefilm. In 2007, she developed a university wide literacy program for at risk students. As researcher, educator, developer of programs and writer of texts and books in her field, as a writer of literature (screenplays, short stories, poetry, children’s books) and Jungian psychologist, Her work with Indigenous groups, her screenwriting and film connections, her own documentary work, make it possible for Carolyn Mamchur to bring an expertise and disciplined passion that will see this unique project through conception to completion and to dissemination. She has worked with Jeremy Torrie in Montreal through Telefilm; has worked on the script of the Greg Williams story and has already interviewed all the key players in the Williams’ story. They all readily met with her and shared their stories, albeit dark and painful.

Jim Compton, collaborator, is an award winning journalist/director/producer/host. He has set up “Rising Day Media” for the launching of the first all Aboriginal Network in Canada. He served as executive producer on the 13 part drama series for CHUM Television entitled, “13 Stories about Love”. He sits on the board for the Center for Aboriginal Media and the Imaginative Film Festival. Jim is also the current president of IASPA (Independent Aboriginal Screen Producers Association). In that role, Jim sits on the Canadian Feature Film Working Group through Telefilm Canada. Through “Rising Day Media” Jim has provided the Aboriginal people and in general the television industry with top quality productions covering all genres. In all he has produced well over 300 hours of product for companies such as CHUM, APTN, Craig Broadcasting & CBC. He has signed on to direct/produce the first ever co-production between New Zealand and Canada. As a advisory board member (APTN), director and producer to APTN in the area of Aboriginal content television Jim has been instrumental in maintaining and preserving Aboriginal culture and language in Canada. Recent shows he was directly involved in, such as “Wassa Inabidaa- We Look In All Directions” garnered 5 Emmy Awards in the U.S. His documentary and market expertise is crucial to the credibility and dissemination of the work. Jim and Jeremy, the consultant, have worked on many projects together and will bring their huge knowledge of Aboriginal peoples to the creative work. This strong team melds inquiry, film making, archetypal understanding, honouring of tradition as we explore the dark story of the Williams’ family (already examined by Mamchur who has access to all the records and documentation. Together we can produce a powerful work of insight into evil and how one group makes sense of evil in the world around them.

Training (Role of Students)

The proposed research will be undertaken with assistance from one Simon Fraser University Education doctoral student as research assistant under the senior supervision of the Applicant. It is expected that with training and direction from the Applicant, the research assistants will acquire a variety of research skills that will influence their academic/professional careers and provide opportunity for them to present at conferences and publish their work. It will introduce them to other cultures, to archetypal understanding of legend and its affect on communities. It will teach them skill in working with documentary film, as well as how to engage Indigenous communities in the proper protocol for future research undertakings.

The research assistant in collaboration with the primary investigator and the collaborator and consultant will assist in study of archetypal legends, writing a script from real life interviews. Co-author scholarly publication and conference presentation.

Consultant: Justification for Jeremy Torrie, consultant (expenses for travel and per diem only)Consultant: Jeremy Torrie, consultant, is a writer, director producer, and editor of feature length drama and documentary films with a particular focus on First Nation and Aboriginal issues.

Previous and Ongoing Grant Results

|Type |SSHRC Travel Grant Date: 2008 |

|Amount |$1500 |

| |Archetypal study of art in Portugal and Spain and conference presentation |

| | |

|Type |Discovery Parks SSHRC Research Grant Date: 2006 |

|Amount |$10,000 |

| |Relevance: A research grant to investigate creative processes of writers and visual artists – led to archetypal |

| |understandings and interest. |

| | |

|Type |SSHRC Small Applications Grant Date: 2005 |

|Amount |$4,000 |

| |"Case Study Investigating and Documenting Process of a Successful Artist" |

| |Relevance: Resulted in a documentary on the creative process of a Yakima First Nations artist. |

| | |

|Type |Telefilm Canada Date: 2007 |

|Amount |$5,000 |

| |The Women in the Director’s Chair Workshop Story in Incubation Module (SIM). In conjunction with Carol Whiteman. |

| |Relevance: An extension of the work done in 2002, expanded to incorporate more specific aspects of archetypal |

| |development for the producers themselves. Led to the desire to conduct this research. The contribution to knowledge|

| |is giving film makers systematic insight to character development in their work and personal development in their |

| |own lives as artists. |

| | |

| | |

|Type |Film Study Bursary Date: 1994 |

|Amount |$3,000 |

| |Bursary to attend the Norman Jewison Film School, Toronto. |

| |Relevance: Gave me the opportunity to have specific training in writing for film and in working with creative |

| |artists from across Canada. |

|Type |Contracts Date: 1985 – present |

|Amount |$27,000+ per film |

| |Film Development funds for producing the following screenplays: |

| |Original screenplay: Sunnyside Canal, Wolf at the Door, |

| |Adaptation from novels; Swamp Angel (Ethel Wilson, novel), The Whole Brass Band (Anne Cameron novel), Arousal |

| |(Goudy, short story) |

| |CBC script for television, Love and Marriage Series: “The White Dress” |

| |Relevance: Evidence of ability to write creatively and work in the film industry. |

Budget Justification – Funds Requested from SSHRC

PERSONNEL COSTS:Student Salaries ($30,000)Non-Student Salaries ($25,000)Assist with organization of logistics, breakdown of shooting script and liaise with First Nation in BC. Will transcode interviews for editing script and prepare for scholarly document.

Non-student salaries are for Director of Photography (camera operator) $4,800 and sound recordist (4,200) based on 2 weeks labor and industry standard rates. Editorial Labour ($7,500) Professional narration ($1,000)The costs include rendering of video elements, graphics, subtitles, credit roll, physical HD VTR rentals, generation of DVD media files for distribution, and closed captioning for the hearing impaired.;Online Mastering & Distribution Total: 17,500 Payment to Consultant 7,500 (rest of funds outside)

TRAVEL & SUBSISTENCE COSTS :Year One to travel to meet with elders and then to actually shoot the film (two separate trips) Trip One: PI and Consultant Trip Two: PI and Consultant and Film Crew and RA. Canadian Travel (13,280Airfare Winnipeg- Vancouver x 2 x 2 @$670 ($2680) (Collaborator and Consultant from Wpg to Vancouver Vehicle rental for team (incl. minivan @$953 on Budget.ca, gas, ferry, and boat rental to island off Tofino) ($2,150).Hotel in BC @2 days x 3 room = 528 and perdiem 90 (Hotel in BC @ 10 days x 3 rooms ($132 x 4x 10 =$5280)(two days permission trip; ten days shooting.Per Diems x 6 x 10 days (principle investigator collaborator, consultant, camera op, sound, research assistant@$45.00)= 2700.00 Vehicle rental for team (inc minivan, on Bdget, gas, ferry, boat rental to island (Matt’s isolation location) 1,049Foreign Travel for presentation at conference in Georgia Georgia conference, air fare, per diem, hotel, registration PI and research assistant 3994Wairoa Maori Indigenous Film Festival 2011-June 3. part of the global promotional aspect.Principle Investigator and Consultant ($14,160)Airfare Vancouver to Auckland, New Zealand return x 2 ($10,920); Meals 5 dys 450, 2 Hotel 4 nights x 2 ($1,400); taxis ($120*)

OTHER EXPENSES ($14,160)

Due to the change in broadcast standards around the world, Standard Definition video such as available at SFUis no longer sufficient for broadcasters such as Discovery Channel and CBC as a delivery and broadcast format. The quoted package shall includes all necessary portable lights, camera, batteries, lens, tripod, matte box and filters. HD Video camera package rental ($10,000 for two weeks)

Non disposable Other 14,760

No documentary is complete without sound to go with picture. Sound Package (all inclusive) ($2,000)Physical HD tape stock . Sony HDCAM BCT-4 The production estimates a shooting ratio of 100:1. We estimate 8 cases. Digital Tape Stock ($2,760)Funding is requested for the following office expenses to facilitate editing (Eg. Photocopying, long distance telephone calls, audiotapes, faxing, office supplies, etc.)$100 . Mac Computer (Macbook Pro - $2700) SFU Microstore online to edit the picture and sound for the full length documentary. $2670– Avid Media Composer non-linear editing software package. Avid online Store.

OTHER EXPENSES (specify) ($2,670)

It is crucial to the successful completion of the project that the team engage in the standard protocols of the traditional First Nation communities. 10 Pouches of Player’s Tobacco @ $17.00 each: ($170)Potlatch Ceremony ($2,500)

Support Material

• 12 pages of written samples of screenplays by Carolyn Mamchur (Sunnyside Canal and Cemetary Road.) Demonstrates that Principle Investigator has writing skill and has knowledge of key subject being researched.

• Powwow Trail (watch last 10 minutes of DVD) Producer Jeremy Torrie; and conceived by Jim Crofton.

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