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Expo67initsutopianaspirationsinvitedartiststocreatetheworldanew.WhatdistinguishedMontrealsexhibitionfrompreviousworldfairswereitsdramaticdisplaysoflmandmediatransformedintourbanandfuturisticarchitectures.ReimaginingCinemaexplorestheinnovationsthatlmandmediaartistsofferedExpoaudiencesandpresentsextensivevisualmaterialtoreconstructtheviewersexperience.Atthepinnacleofanewglobalhumanismcinemawasexpandedbeyondtheframeintototalenvironmentsmulti-screensmulti-imageand360-degreeimmersionexperimentsoftenseenasaharbingerofthedigitalage.Takingthisexpandedcinemaasastartingpointthecontributorsfocusoneightscreenexperimentsandemployinnovativemethodologiestorevealtheintricaciesandprocessesofproductionwhileincludingfactualdescriptionsinterpretiveessaysinterviewsandimagedossiers.ThebookreectshowtheExpo67lm-eventswereencounteredascreativeexperimentationsthatresonatedwithbroader1960sartsandcultureandasinstitutionalcollabo-rationswithartists.MoredisplaysofphotographiccinematicandtelematictechnologywereexperiencedatExpo67thaninanyotherpreviousworldexposition.ReimaginingCinemacapturesthecomplexityandimaginativefervourofthisexcitingperiodinlmhistory.MonikaKinGagnonisprofessorofcommunicationstudiesatConcordiaUniversity.JanineMarchessaultisprofessorofcinemaandmediastudiesatYorkUniversity.AtamomentwhenthedisciplineofCanadianarthistoryseemstobeinuxandthestudyofCanadianvisualcultureisgainingtractionoutsideofarthistorydepartmentstheauthorsofNegotiationsinaVacantLotwereaskedisCanadaoranyothernationstillrelevantasacategoryofinquiryIsourcountrysimplyoneofmanyvacantlotswhereclassgenderraceethnicityandsexualorientationinteractWhathappenstotheprojectofCanadianvisualhistoryifweimaginethatCanadaasessenceplacenationoridealdoesnotexistTheargumentthatcultureisincreasinglyusedasaneconomicandsocio-politicalresourceresonatesstronglywiththepopularstrategiesofurbangurussuchasRichardFloridaandincreasinglywithgovernmentpolicy.SuchstrategiesbothcontrastwithbutalsospeaktotraditionsofCanadianstatesupportforculturethathaveshapedthenationalistdisciplineofCanadianarthistory.TheauthorsofthiscollectionstandatthemultiplepointswherenationalcultureandglobalizationcollidehoweversuggestingthatacademicinvestigationofthevisualinCanadaiscontestedinwaysthatcannotbecontainedbyarbitraryborders.BringingtogethertheworkofscholarsfromdiversebackgroundsandillustratedwithdozensofworksofCanadianartNegotiationsinaVacantLotunsettlesthewaywehaveusednationtoexamineartandcultureandlooksaheadtoaglobalfuture.LyndaJessupisdirectoroftheCulturalStudiesProgramatQueensUniver-sity.ErinMortonisprofessorofhistoryattheUniversityofNewBrunswick.KirstyRobertsonisassociateprofessorofmuseumstudiesandcontemporaryartatWesternUniversity.29MQUPFALL2014SPECIFICATIONSMcGill-QueensBeaverbrookCanadianFoundationStudiesinArtHistoryOctober2014978-0-7735-4411-639.95ACDN39.95AUS25.99paper978-0-7735-4410-9100.00SCDN100.00SUS65.00cloth8.25x10304pp80images2coloursectionse-bookavailableSPECIFICATIONSNovember2014978-0-7735-4451-239.95ACDN39.95AUS25.99paper978-0-7735-4450-5100.00SCDN100.00SUS65.00cloth8.25x10312pp127colourphotos5drawings1diagramReimaginingCinemaFilmatExpo67editedbymonikakingagnonandjaninemarchessaultAnexplorationofExpo67smostingeniousscreenexperiments.ARTHISTORYCULTURALSTUDIESFILMSTUDIESCULTURALSTUDIESNegotiationsinaVacantLotStudyingtheVisualinCanadaeditedbylyndajessuperinmortonandkirstyrobertsonOpeningdiscussionsaboutthepossiblefuturesofCanadianarthistoryinatimeofglobalanalyses.