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With the emergence of the Black Theatre Workshop in the late 1960s, Black theatre began to flourish across Canada, providing dynamic venues for the work of Black playwrights, directors, and actors.

This film about the clash of cultures is set in New France, circa 1634.

The Heritage Minutes collection is a bilingual series of history-focused public service announcements. Each 60-second short film depicts a significant person, event or story in Canadian history. They are produced by Historica Canada, the not-for-profit organization that also publishes this encyclopedia. First released in 1991, the Heritage Minutes have been shown on television, in cinemas and online. They have become a recognizable part of Canadian culture. The collection currently includes 100 episodes.

Oral history is an account of the past transmitted by word of mouth. It has made important contributions to the ways in which we understand and interpret the past. Today, oral history has become an important field of study. Oral histories are also central to Indigenous cultures, both historical and contemporary. (See also Historical Sources and Indigenous Oral Histories and Primary Sources.)

The TTA set up a dramatic committee that organized public readings of plays by Earl Lovelace, Errol John and Derek Walcott (Nobel laureate 1993).

Winnie-the-Pooh is a popular character in children’s books, movies and TV series. Originally appearing in Winnie-the-Pooh, a children’s book written by author A.A. Milne in 1926, the fictional character was based on a female black bear found in White River, Ontario. The bear, also called Winnie, was resident at the London Zoo, where she had been donated by Harry Colebourn, a veterinarian in the Canadian Army during the First World War.

Heavy metal. Rock music subgenre and stylistic approach. Heavy metal evolved ca 1968-9 from such British psychedelic- and blues-rock bands as Cream, Led Zeppelin, and Black Sabbath.

The Encyclopedia of Music in Canada was the first music encyclopedia published in Canada. It comprises more than 3,100 articles and 500 illustrations. It includes biographies of Canadian musicians and histories of music organizations in Canada. Topics that are covered include Inuit music, piano building, awards, education, instrument collections, folk music, the music scenes in Canadian cities and Canada's musical relations with other national cultures. Bibliographies, discographies and lists of compositions are included. Because of its role in documenting Canada's musical history, the EMC is a standard reference work for schools, libraries and musicians.

Filmmaking is a powerful form of cultural and artistic expression, as well as a highly profitable commercial enterprise. From a practical standpoint, filmmaking is a business involving large sums of money and a complex division of labour. This labour is involved, roughly speaking, in three sectors: production, distribution and exhibition. The history of the Canadian film industry has been one of sporadic achievement accomplished in isolation against great odds. Canadian cinema has existed within an environment where access to capital for production, to the marketplace for distribution and to theatres for exhibition has been extremely difficult. The Canadian film industry, particularly in English Canada, has struggled against the Hollywood entertainment monopoly for the attention of an audience that remains largely indifferent toward the domestic industry. The major distribution and exhibition outlets in Canada have been owned and controlled by foreign interests. The lack of domestic production throughout much of the industry’s history can only be understood against this economic backdrop.

This article is one of four that surveys the history of the film industry in Canada. The entire series includes: Canadian Film History: 1896 to 1938; Canadian Film History: 1939 to 1973; Canadian Film History: 1974 to Present; Canadian Film History: Notable Films and Filmmakers 1980 to Present.

 On 3 February 1916 fire broke out on Parliament Hill in Ottawa. The following morning all that remained of the Centre Block (1859) was the famous pinnacled library and a few walls of rubble. Canada was at war with Germany, its citizens in uniform, but replacement began almost immediately.

At least until the 1830s, and even later in some regions, the architecture of the English regime was polarized between Georgian forms, symbolizing British imperial order, and the various regional tendencies, already established or in the process of formation throughout the territory.

EXPO 67 reflected to Canadians and to all participating countries the triumph of a diverse, eclectic architectural modernism.

Filmmaking is a powerful form of cultural and artistic expression, as well as a highly profitable commercial enterprise. From a practical standpoint, filmmaking is a business involving large sums of money and a complex division of labour. This labour is involved, roughly speaking, in three sectors: production, distribution and exhibition. The history of the Canadian film industry has been one of sporadic achievement accomplished in isolation against great odds. Canadian cinema has existed within an environment where access to capital for production, to the marketplace for distribution and to theatres for exhibition has been extremely difficult. The Canadian film industry, particularly in English Canada, has struggled against the Hollywood entertainment monopoly for the attention of an audience that remains largely indifferent toward the domestic industry. The major distribution and exhibition outlets in Canada have been owned and controlled by foreign interests. The lack of domestic production throughout much of the industry’s history can only be understood against this economic backdrop.

This article is one of four that surveys the history of the film industry in Canada. The entire series includes: Canadian Film History: 1896 to 1938; Canadian Film History: 1939 to 1973; Canadian Film History: 1974 to Present; Canadian Film History: Notable Films and Filmmakers 1980 to Present.

Filmmaking is a powerful form of cultural and artistic expression, as well as a highly profitable commercial enterprise. From a practical standpoint, filmmaking is a business involving large sums of money and a complex division of labour. This labour is involved, roughly speaking, in three sectors: production, distribution and exhibition. The history of the Canadian film industry has been one of sporadic achievement accomplished in isolation against great odds. Canadian cinema has existed within an environment where access to capital for production, to the marketplace for distribution and to theatres for exhibition has been extremely difficult. The Canadian film industry, particularly in English Canada, has struggled against the Hollywood entertainment monopoly for the attention of an audience that remains largely indifferent toward the domestic industry. The major distribution and exhibition outlets in Canada have been owned and controlled by foreign interests. The lack of domestic production throughout much of the industry’s history can only be understood against this economic backdrop.

This article is one of four that surveys the history of the film industry in Canada. The entire series includes: Canadian Film History: 1896 to 1938; Canadian Film History: 1939 to 1973; Canadian Film History: 1974 to Present; Canadian Film History: Notable Films and Filmmakers 1980 to Present.

Filmmaking is a powerful form of cultural and artistic expression, as well as a highly profitable commercial enterprise. From a practical standpoint, filmmaking is a business involving large sums of money and a complex division of labour. This labour is involved, roughly speaking, in three sectors: production, distributionand exhibition. The history of the Canadian film industry has been one of sporadic achievement accomplished in isolation against great odds. Canadian cinema has existed within an environment where access to capital for production, to the marketplace for distribution and to theatres for exhibition has been extremely difficult. The Canadian film industry, particularly in English Canada, has struggled against the Hollywood entertainment monopoly for the attention of an audience that remains largely indifferent toward the domestic industry. The major distribution and exhibition outlets in Canada have been owned and controlled by foreign interests. The lack of domestic production throughout much of the industry’s history can only be understood against this economic backdrop.

This article is one of four that surveys the history of the film industry in Canada. The entire series includes: Canadian Film History: 1896 to 1938; Canadian Film History: 1939 to 1973; Canadian Film History: 1974 to Present; Canadian Film History: Regional Cinema and Auteurs, 1980 to Present.

Few existing plays celebrated Canada's history, so ATP commissioned new works. Campbell's The History Show was the first of over 30 such scripts produced in the first four years. When ATP's mandate expanded to include an adult season, commissions for new plays continued.

Fine art is meant to be contemplated and interpreted; decorative art is designed to be used and enjoyed. Nonetheless, there is no sharp boundary between the decorative and the fine arts. Yet for thousands of years, people have fashioned everything from totem poles and shaman’s rattles to elaborately carved stone and ivory knives and harpoons. These items served ritual and practical purposes and carried with them both spiritual and historical meanings. There is no reason to think a useful object cannot also be a bearer of meaning. Contemporary Canadian artists and artisans continue to blur the lines between decorative and fine art.

Written by Irving Abella and Harold Troper, None Is Too Many: Canada and the Jews of Europe 1933–1948 (published in 1982), documented antisemitism in the Canadian government’s immigration policies as they applied to European Jews fleeing persecution from Nazi Germany. The phrase “none is too many” entered the Canadian political lexicon largely because of this book. Even before its publication, the book played a crucial role in changing the Canadian government’s policies toward refugees, such that the government of Joe Clark welcomed Vietnamese refugees then referred to as the “Boat People.”