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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.

Art dealers in Canada have served as art dealers everywhere, not only as sellers of art but as tastemakers. Since they act as a link between the work of art and the art-buying public, they have an important role in the identification of who is important in Canadian art.

Michael Lee-Chin, businessman, investor and philanthropist (born 3 January 1951 in Port Antonio, Jamaica). Lee-Chin is president and chairman of Portland Holdings, a private investment company. According to Canadian Business magazine, Lee-Chin has an estimated net worth of more than $3.95 billion (as of 2017) and was ranked the 20th wealthiest Canadian. He is also one of the richest Jamaicans. Lee-Chin is also a dedicated philanthropist and has pledged and donated more than $60 million to hospitals, universities and, most notably, the Royal Ontario Museum, where the Michael Lee-Chin Crystal is named in honour of his $30-million pledge.

Joseph Mimran, entrepreneur, consultant, fashion designer, retailer (born 2 December 1952 in Casablanca, Morocco). Mimran is best-known for launching the Alfred Sung, Club Monaco and Joe Fresh fashion brands, as well as his involvement with Pink Tartan, a fashion line designed by Kimberley Newport-Mimran, his second wife. Mimran is a partner at Gibraltar Ventures, a Toronto-based firm that invests in technology-driven companies. He also appears as a Dragon on the CBC series Dragons’ Den.

Charles Rosner Bronfman, PC, CC, businessman and philanthropist (born 27 June 1931 in Montréal, QC). Bronfman was co-chairman of the Bronfman family business, Seagram, the world’s largest producer and distributor of distilled spirits. He also owned the Montreal Expos baseball club from 1968 to 1990. According to Forbes, Bronfman had an estimated net worth of over $2 billion (as of 2017) and was ranked the 16th wealthiest Canadian and 896th wealthiest person in the world. Bronfman is also a dedicated philanthropist. He established the CRB Foundation to promote study of Canadian and Jewish affairs, and co-founded and endowed the Historica Foundation of Canada, which later became Historica Canada (publisher of The Canadian Encyclopedia). He has disbursed approximately $325 million through Andrea and Charles Bronfman Philanthropies Inc. (ACBP) and private donations.

Thomas Laird Paton, athlete, businessman, volunteer (born 30 September 1855 in Montréal, QC; died 10 February 1909 in Montréal). Paton was an accomplished amateur athlete who excelled in lacrosse and hockey. A goaltender with the Montreal Hockey Club, he helped his team to six straight league championships (1888–93). In his final season, the club was awarded the Dominion Hockey Challenge Cup — what would later become known as the Stanley Cup.

James Armstrong Richardson Jr., PC, grain merchant, politician (born 28 March 1922 in Winnipeg, MB; died 17 May 2004 in Winnipeg). The son of James A. Richardson Sr., James Jr. studied at Queen’s University and served in the RCAF as a Liberator bomber pilot patrolling the North Atlantic. He joined the family firm of James Richardson and Sons Ltd. in 1946 and was chairman and executive officer from 1966 to 1968. Richardson was elected Liberal member of Parliament for Winnipeg South in June 1968 and appointed minister without portfolio in July. From 1969 to 1972, he was minister of Supply and Services. He was re-elected in the 1972 general election and was appointed minister of National Defence. Following his resignation from Cabinet in 1978 over the government’s language policy, he sat as an Independent (1978–79), after which he returned to the family firm and became a director.

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.

Conrad Moffat Black, Lord Black of Crossharbour, newspaper publisher, author, columnist and historian (born 25 August 1944 in Montreal, QC). Conrad Black owned and published a large network of newspapers in Canada and abroad between 1969 and 2004. He was convicted of mail fraud and obstruction of justice in 2007 and served a prison sentence in the United States. However, Black was pardoned for his convictions in 2019 by US president Donald Trump. He is a well-known author and columnist on history and politics.

Sir Clifford Sifton, PC, KCMG, KC, lawyer, politician, businessman (born 10 March 1861 near Arva, Canada West; died 17 April 1929 in New York City, New York). One of the ablest politicians of his time, Sifton is best known for his aggressive promotion of immigration to settle the Prairie West.

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: Notable Films and Filmmakers 1980 to Present.