377:, Director Jane Marsh had her material re-edited. "The difference between the original script prepared by Marsh and the final version of the film was quite vast. Comparing the two versions illustrates that some NFB filmmakers were insistent on pushing the envelope even further with their class-based analysis, and that by the end they would settle for solutions that accepted the limitations associated with working within a government agency." The "final cut of 'Women Are Warriors', for example, hardly resembles the ambition of her original treatment on women's contemporary situation. ... After a final disagreement with Grierson, who refused to let a woman head his 'Canada Carries On' series, Marsh resigned from the NFB in 1944."
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women and was conditioning audiences to become accustomed to new and permanent women's roles in the workplace." He further noted: "The film ended with a superb montage moving from shots of women in factories to a plane in action, to factory, to plane to factory and plane to demonstrate how important women's roles were to the war effort."
434:. "During the early years of the NFB, its creative output was largely informed by the turbulent political and social climate the world was facing. World War II, Communism, unemployment, the role of labour unions, and working conditions were all subjects featured by the NFB during the period from 1939 to 1946".
441:
also showed an acceptance of a new role to come in postwar years. In an examination of the role of the NFB in wartime, historian George Evans observed: "If contemporary feminists sense omissions and patronizing in the film, one must at least acknowledge that expressed a positive attitude to working
422:
After the six-month theatrical tour ended, individual films were made available on 16 mm to schools, libraries, churches and factories, extending the life of these films for another year or two. They were also made available to film libraries operated by university and provincial authorities. A
449:
in a historical context. "Unlike 'Women at War' and 'Wings on Her
Shoulders', 'Women Are Warriors' makes it clear that these women were not leisurely idlers before the war - they were domestic workers, secretaries, doing whatever work was available for women. But just as the implications of Jane
271:
Canada also saw women becoming involved in the war effort. As
Canadian men are being mobilized to serve in the military, three million women are also mobilized to serve in the "home front". The largest contribution by Canadian women was through unpaid volunteer work, participating in recycling
369:
that relied heavily on newsreel material to provide the background to the dialogue. " represents an excellent example of the creative application of the compilation model in NFB films. The film brings together huge pre-edited chunks of
British and Soviet footage with practically no NFB-produced
450:
Marsh's original title, 'Work for Women', were suppressed in favour of 'Women Are
Warriors', so the implications of the film's structure and commentary are suppressed by the use of a male narrator - the same patriotic, reassuring voice heard in so many films showing men at war."
264:, the strength of one hundred million women is being seen in many ways. Women have taken on great responsibilities from running the collective farms, working in industrial production, and serving in the military units on the front lines. In the
236:
In Great
Britain when the war began, military authorities soon realized the importance of mobilizing all their citizens. Entering the industrial workforce, women supplemented men in many positions at munitions factories. Through the civilian
233:, as demands on the Canadian military grow, women are taking an increasingly important place alongside men. Not only in Canada were the strengths and talents of women being harnessed in a "total war" that had reached global proportions.
398:
series. His sonorous recitation led to his nickname, "The Voice of Canada", and to some observers, the "voice-of-God". When reading grim battle statistics or narrating a particularly serious topic, he was known as "The Voice of Doom".
295:(RCAF) women became clerks, drivers, photographers, air photo interpreters, weather observers, instrument mechanics, parachute riggers as well as many administrative and technical positions in the RCAF. Most women served at
410:
was produced in 35 mm for the theatrical market. Each film was shown over a six-month period as part of the shorts or newsreel segments in approximately 800 theatres across Canada. The NFB had an arrangement with
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packages, hosting dances for servicemen and other related domestic activities. The other important role that women took on was at munitions factories, turning out the tools of war.
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material. Marsh's editing approach and her ability to incorporate a multitude of distinct newsreel footage was instinctual with a powerful artistic and political force."
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in 2008. The film is part of the
Academy War Film Collection, one of the largest collections of World War II era short films held outside government archives.
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249:(ATS) with women as orderlies, drivers, postal workers, ammunition inspectors and operating searchlight units. The women pilots in the
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women became nurses, ambulance drivers and Air Raid
Wardens. Following in the wake of the volunteer organizations were the specialized
265:
819:
390:
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284:
1037:
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Halpern
Martineau, Barbara. "Before the Guerillières: Women's Films at the NFB During World War II." [Transcript of a speech).
280:
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246:
200:
121:
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Filming
Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46.
253:
took on the important but dangerous role of ferrying aircraft from factories or repair depots to the front line
498:
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series, and dealt with women in war. The film was produced by
Raymond Spottiswoode and written and directed by
751:
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366:
238:
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245:, dedicated to freeing men for other military service. The Women's Auxiliaries included the women in the
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We Serve That Men May Fly: The Story of the Women's Division of the Royal Canadian Air Force
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to ensure that Canadians from coast-to-coast could see them, with further distribution by
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taking over 21 types of army duties, enabling men to be released for combat service. The
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388:. Greene was known for his work on both radio broadcasts as a news announcer at
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Historian Malek Khouri analyzed the role of the NFB wartime documentaries with
945:
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John Grierson and the National Film Board: The Politics of Wartime Propaganda
302:
Canadian women will also play a part after the war, in building a new world.
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total of 199 films were produced before the series was canceled in 1959.
475:(1940), a NFB documentary on the role of women on the home front in the
445:
Film Historian Barbara Halpern Martineau considered the significance of
365:, originally with the working title of "Work for Women". The film was a
684:
353:
Typical of the NFB's Second World War documentary short films in the
904:
Waterloo, Ontario, Canada: Wilfrid Laurier University Press, 2011.
887:
Canadian Film and Video: A Bibliography and Guide to the Literature
934:. Hamilton, Ontario, Canada: RCAF (WD) Association, 1973. No ISBN.
874:
Calgary, Alberta, Canada: University of Calgary Press, 2007.
501:
building fighter and bomber aircraft in the Second World War
919:. Westport, Connecticut: Greenwood Publishing Group, 2001.
814:. London: Continuum International Publishing Group, 2005.
902:
Making it Like a Man: Canadian Masculinities in Practice.
497:(1999), a NFB documentary on the women who worked at the
857:
Saints, Sinners, and Soldiers: Canada's Second World War
571:
Conference on Canadian Film in Its Historical Context
279:
Canadian women also served in the military with the
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102:
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76:
56:
48:
38:
21:
797:My Father's Voice: The Biography of Lorne Greene
799:. Bloomington, Indiana: iUniverse, Inc., 2004.
889:. Toronto: University of Toronto Press, 1997.
829:. Toronto: University of Toronto Press, 1984.
784:. Toronto: University of Toronto Press, 1999.
343:Inidia Trokikya, Soviet Union railway director
340:Klatika Kosina, Soviet Union, locomotive drive
337:Kama Najidova, Soviet Union Petroleum Engineer
1048:Documentary films about women in World War II
782:Gendering the Nation: Canadian Women's Cinema
674:, July 13, 2009. Retrieved: February 5, 2016.
523:Their motto was: "We serve that men may fly."
8:
584:"Film Reference Library: Canada Carries On."
1033:National Film Board of Canada documentaries
956:
27:
18:
1023:Documentary films about military aviation
983:at Canadian Women Film Directors Database
488:Royal Canadian Air Force Women's Division
334:Nadia Suplikava, Soviet Union farm worker
268:, 227 women deputies also were elected.
844:. Toronto: P. Martin Associates, 1977.
535:
516:
380:The deep baritone voice of stage actor
1058:Films directed by Jane Marsh Beveridge
1018:Canadian World War II propaganda films
297:British Commonwealth Air Training Plan
573:, Ottawa, Ontario, November 13, 1976.
7:
810:Ellis, Jack C. and Betsy A. McLane.
644:"Bonanza's Canadian Lorne Greene."
14:
1043:Black-and-white documentary films
486:(1943), a NFB documentary on the
430:characterized as an example of a
394:as well as narrating many of the
384:was featured in the narration of
361:was created as a morale boosting
1013:Canadian short documentary films
917:Guide to the Cinema(s) of Canada
840:Feldman, Seth and Joyce Nelson.
1028:English-language Canadian films
812:New History of Documentary Film
723:Feldman and Nelson 1977, p. 65.
669:"Propaganda cinema at the NFB".
373:In a dispute with NFB director
1053:Films scored by Lucio Agostini
1008:Canadian black-and-white films
859:. Vancouver: UBC Press, 2004.
658:Ellis and McLane 2005, p. 122.
649:. Retrieved: February 5, 2016.
589:. Retrieved: February 5, 2016.
437:The role of women depicted in
317:Mary Johnston, RAF Ferry pilot
1:
1073:Columbia Pictures short films
772:Armatage, Kay, Kass Banning,
752:"Academy War Film Collection"
672:National Film Board of Canada
247:Auxiliary Territorial Service
203:(NFB) as part of the wartime
201:National Film Board of Canada
195:is a 14-minute 1942 Canadian
122:National Film Board of Canada
616:Armitage et al. 1999, p. 1.
287:have gone overseas. In the
281:Canadian Women's Army Corps
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587:Canadian Film Encyclopedia
607:Khouri 2007, pp. 102–103.
239:Women's Volunteer Service
26:
499:Canadian Car and Foundry
299:stations across Canada.
293:Royal Canadian Air Force
285:Canadian Nursing Sisters
219:Les Femmes dans la mêlée
1003:Canadian aviation films
900:Ramsay, Christine, ed.
795:Bennett, Linda Greene.
413:Famous Players theatres
367:compilation documentary
1038:1942 documentary films
266:Soviet Supreme Council
625:Bennett 2004, p. 254.
542:Lerner 1997, p. 1051.
483:Wings on her Shoulder
1078:1940s Canadian films
842:Canadian Film Reader
756:Academy Film Archive
738:Academy Film Archive
734:"Preserved Projects"
598:Khouri 2007, p. 181.
551:Keshen 2004, p. 156.
455:Academy Film Archive
229:In 1942, during the
69:(executive producer)
63:Raymond Spottiswoode
975:collection catalog
855:Keshen, Jeffrey A.
778:Janine Marchessault
714:Evans 1984, p. 138.
705:Evans 1984, p. 185.
696:Ramsay 2011, p. 40.
560:Ziegler 1973, p. 6.
494:Rosies of the North
325:Guerna Bak, Soviet
272:programs, creating
257:operational units.
981:Women Are Warriors
968:Women Are Warriors
948:Women Are Warriors
459:Women Are Warriors
447:Women Are Warriors
439:Women Are Warriors
428:Women Are Warriors
408:Women Are Warriors
386:Women Are Warriors
359:Women Are Warriors
192:Women Are Warriors
22:Women Are Warriors
16:1942 Canadian film
1063:Canada Carries On
925:978-0-3132-9931-5
910:978-1-55458-327-0
895:978-0-8020-2988-1
880:978-1-55238-199-1
865:978-0-7748-0923-8
850:978-0-8877-8159-9
835:978-0-80202-519-7
805:978-0-595-33283-0
790:978-0-8020-4120-3
774:Brenda Longfellow
634:Rist 2001, p. 84.
417:Columbia Pictures
396:Canada Carries On
355:Canada Carries On
251:RAF Ferry Command
243:Women's Auxiliary
217:version title is
206:Canada Carries On
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133:Columbia Pictures
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313:Lady Reading
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262:Soviet Union
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164:Running time
141:Release date
81:Lorne Greene
77:Narrated by
57:Produced by
39:Directed by
998:1942 films
992:Categories
685:back cover
506:References
457:preserved
349:Production
211:Jane Marsh
168:14 minutes
114:Production
98:Jane Marsh
90:Jane Marsh
52:Jane Marsh
49:Written by
43:Jane Marsh
531:Citations
403:Reception
330:commissar
274:Red Cross
135:of Canada
95:Edited by
955:website
465:See also
357:series,
225:Synopsis
181:Language
103:Music by
971:in the
951:on the
780:, eds.
291:in the
260:In the
184:English
173:Country
150: (
116:company
946:Watch
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215:French
176:Canada
511:Notes
921:ISBN
906:ISBN
891:ISBN
876:ISBN
861:ISBN
846:ISBN
831:ISBN
816:ISBN
801:ISBN
786:ISBN
776:and
453:The
306:Cast
152:1942
148:1942
973:NFB
953:NFB
391:CBC
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