Smelter Wars: A Rebellious Red Trade Union Fights for Its Life in Wartime Western Canada

Government Motion Picture Bureau and the Ontario Motion Picture Bureau. Indeed, the book left me wanting more—which is not intended as a criticism—but rather it raises many questions that could lead to further avenues of research. The chapter on the North makes one wonder about how NFB nature documentaries represent other Canadian regions versus the nation-state; for example, what about films dealing with the fisheries in Atlantic Canada? How unique were these NFB productions? Granted Screening Nature and Nation is not intended to be a comparative, but I am curious about where these films fit within broader state-sponsored visions (or even commercial: i.e., Disney’s contemporaneous nature series) from a global perspective? Also, how does tourism factor into these narratives of nature? Sponsoring agencies frequently intended NFB films, particularly those dealing with wildlife and the National Parks, to promote tourism under the aegis of being “educational.” These questions aside, the monograph is a valuable addition to the historiography on Canadian cinema and environmental studies.