The agency of photographs is a recurrent concern within the context of the city. Whether found in architectural records, social documentary, photojournalism, or artistic practice, photographic objects are embedded in urban contestation, aesthetically charged by artists, reinserted into social histories, and mobilized to imagine a future city. Photogenic Montreal takes a question initially posed by heritage debates - what does photography preserve? - and creates a rich conversation about the agency of the human actors before and behind the camera, and of the medium itself. The interplay of archives and activisms structures the book. Photographs that appear to be sealed off in newspapers, storage rooms, or archives accrue new meaning when they cross the threshold back into social spaces and circulate anew. It is through the reactivation of archival photographs that submerged traces of urban experience are discovered, and alternate histories of Montreal can be recounted. Multiple forms of activism and artistic expression complement this archival work. Beginning in the 1960s, community-minded and heritage groups responded to the tensions arising from urban reconstruction, gentrification, and the erasure of neighbourhoods; this activism also left its photographic traces. Attentive to the still-changing face of the city's architecture, neighbourhoods, and street life, Photogenic Montreal participates in debates about who the city belongs to, who speaks on its behalf, and how to picture its past and present.

The Far Shore (1976), made under the direction of celebrated visual artist and experimental filmmaker Joyce Wieland, is one of Canada's most innovative contributions to cinema. The film borrows elements from the life of Canadian painter Tom Thomson, who is represented by the character of Tom McLeod. The main character, however, is not Tom, but the fictional creation of Eulalie de Chicoutimi, the married Qu?b?coise woman who loves him. Using Eulalie's perspective, Wieland was able to re-frame Thomson's life and story as a romantic melodrama while infusing it with subversive commentary on gender, nature and nationalism, and ultimately, on the value of art.

Here, Wieland specialist Johanne Sloan offers a fascinating new perspective on The Far Shore, making it more accessible by discussing Wieland's utopian fusion of art and politics, the importance of landscape within Canadian culture, and the on-going struggle over the meaning of the natural environment.

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.