Evelyn Spice Cherry
editEvelyn Spice Cherry was a Canadian documentary film maker, director,and producer. She is best known for her work as the head of the Agricultural Films Unit at the National
Film Board and as a member of the British Documentary Film Movement.
Early Life
editEvelyn Spice Cherry (nee Evelyn Spice) was born in 1904 in Yorkton, Saskatchewan.[1] Spice began her career teaching public school. [2] In 1929, she graduated from the University of Missouri with a degree in journalism and started working at the Regina Leader-Post as the society columnist.[1]
She moved to London, England in 1931, where she began working at the Government Post film unit.[1][2] She worked under John Grierson, who she would later go on to work with at the National Film Board in Canada. While working at the GPO, Spice met and worked with members of the British Documentary Film Movement. She became the only female member and the only Canadian in the movement.[1]
While in England, Spice met fellow Canadian and future film making partner/husband Lawrence Cherry. In 1939, after World War II was declared, Evelyn and her husband returned to Canada, where they worked as independent film makers.[2]
Work at the National FilmCommission/Board
editIn 1941, Cherry and her husband were invited to work at the newly formed National Film Commission, later renamed the National Film Board,[3] by John Grierson,[4] who she worked with at the GPO and as part of the Documentary Film Movement. Cherry was placed in charge of the agricultural film unit, where she made films about farm life and production.[1][5] Cherry’s accession to such a high position in the NFB was unheard of at the time and is attributable to the scarcity of available labour after the outbreak of World War II.[6] Nonetheless, her work was highly influential and she is regarded as a pioneer in the Canadian female documentary filmmaker movement. Cherry made 128 films at the NFB during her 10 year tenure there.[1]
Since the NFB had been formed in part to create Canadian propaganda for World War II,[6] many of Cherry’s films revolved around a central theme of cooperation and coming together to achieve a unified goal. Farm Electrification (1946), for example, is a film that centres on a rural Manitoba community that comes together to bring hydro-electricity to their farms. Those in the community who oppose the plan are eventually won over, recognizing that the wide-reaching benefits outweigh the costs.[7] Similarly, her film Children First (1944) spoke to the importance of organized consumption and assures the audience that sharing guarantees that “there will be enough to go around.”[8] These “waste not, want not” messages were abundant in NFB films throughout the 1940s, but would go on to cost Cherry and many others at the NFB their jobs after the war, as post-World War II communist paranoia surrounded the NFB and other government agencies.[5]
"The Red Scare"
editCherry left the National Film Board during the “Red Scare” – an epidemic fear that communist operatives had infiltrated branches of Canadian government offices and institutions after World War II.[9] These fears were somewhat bolstered when Igor Gouzenko, a cipher clerk for the Soviet Embassy to Canada, defected to Canada and brought with him evidence of espionage. Among the evidence was a document that read “Freda to the Professor through Grierson.”[9] This document was thought to be implicating John Grierson, the man who hired Cherry at the NFB, and his former secretary Freda. As such, Cherry and her husband, along with many others from the NFB, were let go and John Grierson’s contract as NFB commissioner was not renewed.[9]
Though Cherry herself was never directly linked to any communist activities, the government saw potential communist themes in her work, before and during her time at the NFB.[5] As head of the Agricultural Films Unit, many of her films portrayed the working class in an exemplary light.[9] Her film Children First, for example, advocated for consumption patterns in relation to societal needs.[8] These messages of social consciousness and praise for the working class were necessary to the war effort, but were seen as potentially detrimental to capitalist society afterwards.[9] Cherry herself acknowledged the politically motivated purging of the socially aware documentary film makers from the NFB:
“The basic thing was an attack on the kind of film – of social meaning – we were doing. We felt deeply involved in the county and we were filming it. Canadians were seeing themselves and their country for the first time, and they liked it. We were a threat to the way things were and the way some people wanted them to continue. In the U.S. there were a few people doing it, but up here it was a movement – the National Film Board!”
- Evelyn Spice Cherry[10]
Life After the NFB
editAfter leaving the National Film Board, Cherry retired from film making, albeit temporarily.[2] Cherry returned to her earlier work as a teacher.[2] Cherry and her husband raised a family together.[2] In 1960, the couple got back into film making in Saskatchewan and formed Cherry Films Ltd, where they made more socially and environmentally conscious films.[2] Lawrence passed away in 1966.[2] Cherry finally retired from film making in 1985, when she moved to British Columbia. She died in Victoria in 1990.[2]
| Title | Year |
|---|---|
| New Horizons | 1943 |
| Windbreaks on the Prairies | 1943 |
| Children First | 1944 |
| Soil for Tomorrow | 1945 |
| Farm Electrification | 1946 |
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- ^ a b c d e f "NFB pioneer may yet be famous - Regina Leader Post". Retrieved 2015-10-05.
- ^ a b c d e f g h i Saskatchewan, Cory Toth - Encyclopedia Of. "The Encyclopedia of Saskatchewan | Details". esask.uregina.ca. Retrieved 2015-10-05.
- ^ "National Film Board of Canada".
{{cite journal}}: Cite journal requires|journal=(help) - ^ Khouri, Malek (2007). Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46. Calgary: University of Calgary Press. p. 92. ISBN 978-1-55238-199-1.
- ^ a b c Khouri, Malek (2007). Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46. Calgary: University of Calgary Press. ISBN 978-1-55238-199-1.
- ^ a b Armatage, Kay; et al. (1999). Gendering the Nation: Canadian Women's Cinema. Toronto: University of Toronto. p. 4. ISBN 0-8020-7964-4.
{{cite book}}: Explicit use of et al. in:|first=(help) - ^ Khouri, Malek (2007). Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46. Calgary: University of Calgary Press. pp. 205, 235. ISBN 978-1-55238-199-1.
- ^ a b Khouri, Malek (2007). Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46. Calgary: University of Calgary Press. p. 148. ISBN 978-1-55238-199-1.
- ^ a b c d e Druick, Zoe (2007). Projecting Canada: Government Policy and Documentary Film at the National Film Board. McGill-Queens University Press. p. 91. ISBN 978-0773532595.
- ^ Malek, Khouri (2007). Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946. Calgary: University of Calgary Press. pp. 218–219. ISBN 978-1-55238-199-1.
- ^ Khouri, Malek (2007). Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46. Calgary: University of Calgary Press. pp. 230–235. ISBN 978-1-55238-199-1.