Located in the heart of Montreal’s entertainment district, the Quartier des spectacles, the Cinémathèque is above all a place of inspiration, discussion and sharing based on a philosophy of openness. Film has been the Cinémathèque’s driving force since its inception. Today the institution offers artists, professionals and the public inclusive, relevant and bold initiatives and activities that help participants fully grasp the creative process.
The Cinémathèque presents a captivating program of new and classic works daily in its two theatres, both of which are equipped to provide the highest quality screenings possible. Thematic programs, major retrospectives and meetings with filmmakers and professionals provide structure to the Cinémathèque’s film programs.
Since 2016, the Cinémathèque has showcased new art and experimental films thanks to the creation of the Centre d’art et d’essai de la Cinémathèque québécoise (CAECQ), a non-profit organization with the mission of promoting these types of films by programming documentaries and other independent works for the Cinémathèque’s theatres.
In addition to screenings, the Cinémathèque presents exhibitions featuring some of the most singular artists past and present, as well as the treasures in its collections. The latter works are a particularly rich and virtually inexhaustible source of raw material for artists in residence, whose work can be enjoyed through the institution’s exhibitions.
The Médiathèque Guy-L.-Coté is a wonderful source of inspiration for students, researchers and cinephiles. It is the gateway to all of the Cinémathèque’s collections, including a vast selection of works about cinema. Since 2017, the Médiathèque has opened its virtual doors through the Savoirs Communs du Cinéma initiative, which is aimed at making data and knowledge produced and carefully conserved by the Cinémathèque team freely available and usable.
The Cinémathèque has an exceptional collection dedicated to world animation, as well as related expertise, making it an international leader in this area. Each year, the institution reaffirms its enthusiasm for animated film by presenting an animation festival, The Sommets du cinéma d’animation, and by hosting residencies for young animators.
All of these initiatives and activities rely on conservation expertise developed at the Cinémathèque, and on efforts to collect and conserve our audio-visual heritage. The collections represent a priceless legacy for today’s society and future generations. Through its exhibition, interpretation, restoration and digitization activities, the Cinémathèque contributes significantly to transmitting and promoting culture. It celebrates the past while keeping a sharp focus on the future!
The Cinémathèque québécoise is the cornerstone of efforts to safeguard and showcase Quebec’s audio-visual heritage. It is a leader in the preservation and celebration of international animated cinema.
April 18: founding of Connaissance du cinéma by a group of passionate filmmakers who recognize the importance of the historical documentation and exhibition of cinema. Guy L. Coté, Jacques Giraldeau, Michel Patenaude, Avram Garmaise, Roland Brunet, Guy Comeau, Rock Demers, Talbot Johnson, John Rolland and Roy Little are the founding members.
Guy L. Coté is the first director; the Cinémathèque’s first office is located in his basement.
July 17: the organization is renamed Cinémathèque canadienne.
The first full season, with 250 public screenings in the auditorium of the Bureau de censure – the government film censor’s office – at 360 McGill St. in Old Montreal.
The Cinémathèque joins the Fédération internationale des archives du film (FIAF), a professional network that provides access to an enormous number of films and documents, as well as leading-edge expertise in conservation, documentation, restoration and exhibition.
The Cinémathèque canadienne moves to 3685 Jeanne-Mance St. in Montreal.
The Cinémathèque adopts two specializations: Canadian cinema and world animation.
Launch of a bilingual periodical, Nouveau cinéma canadien / New Canadian Film.
Creation of a film pavilion at Man and His World, on the Expo67 site, at the request of the City of Montreal.
Françoise Jaubert becomes executive director.
Presentation of public screenings at the Bibliothèque nationale, located at 1700 St-Denis St.
Acquisition of Guy L. Coté's personal collection, which becomes the foundation of the Cinémathèque’s Centre de documentation cinématographique, one of the largest facilities of its kind in North America.
Françoise Jaubert is elected to the FIAF’s steering committee and the presidency of ASIFA, the International Animated Film Society.
With the mission of preserving and exhibiting audio-visual heritage, the Cinémathèque canadienne is renamed the Cinémathèque québécoise.
The office is relocated to 360 McGill St. The space includes the Cinémathèque’s first showroom.
Robert Daudelin is named executive director and curator.
Filmmaker Pierre Moretti designs a new graphic look for the organization.
The 30th congress is held in Ottawa at the Canadian Film Archives and in Montreal at the Cinémathèque québécoise.
A conservation centre opens in Boucherville. It is designed for optimal storage and conservation of the Cinémathèque’s very large film and television archive.
Signing of a framework agreement with the Quebec government, recognizing the Cinémathèque’s mandate.
The first issues of Les dossiers de la Cinémathèque are published.
The Cinémathèque’s executive director, Robert Daudelin, is elected secretary general of FIAF. Mr. Daudelin is the first representative of a North American institution to be elected to the position.
Launch of the first issue of Copie Zéro, the Cinémathèque’s film magazine.
Louise Beaudet, the Cinémathèque’s animation curator, is elected president of ASIFA Canada; she continues in that role for 10 years.
The Cinémathèque relocates to 335 De Maisonneuve Blvd. E.
Official opening of 335 De Maisonneuve Blvd. E., with a week of festivities attended by numerous film professionals. For the first time, the screening room, exhibition space and documentation centre are located in the same building.
For the first time, Quebec’s Cinema Act recognizes the Cinémathèque québécoise as a cinematheque for purposes of applying the Act.
A new graphic signature is adopted during celebrations of the 25th anniversary of the Cinémathèque’s founding.
Robert Daudelin is elected president of FIAF, and would hold the position until 1995.
La revue de la Cinémathèque is launched, with in-depth articles about the Cinémathèque’s programming initiatives.
The Cinéma muet en musique series, presenting silent films with live music every Friday evening, is launched with Gabriel Thibaudeau, the Cinémathèque’s new pianist in residence.
Official reopening of the Boucherville conservation centre after upgrades and expansions begun in 1989.
Death of founder Guy L. Coté. The documentation centre becomes the Médiathèque Guy-L.-Coté.
The Cinémathèque québécoise officially expands its mandate to include television, and adds recordings of broadcasts by independent producers to its collections.
Interior redesign of the Cinémathèque’s headquarters to make it more suitable for hosting events and meetings.
Acquisition of the Cinématographe Lumière No16 thanks to the generosity of philanthropist René Malo.
Opening of the Fernand-Seguin screening room and two multi-purpose spaces, the Raoul-Barré and Norman-McLaren rooms, used for hosting a variety of public exhibitions and events.
Publication of new acquisition and conservation policies for each collection: film, television, film-related collections and document collections.
After 30 years leading the Cinémathèque, Robert Daudelin steps down. Robert Boivin becomes the new executive director.
Inaugural edition of the Cinémathèque’s animation festival, the Sommets du cinéma d’animation.
Departure of executive director Robert Boivin. Kevin Tierney, the chair, takes over on an interim basis.
Yolande Racine is named executive director.
A long-running exhibition opens: N’ajustez pas votre appareil ! is produced by the Cinémathèque in collaboration with the MZTV Museum (Toronto), featuring an exceptional collection of vintage television sets donated by television impresario Moses Znaimer of Olympus Management.
Legal deposit begins for films in Quebec: Bibliothèque et Archives nationales du Québec delegates the mandate to the Cinémathèque, which handles conservation and coordination.
A review of the Cinémathèque’s mission leads to its expansion to include moving images of all kinds, including new media.
Departure of Yolande Racine; Iolande Cadrin-Rossignol becomes interim executive director.
The Cinémathèque québécoise acquires the Daniel Langlois Foundation Collection. The collection contains numerous documents related to media and technological arts, from the 1950s to 2010.
The institution celebrates its 50th anniversary. Actress Caroline Dhavernas is spokesperson and host for the festivities, which include special screenings and the opening of a permanent exhibition about special effects, Secrets et illusions.
Marcel Jean becomes executive director.
A new visual identity is adopted.
The two theatres are retrofitted with 3D digital projectors.
Creation of the Centre d’art et d’essai de la Cinémathèque québécoise (CAECQ), a non-profit whose mission is to promote, for strictly cultural purposes, art and experimental films by programming documentaries and other independent productions in the Cinémathèque’s theatres.
Two artistic residencies are created. One hosts six young animators each year, the other is for young Quebec artists from a variety of disciplines who have unique perspectives on cinema.
A policy is adopted for the preservation and management of archived digital materials.
Start of a massive film digitization and restoration project as part of the Plan culturel numérique du Québec. Inclusion of the documentary series Le son des Français d’Amérique, by Michel Brault and André Gladu, in UNESCO’s Memory of the World Register thanks to the hard work of the collections team.
Launch of participatory activities aimed at making our vast collections and databases more accessible and promoting their use by citizens, as part of Wikimedia projects.
Adoption and publication of a data-access policy as part of the Savoirs Communs du Cinéma initiative, dedicated to making information about film, produced and carefully preserved by the Cinémathèque team since 1963, freely accessible and usable.
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