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During the pivotal post war period, the National Film Board’s ‘Still Image Division’ administered the development of two significant centennial projects: an ambitious social documentary and architectural project entitled, The People Tree for Expo67’s Canadian Pavilion and the photo publications, Call Them Canadians and Ces Visages qui sont un pays. Instigated by executive producer Lorraine Althea Monk, these intersecting endeavours articulated the federal government’s shifting views on how to visualize its growing population.
Composed of seemingly candid photographic moments, the images included in these projects expressed Canadians at work or at play—with statistically accurate diversity. As art historian Carol Payne has noted, “the faces [reflected] an emergent federal bilingual and multiculturist rhetoric” that were “packaged to serve more readily as idealized national types.” Rather than portray particular individuals—individua…
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Press Release
During the pivotal post war period, the National Film Board’s ‘Still Image Division’ administered the development of two significant centennial projects: an ambitious social documentary and architectural project entitled, The People Tree for Expo67’s Canadian Pavilion and the photo publications, Call Them Canadians and Ces Visages qui sont un pays. Instigated by executive producer Lorraine Althea Monk, these intersecting endeavours articulated the federal government’s shifting views on how to visualize its growing population.
Composed of seemingly candid photographic moments, the images included in these projects expressed Canadians at work or at play—with statistically accurate diversity. As art historian Carol Payne has noted, “the faces [reflected] an emergent federal bilingual and multiculturist rhetoric” that were “packaged to serve more readily as idealized national types.” Rather than portray particular individuals—individua…
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