An Alberta harvest scene. In the foreground is an area of wheat that has been cut down in concentric circles. A circular area of wheat has been left standing in the centre of the circles. This field of wheat is a vivid orange and a pale yellow. At the centre-right of the image is a black oil de…
An Alberta harvest scene. In the foreground is an area of wheat that has been cut down in concentric circles. A circular area of wheat has been left standing in the centre of the circles. This field of wheat is a vivid orange and a pale yellow. At the centre-right of the image is a black oil derrick. To the left of the derrick and further in the distance are several grain elevators, of which a few are bright red. In the distance are the Rocky Mountains. A soft grey-blue sky makes up the top portion of the print.
Pertains to a pictorial work that aimed to capture the mountain section of the Canadian Pacific Railway. The author, Donald Bain, argued that the mountain section of the Canadian Pacific Railway, while the most interesting, had been neglected the most. The photographs in the publication had been captured by Nicholas Morant, and were compiled in the hopes of appealing to railway enthusiasts.
Item consists of one 16 mm motion picture pertaining to footage of a cattle ranch in Southern Alberta for a National Film Board project. Includes shots of men on horseback herding cattle, [possibly] branding the cattle in the holding pens, and loading them into the backs of trucks.
The original lab…
1 motion picture (1 film reel: 150'): 16 mm, original, b&w, silent
History / Biographical
See fonds level description
Scope & Content
Item consists of one 16 mm motion picture pertaining to footage of a cattle ranch in Southern Alberta for a National Film Board project. Includes shots of men on horseback herding cattle, [possibly] branding the cattle in the holding pens, and loading them into the backs of trucks.
The original label on the case reads "Title: Cattle Drive, Southern Alberta Cross Ranch, Camera B. Engler, Date 1963, Footage 150ft, Time 4 min, NFB."
Pertains to Indigenous people and Asian immigration in Western Canada, the Banff Springs Hotel, coal mining in Calgary, Canadian Pacific Hotels, Wilf Carter, Group of Seven, Sid Marty
Contents
Introduction : challenging frontiers / Lorry W. Felske and Beverly Rasporich -- Shooting a Saskatoon (whatever happened to the Marlboro man?) / Aritha van Herk -- Regionalism, landscape, and identity in the prairie west / R. Douglas Francis -- Celebrating magpies : artists Paul Kane, Hongeeyesa, and Emily Carr / Ann Davis -- Two months in big bear's camp, 1885 : narratives of "Indian captivity" and the articulation of "race" and "gender" hierarchies in western Canada / Sarah Carter -- Roughing it in the west, or, whose frontier, whose history? / Janice Dickin -- Diversifying our past : finding a place for coal mining communities in Alberta's historic identity / Lorry W. Felske -- When the "wild west" is me : re-viewing cowboys and Indians / Emma LaRocque -- Managing contradictory visions of the west : the great Richardson/Weadick experiment / Robert Seiler and Tamara Seiler -- Hank Snow and the eastern frontiers of western music / Brian Rusted -- Standard prairie grain elevators : a disappearing icon / Geoffrey Simmins -- From somewhere to everywhere to nowhere : the bank of Montreal as a case of vanishing identity / Michael McMordie -- Asian immigration to western Canada / Madeline A. Kalbach -- Chinese-language media across the west / Lloyd Sciban -- The reform and alliance experiments : federal politics in Western Canada / David Taras -- Constancy amid change : ranching in Western Canada / Max Foran -- North/Western aurages : the soundscapes of Allan Gordon Bell / Marcia Jenneth Epstein -- Rodeos, ranching and the house of tea : Irene McCaugherty and Esther Warkov re-invent the West / Beverly Rasporich.
Item consists of one 16 mm motion picture pertaining to a collection of shots from the Cypress Hills area of Alberta collected for the National Film Board. Includes scenic views of the hills, a North West Mounted Police cemetary, guided hikes, water skiing, cattle ranching, and a rodeo.
The origina…
1 motion picture (1 film reel: 200'): 16 mm, original, b&w, silent
History / Biographical
See fonds level description
Scope & Content
Item consists of one 16 mm motion picture pertaining to a collection of shots from the Cypress Hills area of Alberta collected for the National Film Board. Includes scenic views of the hills, a North West Mounted Police cemetary, guided hikes, water skiing, cattle ranching, and a rodeo.
The original label on the case reads "Title: Cypres [sic] Hills Alberta, Camera B. Engler, Date 1960, Footage 200ft, Time 5 min, NFB."
Red and white grain elevators are at the centre of the print. They bear the logos of “Alberta Pacific” and “United Grain Growers.” Four are larger and in the foreground. Another one is visible further away. Smaller outbuildings and telephone poles surround the grain elevators. The sky is a cle…
Red and white grain elevators are at the centre of the print. They bear the logos of “Alberta Pacific” and “United Grain Growers.” Four are larger and in the foreground. Another one is visible further away. Smaller outbuildings and telephone poles surround the grain elevators. The sky is a clear blue that fades to white on the horizon. Thin streaky clouds stretch across the print. The foreground is green, white and dark brown. It looks like it has been plowed in roughly even rows.
"Sarah Carter's "Imperial Plots: Women, Land, and the Spadework of British Colonialism on the Canadian Prairies" examines the goals, aspirations, and challenges met by women who sought land of their own. Supporters of British women homesteaders argued they would contribute to the "spade-work" of the Empire through their imperial plots, replacing foreign settlers and relieving Britain of its surplus women. Yet far into the twentieth century there was persistent opposition to the idea that women could or should farm: British women were to be exemplars of an idealized white femininity, not toiling in the fields. In Canada, heated debates about women farmers touched on issues of ethnicity, race, gender, class, and nation. Despite legal and cultural obstacles and discrimination, British women did acquire land as homesteaders, farmers, ranchers, and speculators on the Canadian prairies. They participated in the project of dispossessing Indigenous people. Their complicity was, however, ambiguous and restricted because they were excluded from the power and privileges of their male counterparts. Imperial Plots depicts the female farmers and ranchers of the prairies, from the Indigenous women agriculturalists of the Plains, to the land army women of the First World War."-- Provided by publisher.
Contents
Narrowing opportunities for women : from the indigenous farmers of the Great Plains to the exclusions of the homestead regime -- "Land owners and enterprising settlers in the colonies" : British women farmers for Canada -- Widows and other immigrant women homesteaders : struggles and strategies -- Women who bought land : the "bachelor girl" settler, "Jack" May, and other celebrity farmers and ranchers -- Answering the call of empire : Georgina Binnie-Clark, farmer, author, lecturer -- "Daughters of British blood" or "hordes of men of alien race"? : the homesteads-for-British-women campaign -- The persistence of a "curiously strong prejudice" : from the First World War to the Great Depression.
The top two thirds of the work is blue-streaked sky, a range of snowclad mountains appear on the horizon, the lower third represents the earth with undulating bands of colour ranging from light yellow at the top to dark blue at the bottom, giving green variations throughout.
The top two thirds of the work is blue-streaked sky, a range of snowclad mountains appear on the horizon, the lower third represents the earth with undulating bands of colour ranging from light yellow at the top to dark blue at the bottom, giving green variations throughout.
A pie-shaped sculpture of a mountain range. The mountains gradually get taller, the shortest ones being at the tip of the wedge. On one side of the mountain range is a patchwork of prairies. On the other side is the Pacific Ocean. Along the bottom and back of the sculpture, the strata of the ea…
A pie-shaped sculpture of a mountain range. The mountains gradually get taller, the shortest ones being at the tip of the wedge. On one side of the mountain range is a patchwork of prairies. On the other side is the Pacific Ocean. Along the bottom and back of the sculpture, the strata of the earth is visible. The mountains are snow-capped and rivers run down either side of them, perhaps representing the Great Divide.
