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Staging Canada at Expo67 celebrates the 50th anniversary of the most successful world’s fair of the 20th century with a four-day event across London featuring films, live performance, and the latest research on Expo, Montreal, Quebec and Canada during that magical year of 1967.

Highlights include:

  • the UK premiere of ‘documentary-thriller’, Expo67: Mission Impossible, with director, Guylaine Maroist;
  • screenings of classic Québec films from the late 1960s;
  • a two-day international academic symposium on Expo67 and world exhibitions, held at Senate House and King’s College London;
  • a newly commissioned performance of the forgotten multimedia masterpiece, Miracles of Modern Medicine, originally produced for Expo’s ‘Meditheatre’.

The event will conclude with a special programme of innovative Expo films, most never before shown in the UK, at the BFI Southbank.

The full programme is available here

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The conference dinner on 3 November will be held in the Chancellor's Hall in Senate House, University of London, and is reserved for delegate speakers and their guests. All those wishing to attend the dinner must register by 20 October, using the Book Now button at the bottom of the page. Please note: the Book Now button is only to register for the conference dinner. The charge for delegates' guests to attend is £40.

How to register

To register for the conference please download the Eventsential conference app, on iTunes or for android, then log on to Expo67. This provides full interactive conference information, including details and maps of venues, tickets, and speakers' biographical details, and is the preferred method of registration. A web/desktop version is also available.

If you are unable to download the app then it is possible to book through Eventbrite for the sessions on 1 November, 2 November, 3 November and 4 November (daytime), 4 November performance: Meditheatre 1967/2017, and tickets for the British Film Institute on the evening of 4 November. You will not be able to access all of the conference information however.

Acknowledgements

Generously supported by the Canada-UK Foundation; the Government of Quebec; the Cassal Endowment Fund; the Institute of Modern Languages Research; the Modern Languages Research Initiatives Fund at KCL; the University of Windsor (Ontario); the James McGill Chair in Urban Media Studies; La Chaire René Malo (Université du Québec à Montréal); the British Film Institute; the Social Sciences and Humanities Research Council of Canada; CINEMAexpo67; and the Cinémathèque québécoise

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