Spectacular, scientific, and educational cultural practices were used to establish and define public identities in the British colonies of nineteenth-century Canada. In Visibly Canadian, Karen Stanworth argues that visual representations were the era's primary mode of expressing identity, and shows how the citizenry of Quebec and Ontario was - or was not - represented in the visual culture of the time. Through nine case studies, each representing key moments of identity formation and contestation, Stanworth investigates how a broad range of cultural phenomena, from fine arts to institutional histories to public spectacles, were used to order, resist, and articulate identities within specific social and economic contexts. The negotiation and planning underpinning civic culture are evident in rare moments of compromise such as the surprising proposal from the Saint-Jean-Baptiste Society to merge their annual parade with the celebration of Queen Victoria's Diamond Jubilee in 1897. Equally astounding is the scale of nineteenth-century public spectacles; reenactments of Victorian scenes of war often attracted crowds of upwards of 10,000 people. Illustrated with over fifty images, many unseen for over a century, Visibly Canadian establishes the extraordinary significance of artwork and public spectacles in cutting across language, religion, and class to tell stories of nationhood, belonging, and difference.

This report reviews the definition of Canadian content as it applies to film & television production and its relationship to public funding. After an introduction on the review and a summary of stakeholder comments, chapter 2 puts Canadian content into perspective with respect to how it is currently administered & defined, and what it represents in terms of production activity. It also analyzes in detail the degree to which the current definition, more specifically the ten-point creative system, responds to today's realities. It provides information on how some foreign countries promote & determine their national content, and highlights major weaknesses in the current Canadian content system. Chapter 3 proposes fundamental changes to the Canadian content policy infrastructure in three key area: how a Canadian-content production is defined, how Canadian content is administered overall, and how to encourage the greater use of Canadian creators. Chapter 4 examines two areas believed to be integral to the Canadian content system: international treaty co-production and theatrical distribution. Chapter 5 considers the particular challenges faced by Aboriginal & minority communities within the Canadian film & television sectors. Annexes include a list of recommendations, summaries of stakeholder input to the review, and results of a creative & technical cost analysis of various types of productions.