Warming Up To The Cold War

Comparing Canadian and American responses to events such as the atomic bomb, the Gouzenko Affair, the creation of NATO, and the Korean War, Teigrob traces the role that culture and public opinion played in shaping responses to international affairs.

Continuation of hearings on U.S. Cold War informational and educational programs for military personnel.

Once known for peacekeeping, Canada is becoming a militarized nation whose apostles—-the New Warriors-—are fighting to shift public opinion. New Warrior zealots seek to transform postwar Canada’s central myth-symbols. Peaceable kingdom. Just society. Multicultural tolerance. Reasoned public debate. Their replacements? A warrior nation. Authoritarian leadership. Permanent political polarization. The tales cast a vivid light on a story that is crucial to Canada’s future; yet they are also compelling history. Swashbuckling marauder William Stairs, the Royal Military College graduate who helped make the Congo safe for European pillage. Vimy Ridge veteran and Second World War general Tommy Burns, leader of the UN’s first big peacekeeping operation, a soldier who would come to call imperialism the monster of the age. Governor General John Buchan, a concentration camp developer and race theorist who is exalted in the Harper government’s new Citizenship Guide. And that uniquely Canadian paradox, Lester Pearson. Warrior Nation is an essential read for those concerned by the relentless effort to conscript Canadian history.

An accessible and empirically rich introduction to Canada’s engagements in the world since confederation, this book charts a unique path by locating Canada’s colonial foundations at the heart of the analysis. Canada in the World begins by arguing that the colonial relations with Indigenous peoples represent the first example of foreign policy, and demonstrates how these relations became a foundational and existential element of the new state. Colonialism—the project to establish settler capitalism in North America and the ideological assumption that Europeans were more advanced and thus deserved to conquer the Indigenous people—says Shipley, lives at the very heart of Canada. Through a close examination of Canadian foreign policy, from crushing an Indigenous rebellion in El Salvador, “peacekeeping” missions in the Congo and Somalia, and Cold War interventions in Vietnam and Indonesia, to Canadian participation in the War on Terror, Canada in the World finds that this colonial heart has dictated Canada’s actions in the world since the beginning. Highlighting the continuities across more than 150 years of history, Shipley demonstrates that Canadian policy and behaviour in the world is deep-rooted, and argues that changing this requires rethinking the fundamental nature of Canada itself.

Privileging the visual as the main method of communication and meaning-making, this book responds critically to the worldwide discussion about the Arctic and the North, addressing the interrelated issues of climate change, ethics and geopolitics. A multi-disciplinary, multi-modal exploration of the Arctic, it supplies an original conceptualization of the Arctic as a visual world encompassing an array of representations, imaginings, and constructions. By examining a broad range of visual forms, media and forms such as art, film, graphic novels, maps, media, and photography, the book advances current debates about visual culture. The book enriches contemporary theories of the visual taking the Arctic as a spatial entity and also as a mode of exploring contemporary and historical visual practices, including imaginary constructions of the North. Original contributions include case studies from all the countries along the Arctic shore, with Russian material occupying a large section due to the country’s impact on the region

For centuries, the Arctic was visualized as an unchanging, stable, and rigidly alien landscape, existing outside twenty-first-century globalization. It is now impossible to ignore the ways the climate crisis, expanding resource extraction, and Indigenous political mobilization in the circumpolar North are constituent parts of the global present. New Arctic Cinemas presents an original, comparative, and interventionist historiography of film and media in twenty-first-century Scandinavia, Greenland, Russia, Canada, and the United States to situate Arctic media in the place it rightfully deserves to occupy: as central to global environmental concerns and Indigenous media sovereignty and self-determination movements. The works of contemporary Arctic filmmakers, from Zacharias Kunuk and Alethea Arnaquq-Baril to Amanda Kernell and Inuk Silis Høegh, reach worldwide audiences. In examining the reach and influence of these artists and their work, Scott MacKenzie and Anna Westerstahl Stenport reveal a global media system of intertwined production contexts, circulation opportunities, and imaginaries--all centering the Arctic North.