Part of the 1970-71 Hockey Team

Likely a photo of Jim Swain, Tony Grey, Ron Powell, Barry Hopkins, and Joel Finlay circa 1971. (From Left to Right) Second from the right remains unknown.

Part of the 1970-71 Hockey Team

Likely a photo of Rick Charron, Wayne Butt, and Mike McNiven. (From Left to Right) circa 1971

Part of the 1970-71 Hockey Team

Likely a photo of Rick Sullivan and Phil McCann. The man on the left remains unknown.

Jr Varsity (1970)

with coach Tony Biernacki.

Women's Coxed Eight (1970-71)

with coach Tony Biernacki

Varsity Men's Coxed Eight (1970-71)

with coach Tony Biernacki

Junior Men's Eight (1970-71)

Rowing down the course.

1970-71 Rugby Team

Back Row: ?, John Stokes, Jim Brandford, Geoff Cudmore, Mike Nictota, Dave Iogna, Mike Cocca, Mike Taylor Front Row: ?, Rob Kelly, Alun Huges, Dave Underhill, Ken White, Joe ?, Mike ?, Jim Robinson

Downtown St. Catharines around the 1970's

A view from Schmon Tower.

City of St. Catharines fonds, 1951-1964, 1970-1973, 1978-1982, n.d.

The fonds contains materials relating to the City of St. Catharines from the 1950s to 1980s. The materials included are correspondence, clippings, media releases, and some photographs. Folders are arranged alphabetically and then chronologically within each series. The series are arranged alphabetically.

Proceedings : Grand Lodge, A.F. & A.M. of Canada in the Province of Ontario - 1970

On spine : The Grand Lodge of Canada in the Province of Ontario.

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

Warren Hartman fonds, 1970, 1972-1996, 1998, n.d.

Warren Hartman was born in 1942 in Toronto, Ontario. He received a B.A. in Fine Arts and Drama from Brock University in 1981 and a Masters of Arts in Humanities at the State University of New York at Buffalo in 1987. In the 1950s he did considerable work as a child-actor both in theatre and television. From 1953 to 1961 he was in the New Play Society under the direction of Dora Mavor Moore. His last two years there were spent as a scholarship student. From 1963 to 1966 he did an apprenticeship with Suzanne Mess, Head of Costume Design at The Canadian Opera Company in Toronto. In 1976 Warren attended a Master Class in Scenography at the Banff School of Fine Arts with Josef Svoboda. In the spring of 1970 Warren was a guest designer at Brock University and from 1970 to 1972 he remained at Brock as resident designer and special lecturer. During this time he was also an instructor and costume designer at Sheridan College in Oakville. It was in 1972 that he became the designer-in-residence at Brock University. From 1984 he held the position of Associate Professor at The Department of Fine Arts at Brock University until the fall of 1996. Some of the highlights of Warren’s career also include: stage managager with the Street Hat Players in Port Carling, Ontario, 1960-1961; a freelance designer for over 100 shows; costume coordinator(production manager) for the Canadian Opera Company, 1964 -1970; resident costume designer for The Canadian Opera Company, 1965- 1970; founder and artistic director of Dei Gelosi Campagnia, St.Catharines, Ontario, 1970-1973; freelance director of some thirty-five shows; co-producer for Quebec City Summer Stock Company, Quebec City, Quebec, 1975; a consultant with Alberta Culture for the Provincial Government of Alberta, 1986-1987 and associate artistic director at Theatre Network, Edmonton, Alberta, 1986-1987. Warren Hartman was the recipient of the Jean Chalmers Award for contributions to Canadian Theatre for persons 25 years of age or under, in 1965. He was a founding member of Associated Designers of Canada and was affiliated with Canadian Actors Equity. Warren Hartman died on Feb. 11, 1998 several days after suffering a massive stroke. A memorial service was held at Brock University in May of 1998 and a bursary fund was established in his name.