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Gudrun Bjerring Parker (données partielles)

Gudrun Bjerring Parker
Image : © Office national du film du Canada

Autres noms : Gudrun Bjerring, Gudrun Parker
Pays : Canada
Née : 1920
Décédée : 2022

Films réalisés par Gudrun Bjerring Parker

Citations de Gudrun Bjerring Parker [en anglais]

« [At the National Film Board of Canada during World War II] I think the general impression was we were very wild, we wore slacks, the women wore slacks, and our hours were questionable, until two in the morning and so on. »
-- Gudrun Bjerring Parker (source)

« I was working on films during that period [the 1940s and 1950s] and I was totally unaware of how we [women] were being represented. The most significant change that I see in the more recent films in the series ['Cinemama', Montreal, April 1984] is that women making films are now beginning to question that assumption. »
-- Gudrun Bjerring Parker (source)

Citations sur Gudrun Bjerring Parker [en anglais]

« If adults are co-operative, children are uniformly delightful to work with. Gudrun Bjerring thinks so, at any rate—and she should know, having specialized in films for and about children for some time. Gudrun isn't terribly old herself, and she refuses to say she's a producer, really. She's just a junior. However, her name heads the list of the NFB Educational unit, and she has many films to her credit. [...] Gudrun uses her old name Bjerring on her films, though she's married to Morton Parker, also of the Film Board. They say it's a good thing if a film maker marries another addict, because it's so absorbing that your spouse is bound to be subjected to a lot of shop talk, and if he or she isn't interested, it could be difficult. Unlike the Cherrys [Evelyn Spice Cherry and Lawrence Cherry], the Parkers don't work in the same unit, though Morton wrote the commentary for Listen To The Prairies. When you meet Gudrun Bjerring, you can understand her success with children—and adults too. She is so completely poised that you can't imagine her being upset by any of the things that could, and usually do, go wrong in making films. She is also so serenely pretty that you might think she was the other kind of film star, the kind in front of the camera. »
-- Elspeth Chisholm (source)

« Gudrun Bjerring Parker directed educational films, sometimes with all-women crews, using Judith Crawley on camera and Sally MacDonald on sound; she became head of the [National Film Board of Canada] educational unit. »
-- Barbara Halpern Martineau (source)

« Gudrun [Bjerring] started off as a cutter, but soon revealed so original a talent for dealing with children and young people that she became a director of such films. She was a very quiet, extremely persistent worker with an outwardly sweet and accommodating approach which masked a truly tremendous tenacity. »
-- Graham McInnes (source)

« The documentaries that pioneering filmmaker Gudrun Bjerring Parker made for the National Film Board in the 1940s and 50s are at once a fascinating glimpse into Canada's past and surprisingly relevant to the present day. They argue the necessity of affordable child care for working mothers, examine media bias and challenge accepted gender roles. They are also engagingly dramatic, inherently empathic and, at times, quietly lyrical. Ms. Bjerring Parker is often credited with helping create the template for the burgeoning NFB's distinctive documentary style. Her achievements are all the more remarkable when you consider she was one of the few female directors working at the film board in those decades. »
-- Martin Morrow (source)

« Once, Barbara [Rowe Gordon] recalls, she worked with an entirely female crew. Gudrun Parker was director, Margaret Perry was camerawoman and Barb was manager. They were filming the Library School on the top floor of the Ontario College of Education in Toronto. There were no elevators and they had to carry all kinds of heavy equipment up three flights of stairs. Struggling under 2 and 5 kilowatt lights, and lugging cameras around, wasn't exactly a tea party but the female crew emerged with a successful take and none the worse for their exercise. »
-- Betsy Mosbaugh (source)

« [Gudrun Bjerring Parker] was an iconic figure to us. She normalized the idea of women being behind the camera. »
-- Terre Nash (source)

« Gudrun Bjerring, a pioneering woman director and one of the first in Canada, joined the [National Film Board] in the early 1940s and became head of the educational unit. Her films were often lyrical documentaries that reflected her interest in music, culture, and young children. »
-- Wyndham Wise (source)

Pour lire les CITATIONS sur un film spécifique de Gudrun Bjerring Parker, veuillez voir :   Vitamins A, B1, C and D    Before They Are Six    Listen to the Prairies    Children's Concert    Royal Journey    Opera School    A Musician in the Family   

Notes sur Gudrun Bjerring Parker


Bibliographie sur Gudrun Bjerring Parker

Section 1 : Publications de Gudrun Bjerring Parker

Section 2 : Publications sur Gudrun Bjerring Parker

Brèves parties de livres

Articles de journaux, de revues grand public ou de sites d'information en ligne

Sites Web

Section 3 : Publications sur les films de Gudrun Bjerring Parker

Before They Are Six (1943)

Brèves parties de thèses

Children's Concert (1949)  (autre titre : "Concerts pour les jeunes")

Articles de journaux, de revues grand public ou de sites d'information en ligne

Royal Journey (1951)  (autre titre : "Voyage royal")

Articles de journaux, de revues grand public ou de sites d'information en ligne

Opera School (1952)  (autre titre : "La classe d'opéra")

Articles de journaux, de revues grand public ou de sites d'information en ligne

A Musician in the Family (1953)  (autre titre : "Un musicien dans la famille")

Articles de journaux, de revues grand public ou de sites d'information en ligne

Fonds et collections d'archives

Ces centres d'archives conservent des fonds ou collections liés à Gudrun Bjerring Parker ou à ses films :

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