As in If You Love This Planet, the film Who's Counting?... provides graphic illustrations of the Gulf War using archival footage of charred corpses (statistics) in contrast to the shop- ping Sheiks sipping chilled fresh squeezed oranges, contem- plating billion dollar buys while watching computer con- trolled fighter jets maneuvering in the skies. To add an even sadder note, Waring comments that "the amount of money spent in just two weeks on armaments could provide safe water for the entire world." It is statements like these that would make perhaps even the average industrialist take note, if only for a decisive moment. Both films continue to inspire communities, offering solutions at working together towards a better world. E.C.I.A.D. Film Instructor/Filmmaker Peg Campbell directed Bomb's Away (1988), a drama for teens offering empowerment to counter- act children's fear of Nuclear War. The film opens with a classroom scene, and students seated at their desks watch the video of /f you Love This Planet, Dr. Helen Caldicott's voice floats over imagery of the atom bomb exploding, she speaks of "a little boy who reaches up to catch a red drag- onfly on his hand against the blue sky, and there was a blinding flash and he disappeared and so did tens of thou- sands of other human beings." The teacher in the film turns off the T.V. monitor and speaks to her class: "Now this film might seem scary but there are things you can do to prevent this from happening." In the end the teens, their friends and family attend the Vancouver Peace March along with 150,000 others, ending the film on a hopeful note with the uplifting imagery of strength in numbers. Michael Rabinger states that, "Fictional and documentary films have authorial vision, a point of view, a changing dra- matic pressure and a critical perspective on what it means to be human. These elements are crucial in providing the feel- ing of an authorial voice, of a human sensibility unifying the events it shows, even though (and we must never forget this) the making of a film is collaborative. We sense the sto- ryteller's sympathy and intelligence, and what in lesser hands might be technical or formulaic becomes vibrantly human." Terre Nash has succeeded in all of the above. In summation, she is indeed successful in getting her film's messages across and offering groups and individuals inspiration to take action and allowing viewers to believe that they do have the power O 24 to change their world. At the conclusion of both films the viewer is offered choices on just how to start change. In If you Love This Plane,t Dr. Helen Caldicott delivers her passionate plea "to change the priorities of your life if you love this planet", and continues offering suggestions such as closing down air bases, not taking no for an answer and demanding unilateral disarmament. To mothers who have a strong instinct to protect their children, she recommends they attend the arms race debates at the Pentagon, and release their crawling babies on the debating floor, refuse to leave and demand social responsibility now. The offerings in Who's Counting?... are equally amusing and effective. Waring suggests to push for parity, to “join political parties and demand that half the candidates shall be women, when suc- cessful move on to another party and do the same. Take your census form (if you are a caregiver or housewife) and be inventive with your primary occupation, ie. be a President of your own com- pany (household) and so on". Waring also states that “language is a tool available to all of us" and that none of the attendees on leaving the lecture hall should ever again say, "my mother does- n't work, my wife doesn't work", and that special attention should be taken by people in the media or in teaching positions. The most recent example of such action comes under a Globe and Mail heading dated March 13 1999, which declares in bold type "Vindicated by UN, Calgary mother says". The article goes on to state that "A Calgary mother who took Canada before the United Nations over it's treatment of women's unpaid work claimed victory yesterday. Homemaker Beverly Smith said a two-line refer- ence by a working group of the United Nations Commission on the Status of Women to her com- plaint amounted to a vindication of her claim that Canada's tax system and lack of support for stay-at-home mothers amounts to discrimination. Without pointing specifically to her complaint, the group's report this week said the group ‘noted with concern remaining discriminatory provisions against women in national legal systems." ....Ms. Smith stated, ' If | got this much out of them, that's a victory.' Ms. Smith said in a telephone interview that the UN women's commission is now going to circulate a questionnaire to every country to see what laws they have that might discrimi- nate against unpaid labourers."(Oziewicz A9) In closing, | propose that the documentary style of Terre Nash's films not only speak clearly to all viewers, but leave them with a feeling of hope and inspiration to continue working to make the world livable for one and all. As Marilyn Waring so aptly declares "! expect to fail again and again. But not, | think, in the end, simply because beautiful things happen when powerless people respond to their circumstances, when the truth is unmasked." As in If You Love This Planet, the film Who's Counting?... provides graphic illustrations of the Gulf War using archival footage of charred corpses (statistics) in contrast to the shop- ping Sheiks sipping chilled fresh squeezed oranges, contem- plating billion dollar buys while watching computer con- trolled fighter jets maneuvering in the skies. To add an even sadder note, Waring comments that "the amount of money spent in just two weeks on armaments could provide safe water for the entire world.” It is statements like these that would make perhaps even the average industrialist take note, if only for a decisive moment. Both films continue to inspire communities, offering solutions at working together towards a better world. E.C.I.A.D. Film Instructor/Filmmaker Peg Campbell directed Bomb's Away (1988), a drama for teens offering empowerment to counter- act children's fear of Nuclear War. The film opens with a classroom scene, and students seated at their desks watch the video of If you Love This Planet, Dr. Helen Caldicott's voice floats over imagery of the atom bomb exploding, she speaks of "a little boy who reaches up to catch a red drag- onfly on his hand against the blue sky, and there was a blinding flash and he disappeared and so did tens of thou- sands of other human beings." The teacher in the film turns off the T.V. monitor and speaks to her class: "Now this film might seem scary but there are things you can do to prevent this from happening." In the end the teens, their friends and family attend the Vancouver Peace March along with 150,000 others, ending the film on a hopeful note with the uplifting imagery of strength in numbers. ‘Michael Rabinger states that, "Fictional and documentary films have authorial vision, a point of view, a changing dra- matic pressure and a critical perspective on what it means to be human. These elements are crucial in providing the fee!- ing of an authorial voice, of a human sensibility unifying the events it shows, even though (and we must never forget this) the making of a film is collaborative. We sense the sto- ryteller’s sympathy and intelligence, and what in lesser hands might be technical or formulaic becomes vibrantly human." Terre Nash has succeeded in all of the above. In summation, she is indeed successful in getting her film's messages across and offering groups and individuals inspiration to take action and allowing viewers to believe that they do have the power @*4 to change their world. At the conclusion of both films the viewer is offered choices on just how to start change. In If you Love This Plane,t Dr. Helen Caldicott delivers her passionate plea “to change the priorities of your life if you love this planet", and continues offering suggestions such as closing down air bases, not taking no for an answer and demanding unilateral disarmament. To mothers who have a strong instinct to protect their children, she recommends they attend the arms race debates at the Pentagon, and release their crawling babies on the debating floor, refuse to leave and demand social responsibility now. The offerings in Who's Counting?... are equally amusing and effective. Waring suggests to push for parity, to “join political parties and demand that half the candidates shall be women, when suc- cessful move on to another party and do the same. Take your census form (if you are a caregiver or housewife) and be inventive with your primary occupation, ie. be a President of your own com- pany (household) and so on". Waring also states that “language is a tool available to all of us" and that none of the attendees on leaving the lecture hall should ever again say, "my mother does- n't work, my wife doesn't work", and that special attention should be taken by people in the media or in teaching positions, The most recent example of such action comes under a Globe and Mail heading dated March 13 1999, which declares in bold type "Vindicated by UN, Calgary mother says". The article goes on to state that "A Calgary mother who took Canada before the United Nations over it's treatment of women's unpaid work claimed victory yesterday. Homemaker Beverly Smith said a two-line refer- ence by a working group of the United Nations Commission on the Status of Women to her com- plaint amounted to a vindication of her claim that Canada's tax system and lack of support for stay-at-home mothers amounts to discrimination. Without pointing specifically to her complaint, the group's report this week said the group ‘noted with concern remaining discriminatory provisions against women in national legal systems." ....Ms. Smith stated, ' If | got this much out of them, that's a victory.’ Ms. Smith said in a telephone interview that the UN women's commission is now going to circulate a questionnaire to every country to see what laws they have that might discrimi- nate against unpaid labourers." (Oziewicz A9) In closing, | propose that the documentary style of Terre Nash's films not only speak clearly to all viewers, but leave them with a feeling of hope and inspiration to continue working to make the world livable for one and all. As Marilyn Waring so aptly declares "I expect to fail again and again But not, | think, in the end, simply because beautiful things happen when powerless people respond to their circumstances, when the truth is unmasked."