Cinema of Canada

The cinema of Canada is a complex history of artistic creation and industrial struggle. It began with the earliest known film display in Saint-Laurent, Quebec, on June 27, 1896.

For a long time, researchers believed the first films arrived in Ottawa via Thomas A. Edison, Inc. in July 1896. However, the discovery of the Saint-Laurent showing by Germain Lacasse in 1984 changed this understanding. The Saint-Laurent event was initially overlooked because English researchers did not examine French sources. This history shows how much depends on looking at different cultural perspectives to find the truth.

Early filmmaking in Canada functioned through specific logistical processes. Because the country had a low population density, filmmakers relied on transportation networks to move equipment. The Canadian Pacific Railway (CPR) played a vital role by supporting early creators. For example, James Freer used the railway to film agriculture and trains in 1897.

Later, the CPR hired the Edison Company in 1910 to document the country. This crew of nine people used a specialized train and the RMS Empress of India to produce 13 films. These early works often served as promotional tools to encourage immigration or show scenic locations like Niagara Falls.

There were several distinct types of early film production. One type was promotional filmmaking used by companies to show settlement in western areas. The Bioscope Company of Canada traveled from Quebec to Victoria between 1902 and 1903 for this purpose. They released the film Living Canada, which was later edited into Wonders of Canada in 1906. Another type was the newsreel, which provided topical updates to the public. Léo-Ernest Ouimet became a pioneer in this field through his company, Specialty Film Import. At the height of his success, 1.5 million Canadians watched his newsreels twice every week.

History shows that many independent attempts to build a domestic industry faced failure. Between 1914 and 1922, thirty-six film production companies were created in Canada. However, most of these organizations never actually produced a film. Some filmmakers, like Ernest Shipman, tried to solve financial problems by seeking money from the American market. Shipman’s film Back to God's Country was a major success, grossing over $500,000 in its first year. Despite this, his company, Canadian Photoplays, went into voluntary liquidation. This pattern of rapid growth followed by sudden closure was common in the early industry.

Significant figures and specific milestones define the era. The film Evangeline is recognized as the earliest recorded Canadian feature film.

In 1918, the Canadian Government Motion Picture Bureau was formed to provide official support. This organization later merged into the National Film Board of Canada (NFB) and expanded under the leadership of John Grierson.

Other notable figures include Arthur D. Kean, who spent four years filming Policing the Plains. Although the film premiered in 1927, it was eventually lost or destroyed due to logistical problems.

Notable examples of local production also occurred in smaller hubs. Trenton, Ontario, became a major production area because it housed one of the few long-lasting studios. George Brownridge founded Canadian National Features there in 1916 with a capital of $500,000.

He later moved toward corporate sponsorships, creating films that displayed specific products. Even genre-specific milestones exist, such as The Werewolf, which is considered the first horror film in Canadian history.

These examples show the diverse range of stories filmmakers attempted to tell.

The Canadian film industry is deeply connected to broader social and political systems. The government provides ongoing support through Telefilm Canada and the Capital Cost Allowance. Cultural identity also plays a major role in how films are made. Internal divisions between English and French Canadians within the NFB led to a major change. By the 1960s, an independent branch was created specifically for French language productions. This ensured that the industry could reflect the diverse linguistic reality of the country.