This thesis explores the relationship between the National Film Board and its audiences, with particular attention to the ways in which the NFB has tried to respond to the needs of Canadians for media representations of themselves, through the Challenge for Change program (1967-1978) and Studio D (1974-). The focus of this work will be on the progressive aspects of NFB productions, which have frequently taken controversial stands against official government policy. / In the process, the place of the NFB within a politics of representation will be discussed, and its critical contribution to the constitution of a Canadian "national identity" will be examined. Finally, this study is part of an attempt to investigate characteristics of Canadian society, with respect both to the functioning of government and to the democratic use of film as a medium enabling culturally marginalized people to find their own voices.

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This thesis examines various aspects of whiteness and white trash as it relates to films made between 1972 and 2002. Key to this discussion are the concepts of race and class because whiteness invokes race, and trash invokes class. How is white trash represented in cinema? To begin answering this question, one must call into question a conceptual framework of 'privileged whiteness' because when upper-middle-class whiteness is forced to recognise itself, a crisis occurs whereby whiteness can become trashed. This thesis argues from the outset that little distance exists between privileged whiteness and white trash because this ongoing 'crisis' maintains a proximity between both terms. The sopmetimes difficult relationship between privileged whiteness and white trash is explored in filmic case studies. A discussion of white trash must go beyond race and class, because place, age and sexuality also play a large part in making sense of the way white trash functions on screen. The second half of the work identifies specific modes of cinematic white trash production. These are camp white trash and queer white trash. In the former, the films of John Waters are discussed within a framework of 'camp/trash aesthetics'. The latter looks at queer white trash through a detailed analysis of the 1990's New Queer Cinema. Lastly, this thesis argues that the films discussed contribute to a concept of White Trash Cinema. / Doctor of Philosophy (PhD)

Thesis (Ph.D.) -- University of Western Sydney, 2004. / Bibliography: leaves 262-270.

Thesis (M.A.)--Queensland University of Technology, 2004. / Title from PDF title page (viewed on Mar. 25, 2006). Includes bibliographical references (p. 117) and filmography (p. 118).