Robert Benson

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Emily of New Moon is a Canadian television series, which aired on CBC Television from 1998 to 2000. The series originally aired in the United States on the Cookie Jar Toons block on This TV and it is currently seen in Canada on the Viva, Bravo! and Vision TV cable channels. The series, produced by Salter Street Films, was based on the Emily of New Moon series of novels by Lucy Maud Montgomery. The series consisted of three seasons of thirteen episodes and one season of seven episodes, for a total of forty-six. The executive producers were Micheline Charest, Michael Donovan, and Ronald Weinberg. The series starred Martha MacIsaac as the titular orphan Emily Starr. Susan Clark and Sheila McCarthy played Emily's aunts Elizabeth and Laura, who had taken on the responsibility of raising Emily following her father's death, and Stephen McHattie played her cousin Jimmy. Susan Clark left the series after the first season when her character, Elizabeth, was killed off. Recurring cast included Chip Ciupka as Mr. Carpenter, Peter Donaldson as Ian Bowles, Richard Donat as Dr. Burnley, Kris Lemche as Perry Miller, John Neville as Uncle Malcolm, Jessica Pellerin as Ilse Burnley, Shawn Roberts as Teddy Kent, and Linda Thorson as Cousin Isabel.

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Constable Benton Fraser, an officer of the Royal Canadian Mounted Police, is attached to the Canadian consulate but works with Chicago Police Department to solve crimes.

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Narcissistic Saskatchewan Tory politician Colin Thatcher is engaged in a bitter divorce from his wife Jo-Ann. When a series of court rulings over the divorce go against him, Thatcher decides a more drastic solution is needed - murder! A series of attempts on Jo-Ann's life follow, most of which don't succeed. Finally one does, and the arrogant Thatcher believes he is above the law and immune to prosecution. But his arrogance proves to be his undoing, as Crown Counsel Serge Kujawa builds a case against this psychopathic monster for 1st-degree murder - charging that Thatcher hired someone to kill his wife. The true story of one of the most disturbing stories of murder-for-hire in Canada.

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Jane, a young Toronto girl, tries to reunite her estranged parents during the 1930’s, sick of her strict private school and abusive, nasty grandmother.

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Jerry Lewis plays an Ohio optometrist who has a six-year old daughter with epilepsy. He fights to get the FDA to approve a drug (at that time only available in England) for use in the U.S.

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The New Alfred Hitchcock Presents is an American anthology series that aired on NBC from 1985 to 1986, and on the USA Network from 1987 to 1989. The series is an updated re-imagining of the classic 1955 series Alfred Hitchcock Presents.

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Angie and Helen are in love. They live and work together designing women's evening wear in Vancouver. When Helen decides she wants to have a baby, the pair set out to find a suitable sperm donor.

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Environmentally concerned lawyer Abigail Adams works with Professor Roger Keller in his effort to protect baby seals from slaughter.

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One of the few Brakhage films featuring spoken dialogue and a central character, this sly and bitter polemic pits an actor (poet? director?) against an unseen audience. Preserved by the Academy Film Archive in 2007.

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In “Mr. Tompkins Learns the Facts of Life”, Mr. Tompkins learns about biology. In a wild and entertaining dream, his creator, author George Gamow, sends him through his own blood steam to investigate how his body really functions. Professor Igor Gamow and legendary filmmaker, Stan Brakhage, made the film “Mr. Tompkins Inside Himself” based on George Gamow’s book. The film includes an introduction by George Gamow, himself.

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The Extraordinary Child applies his developing style to broad slapstick. His friends from the previous films and the director himself play out a riotous farce about an overgrown baby who steals his father’s cigars. Everyone mugs hilariously. The movie could be taken as another example of the Romantic notion of the artist as a monstrous child or misfit, or a parody of the same rather than the personal confessional statement seen so often in these film movements.

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Four young men and a young woman sit in boredom. She smokes while one strums a lute, one looks at a magazine, and two fiddle with string. The door opens and in comes a young man, cigarette between his lips, a swagger on his face. The young woman laughs. As the four young men continue disconnected activities, the other two become a couple. When the four realize something has changed, first they stare at the couple who have kissed and now are dancing slowly. The four run from the house in a kind of frenzy and return to stare. The power of sex has unnerved them.

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An anatomy of violence. Four young men and two young women are on a drive. There's a rivalry between two guys for one of the girls. On a remote road, the car stalls. The driver hitchhikes for help. Led by the intrepid girl, the others walk toward abandoned buildings, perhaps a mining operation. One of the three guys sits and reads. The intrepid one explores the building and sees something that scares her. She screams; the two rivals and the second girl run to find her. Something she says starts a fight between her two suitors. The one reading a book walks away in disgust. After stopping the fight, the two young women follow. How can this end? Preserved by the Academy Film Archive in 2005.

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