Abstract

The advantage of a multi-faceted institution like the Toronto International Film Festival (TIFF) is its capacity for connecting different aspects of the film industry to one another. For example, TIFF’s archive houses a large quantity of ephemeral material that correlates to its databases; this binds collections together through metadata. The Atom Egoyan collection is particularly robust; all that stems from the wealth of information can be extracted from the paper ephemera that were donated in 1999. I use this opportunity to detail the general indispensability of ephemera when it comes to treating films as legacy objects and not just forms of entertainment, and by carefully examining and cataloguing the Egoyan collection, in particular. I created a digital catalogue that ties together item level titles, descriptions, dates, physical locations, and other forms of identification; this in turn builds upon the previous finding aid by strengthening the information taken from it.

Highlights

  • My thesis is based on primary sources, which are the paper ephemera within the Atom Egoyan collection

  • Brock Silversides has confirmed that the main purpose of the University of Toronto accrual is to allow researchers to have access to projection copies of Egoyan’s films

  • This is a point that Egoyan agreed with when I asked him about that specific donation, as he said the University of Toronto collection has more of a “film focus” and the accessibility that the Toronto International Film Festival (TIFF) archives do not have.[38]

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Summary

Introduction

As a reminder of films I enjoy, I purchase a poster — or some sort of merchandise — to emphasize my appreciation for the experience. The perpetuation of film production artifacts and events is frivolous and not academic Aside from these cases, the actual process of making a film gets lost when it comes to many filmmakers, studios, and production companies. At this point, it might be useful to refer back to the Columbia University lecture that dictated the necessity of film as a creative medium back in 1914. Egoyan’s donation of his own works to the Toronto International Film Festival (TIFF) is outstanding because of the vast quantity of items he gave He included physical copies of his films, but many different types of paper ephemera as well. This expands our overall understanding of the place of film in our society and adds to our appreciation of Atom Egoyan’s films within the Canadian cultural landscape

Literature survey
1.1: As a festival and an institution
Chapter 2: Methodology
Chapter 3: Theoretical Analyses
Legal Documents Legal documents confirm many details about a production
Screenplays
Production-Related Ephemera
Personal Papers
Chapter 4: Theoretical Analyses
77 Cultural Producers in Perilous States
Conclusion
DAYS MAX 5 PSYCHOPATHS
A Perfect Murder Dober Man
Want You
Findings
Notes textual records
Full Text
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