Norman McLaren's eight‑minute 1952 anti‑war short Neighbours became one of the National Film Board of Canada's most controversial works not because of technique but because of politics and studio nervousness. McLaren — fresh from an almost yearlong stay in the People's Republic of China and determined to make an uncompromising statement about militarism after the outbreak of the Korean War — staged an escalating, homicidal feud between two neighbours that culminated in the murder of each other's wives and children. To secure distribution and to placate American and European sensibilities in the early Cold War climate, McLaren was compelled by NFB gatekeepers to excise that brutal sequence; the version sent to the 25th Academy Awards (1953) was the censored cut that won the Oscar for Best Documentary, Short Subject and was nominated for Best Live Action Short Subject. The excision was not a mere artistic compromise: it was an act of institutional self‑censorship designed to make a politically charged Canadian film commercially palatable abroad.
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