'Vancouver Noir' looks at the period from the 1930s to the 1960s, an era in which there was intensified concern with order, conformity, structure, and restrictions. These are visions of the city, both of what it was and what some of its citizens hoped it would either become, or, conversely, cease to be. The photographs-most of which look like stills from period movies featuring detectives with chiselled features, tough women, and bullet-ridden cars-speak to the styles of the Noir era and tell us something special about the ways in which a city is made and unmade. The authors argue that Noir-era values and perspectives are to be found in the photographic record of the city in this era, specifically in police and newspaper pictures. these photographs document changing values by emphasizing behaviours and sites that were increasingly viewed as deviant by the community's elite. They chart an age of rising moral panics. Public violence, smuggling rings, police corruption, crime waves, the sex trade, and the glamourization of sex in burlesques along and nearby Granville Street's neon alley belonged to an array of public concerns about which the media and political campaigns were repeatedly launched."Purvey and Belshaw's 'Vancouver Noir' resurrects, in eminently readable black and white, the stories, characters, landmarks, images, lexicon and lore of one of this city's truly colourful eras." - James C. Johnstone, Historian"...If the thirties was a time of idealism, thepost-war world was one of cynicism. The insistence on social conformity and order provided a stark contrast to a seething underworld-if sometimes only in peoples' imagination. Contradictions abound. As suburban living reflected decency and family values, public concern was expressed about juvenile delinquency. Public (and even private) discussion of sex was generally taboo but the sex trade prospered in brothels and neon signs along Granville Street lit up dens of burlesque, booze and gambling.Ladies and escorts began entering the regulated beer parlours in Vancouver through separate doors in 1927. Thirsty working men crowded these establishments after a hard day's work and it was unseemly for a very long time, for women to mix freely among them. By 1954 cocktail bars were established so middle-class men and women could meet in an acceptable environment. Glamour arrived to the city in the form of supper clubs, emerging in the late 1930s and including big-name American acts like HarryBelafonte, Tony Bennett, Mitzi Gaynor, Duke Ellington and Ella Fitzgerald. Still segregation, not integration was the cultural norm as visible minorities lived in separate neighborhoods such as Hogan's Alley and Chinatown, 'sin' was confined to a square mile, and police attempted to the activities of drug pedlars and addicts. Attacking the poor and disenfranchised was common. Stanley Park rancheries, float houses under the Burrard Street bridge and other residential 'blights' to the city cameunder regular attack by civic authorities... 'Vancouver Noir' succeeds in exposing what lies beneath, delivering readers a fascinating glimpse of another side of the city."- British Columbia History

Produced in conjunction with the website Vancouver Is Awesome, this book collects stories and photos about the people, places, events, and phenomena that collectively have infused Vancouver with a distinct flavor and flair and which laid the foundation for the eclectic city that is consistently named one of the world's top tourist destinations. From vaudeville to beatniks, Rudyard Kipling to Hunter S. Thompson, violent squirrels to train-hopping dogs, Vancouver Was Awesome is an entertaining, informative, and at times jaw-dropping tour of one city's awesome past. Lani Russwurm is an historian who runs the blog Past Tense Vancouver.

The book is a collection of essays presented during the First Global Conference of Monstrous Geography held at Manchester College, Oxford, and examines monstrous geographies, or the other frontier, a space that runs counter to the socially constructed space of culture.

Interactive documentary emerged rapidly from a constellation of changing technologies and practices to much excitement, yet its history is short and its future uncertain. In the mid-2010s Canada was a world leader in the creation of i-docs. Less than a decade later technological obsolescence has rendered many of these celebrated projects inaccessible, while rapid digital innovation continues to change the i-doc form and its modes of experience. The Interactive Documentary in Canada captures this transitional moment in documentary filmmaking and media production. Bringing together a range of historical, theoretical, and critical approaches, this collection examines the past – and the imagined future – of a nonfiction storytelling phenomenon that has Canadian institutions, figures, and works at its centre. Embracing a polyphonic conception of interactive documentary, the volume includes explorations of web-based, app-based, installation, and virtual reality works that push the boundaries of what is understood as documentary cinema. Leading documentary scholars and makers consider the historical and technological contexts of i-doc production, innovation, and exhibition; the political and pedagogical potential of the genre; the ethics of the i‐doc experience; and the format’s future lifespan in the contemporary media landscape. The Interactive Documentary in Canada establishes a place for the i-doc in the history of Canadian film, highlighting the genre’s significant impact on the National Film Board of Canada and on contemporary global documentary media.

Heralded internationally as "Canada's Sherlock Holmes," John Vance was an innovative and groundbreaking forensic investigator. Over 42 years beginning in the 1930s, Vance helped police detectives in British Columbia to determine murder from suicide as well as solve hit-and-runs, safecrackings, and some of the most sensational murder cases of the twentieth century.

This volume originates from the International Study of Principal Preparation (ISPP), a collaborative project representing nearly a decade of research on principal preparation in countries throughout the world. The authors examine the dynamic changes that are affecting the way principals work and transforming the world of educational leaders.

The book relates the history of post-war psychiatry, focusing on deinstitutionalisation, namely the shift from asylum to community in the second part of the twentieth century. After the Second World War, psychiatry and mental health care were reshaped by deinstitutionalisation. But what exactly was involved in this process? What were the origins of deinstitutionalisation and what did it mean to those who experienced it? What were the ramifications, both positive and negative, of such a fundamental shift in psychiatric care? Post-War Psychiatry in the Western World: Deinstitutionalisation and After seeks to answer these questions by exploring this momentous change in mental health care from 1945 to the present in a wide range of geographical settings. The book articulates a nuanced account of the history of deinstitutionalisation, highlighting the constraints and inconsistencies inherent in treating the mentally ill outside of the asylum, while seeking to inform current debates about how to help the most vulnerable members of society.