The Creeping Garden
The Creeping Garden is a 2014 British documentary film featuring various kinds of slime molds. The film uses retro cinematography and electronic music to enhance a connection between slime molds and sci-fi films such as Phase IV, Invasion of the Body Snatchers, The Blob; the film describes the life and development of the various types of slime molds with the aid of experts and artists involved in their study. The directors involved Mark Pragnell, an amateur observer of slime mold who studies them in their natural element in the forest. Pragnell appears in several scenes in the film offering his observations. Appearing in the film are a visual artist, a computer scientist, a composer and others who describe the creative use of slime molds in their fields. Eduardo Reck Miranda, a composer, is seen playing the piano, while "jamming" with sounds produced by the slime mold as it gets electrically stimulated. Mycologists and robotics engineers appear. Amongst other things, the film shows that the growth patterns of the molds have similarities to the development of highways connecting cities together.
The music theme was composed by Jim O’Rourke. The cinematography of the film uses techniques borrowed from 70s sci-fi films like Phase IV, Invasion of the Body Snatchers, The Blob, to indicate the similarity between the sci-fi genre and the behaviour of slime molds. To further enhance the sci-fi connection, the film uses retro electronic music and the typeface of its titles is reminiscent of the 1970s futuristic fonts; the film is presented in widescreen mode and scenes include showing slime molds moving using time-lapse photography. According to the film website, the film poster was "loosely inspired" by the film posters of The Andromeda Strain and Phase IV; the same website mentions that the two films were "a significant reference point for the making of The Creeping Garden". The poster was designed by a London-based artist; the film premiered at the 2015 Fantasia International Film Festival in Montreal. Subsequent festival screenings include the 2015 Hot Docs Canadian International Documentary Festival.
The film received positive reviews. Variety comments that the film "is much more entertaining than one could reasonably expect." And calls its cinematography "handsome". The magazine describes the film as "good-humored but not campy in its regard of some genuinely fascinating research, full of trippy visuals" and concludes "this science-fair bonanza would have been a midnight staple in the era of “The Hellstrom Chronicles.”"Screendaily.com comments that there is a "visual similarity to the alien invader in that 1950s sci-fi classic The Blob" and that "The mood of the film is enhanced thanks to the soundtrack by sometime Sonic Youth member Jim O’Rourke, which helps enhance an aural background to often-hypnotic images." Screendaily.com mentions that the film showcases the classification debate centering on the slime molds as to the exact kind of life form that they are supposed to be. The magazine praises the balance the film strikes between hosting the views of experts and showing how the molds develop and grow and find their way through mazes in search for food such as oats, placed by researchers as "bait".
Toronto Film Scene calls the film "highly entertaining" but never "over the top". The magazine mentions "a pretty hilarious thought experiment where a gaggle of humans turns out to be as smart as a slime mould"; the Hollywood Reporter review mentions that "the hypnotic film may be too obscure for a broad art house run. But like its subjects, which grow beneath our feet in the undergrowth of forests, it should thrive in special engagements and at festivals whose attendees seek things most moviegoers wouldn't think to look at." Awards for the film include the best director prize in the Documentary Features category at the 2014 Fantastic Fest in Austin, Texas. Official website The Creeping Garden on IMDb
V/H/S is a 2012 American anthology horror film created by Brad Miska and Bloody Disgusting. It features a series of found-footage shorts written and directed by Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, the filmmaking collective Radio Silence; the film debuted at the 2012 Sundance Film Festival in January 2012, released on demand on August 31, 2012. The film made its limited theatrical premiere in the United States on October 5, 2012 and in the United Kingdom on January 18, 2013; the film spawned two sequels, V/H/S/2 and V/H/S: Viral, a spin-off, SiREN, as well as a miniseries on Snapchat's Snap Originals platform. In an interview with IndieWire, producer Brad Miska revealed the process in which they developed V/H/S, which included a "trust-fall" style of filmmaking. All of the relationships came through the long history of Bloody Disgusting. For "V/H/S," we went to people that I have a relationship with via Bloody Disgusting — a group of trusted filmmakers who we thought would want to take part in this.
They pitched us their ideas came to us with treatments and scripts. It was like, "If you like this, go do your thing." In terms of the movie itself getting green lit — the storyline that runs through the whole movie was something that we had discussed. So we just went with the decided upon streamlined story and just let the filmmakers go do their thing. Which is kind of a reverse of. You're supposed to do that last, it became a'fill-in-the-hole' type project. What can we put here? What can we put there? You know, what would amp it up here? So it was a living project. A living film if you will; the film is presented as an anthology of short horror films, built into a frame narrative which acts as its own short horror film. Each short film is linked together with the concept of found footage. Directed by Adam Wingard Written by Adam Wingard & Simon BarrettThe frame narrative focuses on a criminal gang who film their exploits, which include smashing the walls and windows of an abandoned house and sexually assaulting a woman in a parking lot.
An anonymous source offers them a large sum of money to break into a house and steal a single VHS videotape. The gang is eager to expand their criminal enterprises, accept the task. Entering the house, the criminals find an old man sitting dead in front of several television sets playing white noise. Feeling free to roam the house, they discover hundreds of unmarked VHS tapes, set about collecting them all to ensure that they retrieve the right one. One of the criminals stays behind in the TV room with the dead body to watch the "Amateur Night" tape left in the VCR; the contents of this tape and the four subsequent ones comprise the bulk of the film, with the action cutting back to the criminals' efforts between each short. As the frame narrative progresses, the gang encounters a strange figure moving around the basement, which appears to be the old man. Glimpses of the TV room demonstrate that, unknown to the criminals, the man's body disappears at one point only to reappear in the exact position.
The criminals return to the TV room to find that the first viewer has disappeared, prompting Zak to continue watching the tapes himself. After the ending of "The Sick Thing that happened to Emily when she was Younger" segment, Gary returns to the TV room to discover that Zak has disappeared as well, he is the only person left, that the old man's body is gone. Searching the rooms upstairs, he finds the decapitated remains of Zak, is subsequently attacked by the old man, now a zombie; the terrified leader flees downstairs, where he is killed by the zombie. The frame narrative ends with the camera left in the TV room picking up the sound of the VCR starting the "10/31/98" tape by itself. Directed by David Bruckner Written by David Bruckner & Nicholas TecoskyShane and Clint are three friends who have rented a motel room to fulfill Shane's intent of bringing women back for sex. While the three men are bar-hopping, Clint encounters a mysterious young woman, who appears unusually shy, says little other than "I like you."
In addition to picking up Lily, the men succeed in convincing another young woman, Lisa, to return to their motel with them. Lisa passes out as Shane attempts to initiate sex and Patrick, discourages him from continuing. Lily continues awkwardly coming on to Clint, but a dejected Shane comes on to Lily instead, oblivious to the scales visible on her feet as he undresses her. Lily appears responsive, pushing Shane onto his back and beginning to undress Clint beginning a threesome. Overwhelmed, Clint goes to the bathroom. Moments Patrick bursts into the bathroom claiming Lily bit him; when they approach Shane, Lily sprouts fangs and kills him. Clint and Patrick hide in the bathroom until Patrick, still nude, arms himself with a shower curtain rod and returns to the room. Clint tries to wake Lisa and Patrick attempts to fight Lily but she subdues him, drinks his blood and rips off his genitals. Clint escapes, but breaks his wrist in the process. Lily catches up to Clint, but instead of attacking, she attempts fellatio.
Finding Clint unaroused, she crawls over to a corner and cries which gets louder turns into a horrific growl. Clint flees, begging bystanders for help, but he is lifted into the sky by Lily, who has transformed into a winged creature; this reveals that she is a succubus, who wa
John David Landis is an American film director, screenwriter and producer. He is best known for the comedy films that he has directed, such as National Lampoon's Animal House, The Blues Brothers, An American Werewolf in London, Trading Places, Three Amigos, Coming to America and Beverly Hills Cop III, for directing Michael Jackson's music videos for "Thriller" and "Black or White". Landis was born into a Jewish family in Chicago, the son of Shirley Levine and Marshall Landis, an interior designer and decorator. Landis and his parents relocated to Los Angeles. Though spending his childhood in California, Landis still refers to Chicago as his hometown, is a big fan of the Chicago White Sox baseball team; when Landis was a young boy, he watched The 7th Voyage of Sinbad which inspired him to become a director: I had complete suspension of disbelief—really, I was eight years old and it transported me. I was on that beach running from that dragon, it just dazzled me, I bought it completely. And so, I sat through it twice and when I got home, I asked my mom, "Who does that?
Who makes the movie?" Landis began his film career working as a mailboy at 20th Century Fox. He worked as a "go-fer" and as an assistant director during filming MGM's Kelly's Heroes in Yugoslavia in 1969. During that time Landis became acquainted with actors Don Rickles and Donald Sutherland, both of whom would work in his films. Following Kelly's Heroes, Landis worked on several films that were shot in Europe, including Once Upon a Time in the West, El Condor and A Town Called Bastard. Landis worked as a stunt double. I worked on all kind of movies. French foreign movies. I worked on a movie called Red Sun where Toshiro Mifune kills me, puts a sword through me.... I worked as a stunt guy. I worked as a dialogue coach. I worked as an actor. I worked as a production assistant. Landis made his directorial debut with Schlock, he was 21 years old. The film, which he wrote and appeared in, is a tribute to monster movies; the gorilla suit for the film was made by Rick Baker—the beginning of a long-term collaboration between Landis and Baker.
Though complete in 1971, it was not released until 1973 that Schlock was released after it caught the attention of Johnny Carson. Carson was a fan of the film and invited Landis as a guest on The Tonight Show, showing clips from the film and in the process bringing attention to it. Schlock has since gained a cult following, but Landis has described the film as "terrible". Landis was hired to directed The Kentucky Fried Movie after David Zucker saw his Tonight Show appearance; the film was inspired by the satirical sketch comedy of shows like Monty Python, Free the Army, The National Lampoon Radio Hour and Saturday Night Live. It is notable for being the first film written by the Zucker and Zucker team, who would have success with Airplane! and The Naked Gun trilogy. Sean Daniel, an assistant to Universal executive Thom Mount, saw The Kentucky Fried Movie and recommend Landis to direct Animal House based on that. Landis says of the screenplay, "It was literally one of the funniest things I read.
It had a nasty edge like National Lampoon. I told him it was wonderful smart and funny, but everyone’s a pig for one thing." While it received mixed reviews, it was a massive financial success, earning over $120 million at the domestic box office, making it the highest grossing comedy film of its time. It's success started the gross out film genre, it featured the screen debuts of John Belushi, Karen Allen and Kevin Bacon. In 1980, he co-wrote and directed The Blues Brothers, a comedy starring John Belushi and Dan Aykroyd, it featured musical numbers by R&B and soul legends James Brown, Cab Calloway, Aretha Franklin, Ray Charles and John Lee Hooker. It was, at the time, one of the most expensive films made, costing $30 million, it is speculated that Spielberg and Landis engaged in a rivalry, the goal of, to make the more expensive movie. The rivalry might have been a friendly one, as Spielberg makes a cameo appearance in Blues Brothers and Landis had made a cameo in 1941 as a messenger. In 1981, Landis wrote and directed another cult-status movie, the comedy-horror An American Werewolf in London.
It was Landis's most personal project. It was another commercial success for Landis and inspired studios to put comedic elements in their horror films. On July 23, 1982, during the filming of Twilight Zone, actor Vic Morrow and child extras Myca Dinh Le and Renee Shin-Yi Chen were killed in an accident involving an out-of-control helicopter; the three were caught under the aircraft. The National Transportation Safety Board reported in October 1984: The probable cause of the accident was the detonation of debris-laden high temperature special effects explosions too near a low-flying helicopter leading to foreign object damage to one rotor blade and delamination due to heat to the other rotor blade, the separation of the helicopter's tail rotor assembly, the uncontrolled descent of the helicopter; the proximity of the helicopter to the special effects explosions was due to the failure to establish direct communications and coordination between the pilot, in command
Wrong is a 2012 French-American independent surreal comedy film written and directed by Quentin Dupieux. The film premiered at the 2012 Sundance Film Festival, it was part of the Toronto International Film Festival's Official Selection. The producers of the film are Charles-Marie Anthonioz, Gregory Bernard, Nicolas Lhermitte, Josef Lieck and Kevos Van Der Meiren. Dolph wakes up early in the morning in his suburban home to find, he is in denial that he has lost his job and shows up to his office to work every day and pretends to do his work. Dolph's need to live in a world of denial about all the areas in his life that are not working is found throughout his life. A palm tree in his backyard transforms into a pine tree. It's raining inside Dolph's office though none of his co-workers seem to notice it or care that they're being soaked. To put his life back together, he goes in search for his dog, it holds a 68% rating on Rotten Tomatoes based on 41 reviews, with an average rating of 6.1/10. The critical consensus states that "Wrong is strange and meandering, but its absurdist vignettes reveal a unique, wry wit."
Simon Abrams of Slant Magazine did not feel that the film worked: However, Chase Whale of Twitch Film enjoyed the film: The soundtrack to Wrong was produced by Quentin Dupieux under his stage name Mr. Oizo and French electro-rock music producer David Sztanke under the name "Tahiti Boy". Track 7 and 12 were produced by Sztanke's group "Tahiti Boy & The Palmtree Family". Official website Wrong on IMDb Wrong at AllMovie Wrong at Rotten Tomatoes
Night Watch (2004 film)
Night Watch is a 2004 Russian urban fantasy supernatural thriller film written by Timur Bekmambetov and Laeta Kalogridis and directed by Timur Bekmambetov. It is loosely based on the novel The Night Watch by Sergei Lukyanenko, is followed by a sequel, Day Watch, it was Russia's submission to the 77th Academy Awards for the Academy Award for Best Foreign Language Film, but was not accepted as a nominee. The film grossed $1.5 million in limited theatrical release in the United States significantly overperformed in United States home video market. Since the beginning of time, there have been "Others" - humans endowed with supernatural abilities - and for just as long, the Others have been divided between the forces of Light and Dark. In Medieval times, the armies of both sides met by chance, a great battle began. Seeing that neither side had a clear advantage, the two faction leaders and Zavulon, called a truce and each side commissioned a quasi-police force to ensure it was kept. In modern-day Moscow, Anton Gorodetsky visits a witch named Daria and asks her to cast a spell to return his wife to him, agreeing that she should miscarry her illegitimate child as part of it.
Just as the spell is about to be completed, two figures burst in and restrain Daria, preventing her from completing the spell. When they notice that Anton is able to see them, they realize that he is an Other. Fourteen years Anton has enlisted in the Night Watch. While policing Moscow, he encounters several portents that Geser says are linked to an ancient prophecy of an immensely powerful Other that will end the stalemate between Light and Dark, but will be more to join the Dark. Anton's investigations lead him to a nurse, whom disaster seems to follow everywhere, a young boy named Yegor. In the film's climax, Anton prevents a catastrophic storm from leveling Moscow, when he realizes that Svetlana is an Other, begins teaching her to control her power, but in the process, Anton realizes that Yegor is his own son, that his wife was pregnant with him when Anton tried to have a spell cast on her. Learning that his own father tried to kill him before he was born turns Yegor - the Other of the prophecy - against Anton and towards Zavulon, the latter's plan all along.
In helpless rage, Anton strikes Zavulon, while saying in voice over that, although the prophecy has come true and the Dark's victory seems inevitable, he will not give up. In 2000, an independent Moscow company invited a director from St. Petersburg, Sergei Vinokurov, the script was written by Renata Litvinova. Artemy Troitsky was expected to star in the film as Anton Gorodetsky, for the role of the light magician Geser Ivan Okhlobystin was chosen, but the work on the film stalled, in part of the tiny budget of 50 thousand dollars. And Channel One, the government-owned TV channel, bought from the publisher the rights to adapt the novel and invited Timur Bekmambetov write and direct the film. Concerning the casting, Bekmambetov described that he needed an actor for the role of Gorodetsky, handsome naive cunning and that "his eyes must show that he has a conscience". Part of the challenge for such a big-budget fantasy film was creating hundreds of visual effects shots to which a modern audience is accustomed.
16 Russian VFX studios and several freelancers were used, each chosen for their individual strengths. Many shots were created by different artists across different time zones, using the Internet to share data and images; the film was the first big-budget Russian supernatural movie and one of the first blockbusters made after the collapse of the Soviet film industry. The film was produced with a budget of US$4.2 million. It was shot in a 1.85:1 aspect ratio. The film contains several songs from rock bands, e.g. "Jack" by the Belarusian group TT-34 and "Spanish" by Drum Ecstasy. The song played in the credits of the international version of the movie is called "Shatter" and performed by the Welsh rock band Feeder; the track was a top 20 hit single in the United Kingdom charting at #11 in 2005, to coincide with the international release of the film. The song playing during the end credits of the American release of Night Watch is "Fearless" by The Bravery. In the original Russian version it is a rap song Nochnoy dozor performed by Uma2rman.
After premiering at the Moscow Film Festival on 27 June 2004, it went on general cinema release across the CIS on 8 July 2004. The film was successful, becoming the highest-grossing Russian release grossing US$16.7 million in Russia alone, thus grossing more in Russia than The Lord of the Rings: The Fellowship of the Ring. The sequel, Day Watch, was released across the CIS on 1 January 2006; the film attracted the attention of Fox Searchlight Pictures, which paid $4 million to acquire the worldwide distribution rights of Night Watch and its sequel Day Watch. Night Watch holds a 58% rating on review aggregator website Rotten Tomatoes based on 127 reviews. Stephen Holden from The New York Times wrote that the picture is "narratively mu
We Are What We Are (2010 film)
We Are What We Are is a 2010 Mexican horror film directed by Jorge Michel Grau. The movie is about a family who, after the death of the father, try to continue on with a disturbing, ritualistic tradition; the film stars Daniel Giménez Cacho. In the opening scene, Dad dies on the sidewalk at a local shopping mall. At home, his family is wondering. Dad is a watchmaker who repairs watches at the local street market, the family's sole means of support; as Dad has not appeared for the day's work and Julián head to the market. Julián gets into a fight with a customer; the woman who runs the market tells the boys to get out. When the boys arrive at home, their sister Sabina enters in a state of shock and announces that their father has died, their mother, locks herself in her room. In a local morgue, Tito the coroner and the director of the funeral home bring in Octavio and Owen, two police detectives; the coroner shows them a finger in a jar: it was pulled from Dad's stomach. The detectives are asked to solve this cold case.
They resist, but as the film continues, they become more interested in the fame that will come with solving it. Alfredo and Julián attempt to kidnap a homeless child from under a local bridge, but are chased off by the other children. Next, they attempt to kidnap a prostitute, who resists. Back at home, the boys tie the prostitute to the kitchen table. Patricia comes in and beats the woman to death with a shovel, claiming that Alfredo doesn't know what he's doing, that prostitutes are not appropriate for the ritual. Alfredo runs out while Sabina wrap the dead woman in a sheet. Julián and Patricia take the prostitute back to the corner where the boys picked her up and dump her in front of the other street workers. Patricia tells the women to leave her sons alone; the prostitutes report the incident to detectives Owen. Alfredo goes looking for another potential meal. Alfredo brings the young man home with him; as Alfredo and Julián argue the point, an older man comes down from their mother's room. Alfredo's prey escapes while Patricia beats the older man over the head with a shovel and the family kills him.
As Sabina and Patricia prepare the man for eating and Julián chase after the gay boy. The boy asks the police to protect him. Detectives Octavio and Owen hear the call over their police head to the scene, they decline to call for backup. Detective Octavio stops Alfredo and Julián in an alley, but is shot by a beat cop who mistakes Octavio for one of the cannibals. Detective Owen discovers Sabina and Patricia preparing their meal in a ritualistic fashion, but the women kill him. Alfredo and Julián arrive home; the police break into the family's home and Julián shoots several of them before the family manages to hide upstairs. Their mother says that one must survive to carry on flees to the rooftop; the prostitutes earlier in the film pursue her. Meanwhile, Alfredo bites Sabina's neck. Julián, thinking Alfredo's attempting to eat Sabina, shoots Alfredo; the police kill Julián and take Sabina away in an ambulance, believing that she is a surviving victim. The next morning Patricia's body is discovered in a playground, beaten to death.
At the end of the film, Sabina escapes from the hospital and is seen watching a young man in the local market, intent on her next meal. Humberto Yáñez as Dad Carmen Beato as Patricia the Mother Francisco Barreiro as Alfredo the Older Brother Alan Chávez as Julián the Younger Brother Paulina Gaitán as Sabina the Sister Daniel Giménez Cacho as Tito the Coroner, a character that appears in the horror film Cronos from 1993 Juan Carlos Colombo as Director of the funeral home Jorge Zárate as Detective Owen Esteban Soberanes as Detective Octavio Octavio Michel as Teniente Miguel Ángel Hoppe as Gustavo Raúl Kennedy as Adán Adrián Aguirre as Adriana Miriam Balderas as Sheyla The director Jorge Michel Grau himself narrated his film on the 2010 Cannes Film Festival. We Are What We Are was shot in Mexico City. Daniel Giménez Cacho reprised his role as Tito the Coroner, a character from the horror movie Cronos from 1993, directed by Guillermo del Toro; some characters are played by Paulina Gaitán and Francisco Barreiro who won with his former project Perpetuum Mobile film the Best Mexican Feature award on the Guadalajara International Film Festival.
It featured the Mexico's National Film School and premiered on 15 March 2010 as part of the Guadalajara International Film Festival. The film tells of the violence of the people and their foreclosure and was part of the Cannes Film Market 2010; the Mexican horror film is part of the Fantasia 2010. The film will release over IFC Films; the film had his UK premiere on 30 August 2010 as part of the Film4 FrightFest 2010. IFC Film will release the film in the United States as Video-on-demand. Artificial Eye released We Are What We Are in the UK on 12 November 2010; the score was composed by Odd Crew. Deborah Young of Reuters said, that We Are What We Are "is too dark and relentlessly humorless to find wide international audiences." Young stated that "another limiting factor is th
Concordia University is a public comprehensive university located in Montreal, Canada on unceded Indigenous lands. Founded in 1974 following the merger of Loyola College and Sir George Williams University, Concordia is one of the three universities in Quebec where English is the primary language of instruction; as of the 2017–2018 academic year, there were 46,093 students enrolled at Concordia, making the university among the largest in Canada by enrolment. The university has two campuses, set 7 kilometres apart: Sir George Williams Campus is the main campus in Downtown Montreal, in an area known as Quartier Concordia, Loyola Campus in the residential district of Notre-Dame-de-Grâce. With four faculties, a school of graduate studies and numerous colleges and institutes, Concordia offers over 300 undergraduate and 100 graduate programs and courses; the university's John Molson School of Business is ranked within the top 10 Canadian business schools, within the top 100 worldwide. Moreover, Concordia was ranked 7th among Canadian and 229th among world universities in the International Professional Classification of Higher Education Institutions, a worldwide ranking compiled by the École des Mines de Paris that uses as its sole criterion the number of graduates occupying the rank of Chief Executive Officer at Fortune 500 companies.
Concordia is a non-sectarian and coeducational institution, with more than 200,000 living alumni worldwide. The university is a member of the Association of Universities and Colleges of Canada, the International Association of Universities, the Association of Commonwealth Universities, the Canadian Association of Research Libraries, the Canadian University Society for Intercollegiate Debate as well as the Canadian Bureau for International Education and the Canadian University Press; the university's varsity teams, known as the Stingers, compete in the Quebec Student Sport Federation of Canadian Interuniversity Sport. Although the roots of its founding institutions go back more than 160 years, Concordia University was formed on August 24, 1974, through the merger of Loyola College and Sir George Williams University. Loyola College traces its roots to an English-language program at the Jesuit Collège Sainte-Marie de Montréal at the Sacred Heart Convent. In 1896, Loyola College was established at the corner of Saint Catherine Street.
Loyola College was named in honour of Ignatius of founder of the Society of Jesus. On March 10, 1898, the institution was incorporated by the Government of Quebec and became a full-fledged college; the same year, following a fire, the college was relocated, further west on Drummond Street, south of Saint Catherine. Although founded as a collège classique, Loyola began granting university degrees through Université Laval in 1903; the college moved into the present west-end campus on Sherbrooke Street West in Notre-Dame-de-Grâce in 1916. The School of Sociology opened in 1918. In 1920, the institution became affiliated with the Université de Montréal, which began granting degrees instead of Université Laval. Memorial bronze honour roll plaques in the entrance hall, administrative offices are dedicated to those from Loyola College who fought in the First and Second World Wars and the Korean War; the inter-war period was marked by the shift of education in the institution, the "collège classique" education was replaced by humanistic education in 1940, Loyola became a four-year university.
Loyola College never became a chartered university, never had the ability to grant its own university degrees. Theology and philosophy were taught to all students until 1972. In 1940, the Faculty of Science and the Department of Engineering, which became a faculty in 1964, were created. In addition to providing the same undergraduate programs as other colleges, the institution offered innovative fields of study at the time, such as exercise science and communication studies. Students could enrol in academic majors starting in 1953 and honours programs in 1958. Students graduating from Loyola could afterwards pursue graduate-level education in other universities, with a few earning Rhodes Scholarships. Starting in 1958, Loyola began offering its first evening courses for students not being able to go to school full-time. New courses were given in faith community nursing. Since its creation, Loyola College had welcomed exclusively young English-speaking Catholic men as students, it became co-ed in 1959 and became less homogeneous with the ever-increasing number of foreign students.
Obtaining a university charter was an important issue in the 1960s. Although many wanted the Loyola College to become Loyola University, the Quebec government preferred to annex it to Sir George Williams University. Negotiations began in 1968 and ended with the creation of Concordia University on August 24, 1974. In 1851, the first YMCA in North America was established on Ste-Helene street in Old Montreal. Beginning in 1873, the YMCA offered evening classes to allow working people in the English-speaking community to pursue their education while working during the day. Sixty years the Montreal YMCA relocated to its current location on Stanley Street in Downtown Montreal. In 1926, the education program at the YMCA was re-organized as Sir George Williams College, named after George Williams, founder of the original YMCA in London, upon which the Montreal YMCA was based. In 1934, Sir George Williams College offered the first undergraduate credit course in adult education in Canada. Sir George Williams College became Sir George Williams University