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Liz Marshall is a Canadian filmmaker based in Toronto . Since the 1990s, she has directed and produced independent projects and been part of film and television teams, creating broadcast, theatrical, campaign and cross-platform documentaries shot around the world. Marshall's feature length documentaries largely focus on social justice and environmental themes through strong characters. She is known for The Ghosts in Our Machine [1] Water on the Table [2] Water on the Table features water rights activist, author and public figure Maude Barlow . The Ghosts in Our Machine features animal rights activist, photojournalist and author Jo-Anne McArthur .
Biography [ edit ]
In the early 1990s, Liz Marshall studied film, video and photography in the Media Arts program at Ryerson University in Toronto. She has since worked as a director, writer, producer, executive producer, videographer and cinematographer , often collaborating with award-winning filmmakers and producers. Her body of work includes productions featuring musicians, dancers and authors, as well as documentaries for organizations. Marshall often assembles production teams under the auspices of her company LizMars Productions.
Clients, employers, broadcasters and partner organizations have included: Righteous Babe Records ; CHUM Limited television channels Bravo! , MuchMusic , BookTelevision ; War Child Canada ; The Griffin Trust for Excellence in Poetry ; Canadian Journalists for Free Expression ; Right To Play ; the Stephen Lewis Foundation ; Plan Canada ; MTV Canada ; CTV ; the Independent Film Channel ; W Network ; TVO ; Knowledge Network ; CBC ; Fusion Network ; Netflix ; the Animal Legal Defense Fund ; the New England Anti-Vivisection Society ; Animal Equality UK; We Animals ; Farm Sanctuary ; Women Make Movies ; the Bertha BRITDOC Connect Fund and Viceland .
As an active member of the Canadian film community, Marshall has served for three terms (2011-2016) as an elected board member of the Toronto chapter of the Documentary Organization of Canada , which formed the DOC Institute, the collective voice for Toronto’s indie documentary filmmakers. She is a core member of the Toronto chapter of Film Fatales ,[3]
In 1995, American folk singer-songwriter Ani DiFranco and her independent record label Righteous Babe Records commissioned Liz Marshall to document Ani on tour in parts of Canada and the US. Marshall directed a multimedia archival collage consisting of super 8mm, 16mm film, hi-8 video, and DAT recordings.
In 2013, Marshall declined a Queen Elizabeth II Diamond Jubilee Medal along with Maude Barlow , Naomi Klein and Sarah Slean .[4]
In 2017, Marshall completed her Master of Fine Arts in Cinema Production at York University .
Filmography [ edit ]
Documentaries [ edit ]
(Director, producer, writer, co-cinematographer)
(Director, producer, writer, co-cinematographer)
(Director)
Girls of Latitude (2008) (featuring Nicole Holness, Diane Salema, and Aliya-Jasmine Sovani)
(Director)
(Director, Producer)
Grandmothers: The Unsung Heroes of Africa /
A Generation of Orphans /
Women: The Face of AIDS /
(Co-Director, Cinematographer)
Voices of Dissent: The Struggle For Freedom of Expression in Turkey (2002) (featuring Daniel Richler )
(Director, Producer)
(Director, Cross-Platform Field Producer)
Shorts and music videos [ edit ]
(Director)
(Director)
The Weight of Memory (2001) (featuring Peggy Baker)
(Director)
(Director, Producer)
(Director, producer, Writer)
(Director)
Awards, nominations and distinctions [ edit ]
For The Ghosts in Our Machine
(Shared with fellow Producer Nina Beveridge)
Best Direction in a Documentary Program, Canadian Screen Awards nomination
Best Photography in a Documentary Program, Canadian Screen Awards nomination
(Shared with fellow Cinematographers John Price, Iris Ng , Nicholas de Pencier )
Best Sound in a Documentary Program, Canadian Screen Awards
(Garrett Kerr, Daniel Pellerin, Jason Milligan)
For The Ghosts in Our Machine
Official Honoree, 18th Annual Webby Awards , Best Use of Interactive Video
(Shared with Interactive Directors The Goggles, and fellow Interactive Producers Nina Beveridge, Sean Embury)
Shortlist, International LUSH Prize
For The Ghosts in Our Machine
Top Transformational Film, Viewers Choice Award
Top Ten Audience Favourite Award, Hot Docs Film Festival
Best Nature/Environment Golden Sheaf Award, Yorkton Film Festival
Special Jury Prize – International Competition, DMZ Docs
Best Canadian Feature, Planet in Focus Environmental Film Festival
Green Screen Award, 2nd place, Planet in Focus Environmental Film Festival
Top Twenty Audience Favourite Award, IDFA
Best Director in a Documentary, nomination, Yorkton Film Festival
Marshall respectfully declined the honour in support of the Idle No More movement.[9]
For Water on the Table
For Water on the Table
Best Canadian Feature award, Planet in Focus Environmental Film Festival
Donald Brittain Award for Best Social/Political Documentary, Gemini Award nomination
For Inside Your Threads
(Produced by Tania Natscheff of MuchMusic)
For Musicians in the War Zone
(Produced by Dr. Samantha Nutt, Eric Hoskins of War Child Canada, and Denise Donlon, Tania Natscheff of MuchMusic)
Gold medal, Cable in the Classroom
Gold medal, Canadian Association of Broadcasters (CAB)
Bronze medal, New York International Film Festival
References [ edit ]
^ Film Fatales: Liz Marshall
^ UPDATE: Liz Marshall declines her Diamond Jubilee medal, The Council of Canadians January 14, 2013
^ Ritchie, Kevin (April 6, 2020). "Hot Docs 2020 movies to premiere on CBC Gem" . NOW Magazine . Retrieved December 9, 2020 .
^ Marshall concludes AIDS trilogy, PlayBack October 1, 2007
^ Inside Your Threads , Much Music, CHUM Television, 2004Archived February 23, 2015, at the Wayback Machine
^ Animal rights film garners four Canadian Screen Awards nominations, rabble.ca January 24, 2015
^ UPDATE: Liz Marshall declines her Diamond Jubilee medal, The Council of Canadians January 14, 2013
External links [ edit ]
R e t r i e v e d f r o m " https://en.wikipedia.org/w/index.php?title=Liz_Marshall&oldid=1214739422 " C a t e g o r i e s : ● L i v i n g p e o p l e ● C a n a d i a n d o c u m e n t a r y f i l m d i r e c t o r s ● C a n a d i a n w o m e n f i l m d i r e c t o r s ● F i l m d i r e c t o r s f r o m T o r o n t o ● T o r o n t o M e t r o p o l i t a n U n i v e r s i t y a l u m n i ● Y o r k U n i v e r s i t y a l u m n i ● C a n a d i a n F i l m C e n t r e a l u m n i ● C a n a d i a n w o m e n d o c u m e n t a r y f i l m m a k e r s H i d d e n c a t e g o r i e s : ● W e b a r c h i v e t e m p l a t e w a y b a c k l i n k s ● A r t i c l e s w i t h s h o r t d e s c r i p t i o n ● S h o r t d e s c r i p t i o n m a t c h e s W i k i d a t a ● U s e m d y d a t e s f r o m J u n e 2 0 1 5 ● A r t i c l e s w i t h h C a r d s ● A r t i c l e s w i t h I S N I i d e n t i f i e r s ● A r t i c l e s w i t h V I A F i d e n t i f i e r s ● A r t i c l e s w i t h W o r l d C a t E n t i t i e s i d e n t i f i e r s ● A r t i c l e s w i t h J 9 U i d e n t i f i e r s ● A r t i c l e s w i t h L C C N i d e n t i f i e r s ● Y e a r o f b i r t h m i s s i n g ( l i v i n g p e o p l e )
● T h i s p a g e w a s l a s t e d i t e d o n 2 0 M a r c h 2 0 2 4 , a t 2 1 : 1 7 ( U T C ) . ● T e x t i s a v a i l a b l e u n d e r t h e C r e a t i v e C o m m o n s A t t r i b u t i o n - S h a r e A l i k e L i c e n s e 4 . 0 ;
a d d i t i o n a l t e r m s m a y a p p l y . B y u s i n g t h i s s i t e , y o u a g r e e t o t h e T e r m s o f U s e a n d P r i v a c y P o l i c y . W i k i p e d i a ® i s a r e g i s t e r e d t r a d e m a r k o f t h e W i k i m e d i a F o u n d a t i o n , I n c . , a n o n - p r o f i t o r g a n i z a t i o n . ● P r i v a c y p o l i c y ● A b o u t W i k i p e d i a ● D i s c l a i m e r s ● C o n t a c t W i k i p e d i a ● C o d e o f C o n d u c t ● D e v e l o p e r s ● S t a t i s t i c s ● C o o k i e s t a t e m e n t ● M o b i l e v i e w
