Léo-Ernest Ouimet stated that he attended the showing and he was used as evidence of it until Lacasse found newspaper coverage of the event in La Presse.

[21] The CPR hired the Edison Company to film in Canada and they sent nine people, including J. Searle Dawley, Henry Cronjager, and Mabel Trunnelle, in 1910.

Canadian National Features, founded by George Brownridge, construction a studio in the town and raised a financial capital of $500,000, with $278,000 coming within the first week, in 1916.

[49][48] The victory of the United Farmers of Ontario in the 1919 election resulted in Peter Smith reorganized film production under the Amusement Branch with Otter Elliott heading it.

[48] The War Office Cinematographic Committee, one of the first times the national government was involved in filmmaking, was formed in 1916, and was led by Max Aitken, 1st Baron Beaverbrook.

[58] Brownridge was sent to New York in 1925 by the Ontario Motion Picture Bureau to gain a distribution contract, but only negotiated one with Cranfield and Clarke after a year of high expenses.

Leo Dolan, an ally of Hepburn and the head of the Canadian Government Travel Bureau, accused Grierson of being Jewish and a Co-operative Commonwealth Federation supporter.

The Gouzenko Affair implicated Freda Linton, one of Grierson's secretaries, and the organization was criticized by the Progressive Conservative Party for subversive tendencies, financial waste, and being a monopoly.

Vincent Paquette became the NFB's first French-Canadian filmmaker in 1941, and directed La Cité de Notre-Dame, the board's first in-house French-language film, in 1942.

The Massey Commission and Gratien Gélinas, a member of the NFB's Board of Governors, called for an improvement in French-language productions, but Premier Maurice Duplessis opposed it.

[97] Kathleen Shannon organized Studio D, the first publicly funded feminist film-production unit in the world, in 1974, and produced 125 films before its closure in 1996.

[108] The Interdepartmental Committee on the Possible Development of a Feature Film Industry in Canada, under the leadership of NFB commissioner Roberge, was formed by the secretary of state.

The CFDC financially supported Héroux's other films Here and Now (L'Initiation), Love in a Four Letter World, Virgin Lovers, and Two Women in Gold (Deux Femmes en or).

[120][121] Between 1968 and 1978, the organization funded 103 English-language films, but only Black Christmas, Death Weekend, Heart Farm, Shivers, and The Apprenticeship of Duddy Kravitz were profitable to the CFDC.

[124] A study published by the Secretary of State reported that a content quota would not work as a 50% quote would generate less revenue than a 5% sales increase for foreign films.

McLaren recruited English-Canadian animators from OCAD University, including George Dunning, Evelyn Lambart, Grant Munro, and Robert Verrall.

[154] Carle, Groulx, Claude Jutra, and Jean Pierre Lefebvre, who were inspired by the French New Wave, made their directorial debuts from 1963 to 1965, and all won the Grand Prix at the Montreal International Film Festival throughout the 1960s.

John C. Green, a magician who presented for the Holland brothers at their first showing, travelled throughout eastern Canada and New England until the establishment of movie theatres.

[170] John Albert Schuberg was credited with bringing movies to Vancouver and Winnipeg, and the provinces of British Columbia and the Canadian Prairies.

[180][184] Bennett supported taking action and the attorney generals of Alberta, British Columbia, Ontario, and Saskatchewan would prosecute Famous Players.

Films released in Famous Players and Odeon theatres, both foreign owned after Paul sold his stock to J. Arthur Rank in 1946, accounted for over 60% of the Canadian box office by 1947.

[193][194] Many native-born Canadians, such as Al Christie, Allan Dwan, Louis B. Mayer, Sidney Olcott, Mack Sennett, and Jack L. Warner, aided in the creation and development of the American film industry.

[198][199] Canadians were hostile to American filmmakers, and provincial film review boards instituted censorship policies in 1915, which included a ban on the gratuitous display of the flag of the United States.

[200] Fifty reels of film were banned in British Columbia in 1914 due to "an unnecessary display of U.S. flags", which put it as the third most common reason behind infidelity and seduction.

Prime Minister William Lyon Mackenzie King's government sought to reduce the general trade imbalance between Canada and the United States.

[221] In 1920, Pierre-François Casgrain opposed an attempt to remove a 15¢ per reel per day tax on film exhibitors, stating that "Pictures that are shown are an invitation to the people of the poorer classes to revolt, and they bring disorder into the country".

The Canadian National Council for Combating Venereal Disease, which was led by William Renwick Riddell and Gordon Bates, sought to distribute The End of the Road in Ontario in 1919.

[234] Henry McLeod, a censor from Nova Scotia, stated that "What's the point of banning a film when the trade can turn around and sell it to the CBC?".

[236] In 1961, George Enos, who served as New Brunswick's censor for thirty years, stated that censorship "is very undesirable" and that "Ninety percent of the worry is needless.

The censors argued that McNeil had no standing to sue as he had no direct interest in the case, but the Nova Scotia Supreme Court stated that "there could be a large number of persons with a valid desire to challenge".