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In 1967, Canada celebrated the 100th anniversary of its founding with a spectacular party, and the whole world was invited. Montreal's Expo 67 was the first world's fair held in Canada, and it was a huge success, attracting over 50 million visitors. The 1,000-acre site was built on two man-made islands in the St. Lawrence River and incorporated 90 futuristic pavilions created by some of the world's greatest architects and designers. Over 60 countries were represented, along with many private, corporate and thematic pavilions, all brought together under the theme "Man and his World." With performers and entertainers of all varieties, restaurants, cultural attractions, exhibitions and a world-class amusement park, Expo 67 was literally the party of the century, exceeding all expectations.
The 1964-1965 New York World's Fair was the largest international exhibition ever built in the United States. More than one hundred fifty pavilions and exhibits spread over six hundred forty-six acres helped the fair live up to its reputation as "the Billion-Dollar Fair." With the cold war in full swing, the fair offered visitors a refreshingly positive view of the future, mirroring the official theme: Peace through Understanding. Guests could travel back in time through a display of full-sized dinosaurs, or look into a future where underwater hotels and flying cars were commonplace. They could enjoy Walt Disney's popular shows, or study actual spacecraft flown in orbit. More than fifty-one million guests visited the fair before it closed forever in 1965. The 1964-1965 New York World's Fair captures the history of this event through vintage photographs, published here for the first time.
Expo 67, the world's fair held in Montreal during the summer of 1967, brought architecture, art, design, and technology together into a glittering modern package. Heralding the ideal city of the future to its visitors, the Expo site was perceived by critics as a laboratory for urban and architectural design as well as for cultural exchange, intended to enhance global understanding and international cooperation. This collection of essays brings new critical perspectives to Expo 67, an event that left behind a significant material and imaginative legacy. The contributors to this volume reflect a variety of interdisciplinary approaches and address Expo 67 across a broad spectrum ranging from architecture and film to more ephemeral markers such as postcards, menus, pavilion displays, or the uniforms of the hostesses employed on the site. Collectively, the essays explore issues of nationalism, the interplay of tradition and modernity, twentieth-century discourse about urban experience, and the enduring impact of Expo 67's technological experimentation. Expo 67: Not Just a Souvenir is a compelling examination of a world's fair that had a profound impact locally, nationally, and internationally.
An exploration of Expo 67's most ingenious screen experiments.
Considered North America's most "European" city, Montréal is known for its culture, sophisticated population, and its amazing architectural history. This addition to the hugely popular Then and Now series takes readers to Québec's charming capital city, Montréal, for an amazing past and present tour. A rich historical overview written by Alan Hustak (a journalist for the Montréal Gazette), it describes Montréal's development from a fur trading outpost on the banks of the St. Lawrence River to its present incarnation as the business and cultural center of Canada. Originally named Ville-Marie, the settlement became known as Mont Royal, after the tallest of the hills overlooking the river valley. Readers will marvel at how much this modern metropolis has evolved. Fascinating side-by-side then-and-now images of popular destinations like the Windsor Hotel, St. Ann's Market, Christ Church Cathedral, and Montréal Harbor showcase Montréal's finest architecture and views.
In National Performance, Erin Hurley examines the complex relationship between performance and national identity. How do theatrical performances represent the nation in which they were created? How is Quebecois performance used to define Quebec as a nation and to cultivate a sense of 'Quebec-ness' for audiences both within and outside the province? In exploring Expo 67, the critical response to Michel Tremblay's Les Belles Soeurs, Carbone 14's image-theatre, Marco Micone's writing practices, Celine Dion's popular music, and feminist performance of the 1970s and 80s, Hurley reveals the ways in which certain performances come to be understood as 'national' while others are relegated to sub-national or outsider status. Each chapter focuses on a particular historical moment in Quebec's modern history and a genre of performance emblematic of the moment, and uses these to elaborate the nature of the national performances. Winner of the Northeast Modern Language Association's Book Prize, National Performance is sophisticated yet accessible, seeking to enlarge the parameters of what counts as 'Quebecois' performance, while providing a thorough introduction to changing discourses of nation-ness in Quebec.