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Fatty Legs (2010) is a memoir about a young Inuvialuit girl’s two years at a religious residential school. It is based on the experiences of Margaret Pokiak-Fenton, who cowrote the novel with her daughter-in-law Christy Jordan-Fenton. Published by Annick Press, the book features illustrations by Liz Amini-Holmes and archival photographs from Pokiak-Fenton’s personal collection. Fatty Legs was a finalist for the Sheila A. Egoff Children’s Literature Prize. It received many other nominations and was named one of the 10 best children’s books of the year by the Globe and Mail.

The advance of computers into all aspects of our lives and the rising role of the Internet have led many people to call this the Information Age. But with news travelling fast, and often with few checks and balances to ensure accuracy, it can also be seen as the Misinformation Age. Learning how to separate facts from misinformation or so-called fake news has become a critical modern skill as people learn to evaluate information being shared with them, as well as to scrutinize information they may share themselves.

Repositories of documents of historical interest, usually in written, sound-recorded, or pictorial form.

Church choir schools. Institutions set up to train young musicians in the literature and performance of church music and to enable them, through the presentation of such music, to worship in a manner at once spiritual and artistic.

Chan Centre for the Performing Arts. Performing arts complex at the University of British Columbia (UBC) campus, Vancouver.

The first significant wave of immigration to Canada from Korea began in the late 1960s and the early 1970s.

Aboriginal Peoples Television Network (APTN) is the world’s first Indigenous national broadcaster dedicated to Indigenous programming. First broadcast on 1 September 1999 in Winnipeg, Manitoba, APTN provides various content, including news, dramas and documentaries. Aimed at diverse audiences, APTN offers programming in Indigenous languages, English and French. It broadcasts into more than 11 million Canadian households and businesses, a significant portion of which are located in remote areas. APTN mainly generates revenue for operations through subscriber fees, advertising sales and partnerships.

2 Pianos 4 Hands. Two-person comedy-drama with music; semi-autobiographical show by the pianists-playwrights Ted Dykstra (b Chatham, Ont 1961) and Richard Greenblatt (b Montreal, 1952 or 1953).

Arion Male Voice Choir. Possibly Canada's oldest existing male choir devoted to the singing of secular music. It was founded in February 1893 (with initial, informal activities beginning in 1892) as the Arion Club of Victoria (BC) and gave its first concert 17 May 1893 at Institute Hall.

Boss Brass. Toronto jazz orchestra (big band) led by Rob McConnell. It was formed in 1968 as a 16-piece band composed of the city's leading studio musicians to record arrangements of pop songs of the day for CTL.

Tommy Douglas — the father of socialized medicine in Canada and one of the country’s most beloved figures — once supported eugenic policies. In 1933, he received a Master of Arts in sociology from McMaster University for his thesis, “The Problems of the Subnormal Family.” In the thesis, Douglas recommended several eugenic policies, including the sterilization of “mental defectives and those incurably diseased.” His ideas were not unique, as two Canadian provinces (and 32 American states) passed sexual-sterilization legislation in the 1920s and 1930s. However, by the time Douglas became premier of Saskatchewan in 1944, he had abandoned his support for eugenic policies. When Douglas received two reports that recommended legalizing sexual sterilization in the province, he rejected the idea.

​The Art Association of Montreal, the forerunner of the Montreal Museum of Fine Arts, was founded in 1860.

The first Greek immigrants to Canada arrived in 1891. By 1961 there were 56,000 people of Greek origin in Canada; by 1986 177,310. The largest group originated from Peloponnesus, but Macedonia, Crete, and other regions also are represented. The majority profess Greek Orthodoxy.

Boîtes à chansons. Name given to the intimate rooms which sprang up in the mid-1950s outside the normal entertainment circuits and in which most young Quebec chansonniers made their start.

Next to "O Canada," which it predates by 13 years, “The Maple Leaf Forever” has been the most popular patriotic song composed in Canada.

The harp is prized as much for its expressive range and gentle textures as for its elegant appearance. The instrument is heard not only in the performance of classical music, but has increasingly become an integral part of Celtic and folk music performances in Canada and elsewhere.

The Hudson’s Bay Point Blanket is a wool blanket with a series of stripes and points (markers on cloth) first made for the Hudson’s Bay Company (HBC) in 1779. The most iconic design is that which is white with green, red, yellow and indigo stripes; these colours are now used as an emblem for the HBC. While the HBC was not the first to create the point blanket, the company did popularize it among Indigenous and settler communities in Canada. Today, the design from the blanket is used on a variety of clothing, accessories and household items sold by the HBC.

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.