Winter 2020

ARC181
Guidelines for Annotated Bibliographies

Each student’s annotated bibliography must include entries (i.e., citations and notes) for all of the
required readings listed in the schedule of classes in the course syllabus. It should also include
entries for any readings—books, articles, websites, reference works—each student is doing for
their additional or recommended reading.

The reason for this is that these notes will be useful to everyone in order to prepare for outlining
and writing their papers; another added benefit is that I will be able to see clearly what you have
and have not yet read in pursuing your project, and this will make it easier for me to make helpful
suggestions for further research and reading.

You must submit your “in-progress” annotated bibliography to your teaching assistant by 5
February at 5pm to your teaching assistant via Quercus. Please keep in mind that these
submitted bibliographies will not be formally graded. Instead, this submission will be an
opportunity for the TAs to review your annotated bibliographies and prepare for the workshop in
tutorial the following week. So please do not fret if you are missing an entry or three; this is less
important than getting a chance to see how you are annotating the readings, and where you are
at in terms of getting your research project moving.

Below are some excerpts from certain kinds of annotated bibliographies that may be useful to you
as you begin to contemplate formalizing your note-taking process further over the course of the
term.

EXAMPLE #1: Pulling and citing quotations by page number, along with notes in brackets.

John Vassos and Steward W. Pike, “Planning the Transmitter Building,” Broadcast News
(March 1948): 46-49.
[NB: See also article on “mobile studio” in same issue!]

46: “The Radio Corporation of America inaugurated in 1938 a service of assisting broadcasters
with their installations of transmitting equipment, not only from the aspect of the electronics
involved, but also in the actual physical layout of all components that are necessary in operating
such stations. The results of this service have been beneficial to the point where demands for
this type of information have been so overwhelming that now for the first time RCA is offering
their experience and thinking in the layout of typical transmitting stations in a complete line of
buildings covering all the various types and sizes of transmitting equipment.”
AUs note special requirements of these “unique buildings...in remote locations”: apartment for the
“executive-in-charge”; a shop for quick repairs; provision of space for transformers below or in in
the transmitter control room.
47: argue that it is less expensive to have a well-appointed and planned installation.
“The suggested architectural facade is only made to give a starting point to the local architect who
will eventually make the final plans in re-expressing the same form of element construction and
perhaps give it local flavor.”
For all scales of station, 250-watt to “a giant television and FM transmitter station”
“Eventually all will be available in the form of an architectural brochure which makes provision for
adding, from time to time, the various new developments as they are introduced.”
initiative run by “The Functional Design Section” of RCA.
“It is not surprising that the cosmopolitan response to this service has included, not only our Latin
American neighbors, but it has reached the far corners of Asia, Middle East, and Europe and in
many instances, the entire recommendations have been followed as well as the electronic
specifications.”
Cmd. 6852, Broadcasting Policy, Presented by the Lord President of the Council and the
Postmaster General to Parliament by Command of His Majesty, July 1946 (London: His
Majesty’s Stationery Office, 1946).

Section A on “The British Broadcasting Corporation’s Charter”

p. 3, para. 3: “The Sykes Committee [of 1923], in recommending a single broadcasting service
[the BBC], had in mind not only the part which broadcasting would play in the life of the nation
and in international relations, but also the need to use the limited number of wavelengths
available for this purpose in the best interests of the community.”
p. 3, para. 4: “The Crawford Committee...rejected the United States system of free and
uncontrolled broadcasting as unsuited to this country and felt that no body constituted for profit
could adequately perform the broader functions which were then beginning to emerge. On the
other hand, it equally rejected the transfer of the service to the direct control and operation of the
State, on the grounds that the State would lack the necessary freedom and flexibility to meet the
varying demands of the public.” Thus the “public corporation to be known as the British
Broadcasting Commission, acting as a Trustee for the national interest...invested with the
maximum freedom which Parliament was prepared to concede.” to p. 4 the system of
“Governors” as “persons of judgment and independence, who would inspire public confidence by
having no other interests to promote than those of the public service.” Led to the charter for the
BB Corporation 1926.
p. 5 because of the confusion and rapid “warlike” technical advancements of the preceding seven
years, a provisional extension of the charter for only five years.
p. 6 Maintains the status quo of a single corporation possessing a monopoly on broadcasting
rights, but also “welcomes this policy of regional devolution.”
[need to look at “the Postmaster General’s powers under the Telegraph and Wireless
Telegraphy Acts 1863 to 1945”]
p. 10, section B: “The International Problem of Wavelengths” makes reference to the International
Telecommunication Convention Madrid 1932.
p. 15, section 50 (under heading D.—The Overseas Services, I.—Services to the Empire), “At the
outbreak of war, the Empire Service [EBS] became a world service, enabling listeners in all parts
of the globe to hear frequent news bulletins and talks in English, giving the British point of view on
current events. Later, to satisfy the needs of British and Allied troops overseas for news and
entertainment, a General Overseas Service and General Forces Programme were introduced,
broadcast throughout the twenty-four hours of the day.”
p. 15, “Post-War Policy” para. 51. “The Government consider it essential that the Empire Services
of the Corporation should be maintained and developed in co-operation with the Dominions,
India, and the Colonies. The wavelengths available for these services should be used tot he
greatest advantage and should be supplemented by the transmission of programmes over
overseas telephone circuits for rebroadcasting locally, and by the export of programmes in the
form of scripts and recorded material.”
p. 17, “The Monitoring Service”, para. 57: “During the war this Service listened to 1¼ million
words a day in thirty languages, extracted important news and intelligence material and made it
available to the British and Allied Governments, to the Corporation for its own new programmes,
and to the Press. With the restoration of communications iwth most parts of the world, the scope
of the Monitoring Service has been considerably reduced, but it still provides a valuable means of
obtaining news and information.” [Radio as a CONTROL MECHANISM]
Goes on to establish the permanent need for the “European Service” “in order to maintain British
influence and prestige abroad” (still 17)

p. 18, section E.—Television, para. 62: Selsdon Committee. Move to “high-definition” television
service using Marconi-E.M.I. (405 lines) in February 1937. para. 63: “The Government accepted
these recommendations and a regular public high-definition television service, the first in any
country, was inaugurated in November, 1936, at the Corporation’s station at Alexandra Palace.”

p. 18, para. 65 and after: “The Hankey Committee”

See Appendix 3 “Wire Broadcasting,” re: the “wire broadcasting system” that is still viewed at this
point as an alternative or supplement to wireless.

EXAMPLE #2: Simple summaries.

McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University
of Toronto Press, 1962.

This book seeks to generate an understanding of the changes in our modes of perception
as society transitions from a typographic/mechanical age to the electronic age. It argues
that the transition into the electronic age means the individual man has become the
tribal/collective through the use of technology.

Pevsner, Nikolaus. Pioneers of the Modern Movement from William Morris to Walter Gropius.
London: Faber & Faber, 1936).

The first chapter of this book discusses the development of the early modern period
through the production of craft objects as it relates to the progress of machinery during the
Industrial revolution. The main argument made relates to the role technology plays in the
creation of art during the time of William Morris. Machinery allowed for the mass production
of cheap articles and removes the ‘joy of the maker’. In short, the machine removed human
agency from the production and manufacturing process and that one must become
‘masters of our machines’ instead. In this vein.

The second chapter of this book furthers the argument by exploring the period between
The Great Exhibition of 1851 in London and the emergence of the Arts and Craft
movement. Pevsner identified the ‘abominable aesthetic qualities’ of the products on
display at the exhibition and attributed this to the disconnect between the craftsman’s skill
and the production by a machine. He poses the following question, “Why did the machine
in the end become so disastrous to art?”.

Barthes, Roland. “The Eiffel Tower.” In A Barthes Reader, edited by Susan Sontag, 236-250.
New York: Hill and Wang, 1983.

Barthes essay discusses the role of the Eiffel Tower as it related to the concept of the gaze
and the relationship between object and subject, the dialogue of seeing and being seen.
Barthes argues that the construction of the Eiffel Tower empowers the people with the
ability to see, objectifying the city of Paris.

Theodor W. Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass
Deception.” In Dialectic of Enlightenment, translated by Edmund Jephcott, 94-136.
Stanford: Stanford University Press, 2002.

This essay puts forward an argument that suggests the existence of what is called “The
Culture Industry” created by mass media. The Culture Industry is used to describe the
phenomenon where there is a full participation of the masses in the consumption of media
and that culture itself operates as an unstoppable industrial machine. The participation of
the masses in the Culture Industry in essence pulls people into a single agency creating
conformity making ideologies insignificant as each participant is immersed into the same
set of operations.
Levine, Neil. “The Public Library at the Dawn of the New Library Science: Henri Labrouste’s Two
Major Works and their Typological Underpinnings.” In Henri Labrouste: Structure Brought
to Light, edited by Barry Bergdoll, Corinne Belier, and Marc le Coeur. 164-179. New York:
Museum of Modern Art, 2012.

The essay explores the origins of the library as a typology through the works of two
buildings by Henri Labrouste. Levine argues that Labrouste’s designs responded to a
changing social condition in which the library grew out of its elitist, aristocratic conditions,
and further change resulted from an increasingly literate public. The pre-existing
architectural typology of the library was concerned with the formal representation of books,
rather than the physical act of reading. Labrouste responded in his design for the
Bibliothèque Sainte-Geneviève by redefining the library as a new kind of public institution,
a place for social interaction and the consumption of printed material.

Baker, Nicholas. Double Fold: Libraries and the Assault on Paper. New York: Random House,
2001.

This book explores the problem of preserving printed text and the misguided attempts to
solve it. Baker identifies a trend where libraries around the world are unable to absorb the
vast contents of printed material, especially periodicals such as newspaper print. In the
face of this problem, libraries turned to the technology of microfilming to preserve both the
contents of the material and physical space. Librarians regarded the microfilm as a
panacea and swiftly produced microfilm copies of newspaper prints in their collections. In
the opening chapters, Baker argues that librarians bought into this long-standing myth that
newsprint quality deteriorates quickly and that the microfilm would prolong the ‘shelf life’ of
the material. The result was an extensive purging of physical print material from library
catalogues resulting in the destruction and privatization of the material as they ended up in
the hands of collectors.

EXAMPLE #3: Summarizing and adding notes and queries.

William Dendy, William Kilbourn, Toronto Observed: Its Architecture, Patrons, and History
(Toronto: Oxford University Press, 1986): 276-279
P277: Thanks to patronage of Phyllis Bronfman Lambert, Mies was chosen to design New York’s
world famous Seagram Building (1954-8), which revolutionized corporate architecture in North
America. Seagram’s Owners were the Montreal-based Bronfman family, who also controlled the
Fairview Corporation (now Cadillac-Fairview), one of the largest property developer in North
America.

http://www.theglobeandmail.com/life/home-and-garden/architecture/td-centre-signage-reflects-a-
time-when-brands-trump-architectural-vision/article25253309/
Alex Bozikovic, “New TD Centre signage reflects a time when brands trump architectural
vision,” in: The Globe and Mail (Sunday, Jul. 05, 2015 12:00PM EDT) [ general information ]
The complex has been expanded, and now it has new features: green-and-white signs of the TD
Bank stuck on to two of its dark, ribbed facades. These stick-ons are legal, historically defensible
– and wrong. In this place, where corporate Canada once made the grandest possible statement
with architecture, they signal an unfortunate smallness of vision. [ I like it: “legal, historically
defensible, and wrong ]
It was TD and Fairview Crop. (later Cadillac Fairview), then the development arm of the Bronfman
family, which took the leap.
Cadillac Fairview, which is now wholly owned by the Ontario Teachers’ Pension Plan.

John Bentley Mays, “OFF THE WALL ‘The coffins’ leave them cold ARCHITECTURE The
Toronto-Dominion Centre turns 25 next years, but this famous project, both powerful and
poised, has never inspired love,” in: The Globe and Mail, (30 October 1991: C.1.) [ The only
critique about TD Centre that I’ve red ]

[B+H Official site]

Client
Cadillac Fairview Corporation and Toronto-Dominion Bank
Collaboration
Architects – Toronto Dominion Bank Tower, Royal Trust Tower, Commercial Union Tower (now
called Canadian Pacific Tower) and Banking Hall: Bregman + Hamann Architects and John B.
Parkin Associates (in joint venture) Ludwig Mies van der Rohe – Design Consultant Architects –
IBM Tower (now called TD Waterhouse Tower): Bregman + Hamann Architects Architects - Ernst
& Young Tower: Bregman + Hamann Architects and Scott Associates (in joint venture)

[Cadillac Fairview Official site]

THE FAIRVIEW CORPORATION SHARES THE REAL ESTATE LIMELIGHT
In the early 1960’s, another company was busy building a reputation in the Canadian real estate
industry. The Fairview Corporation was established as a division of Cemp Investments Ltd., the
holding company for the Bronfman family, one of Canada’s most successful business
dynasties. [Phyllis Lambert]
Fairview and the Toronto-Dominion Bank joined forces with the goal of building the largest
office complex in the country. Mies van der Rohe, an internationally renowned architect, was
chosen to design the landmark project, the Toronto-Dominion Centre. The original concept called
for a 1 million square foot office tower, which eventually expanded to include multiple towers
totaling over 4 million square feet.
Over the years, the principals from Cadillac and Fairview occasionally crossed paths when
Cadillac built shopping centres for Fairview. In 1968 they joined forces to purchase Canadian
Equity and Development Co., a firm which owned 80,000 acres outside of Toronto in an area
known as Erin Mills. Cadillac was interested in Erin Mills because it offered a huge area to build
houses. Fairview was interested because the community would need shopping centres. Although
the land was initially purchased in 1954, the Erin Mills development was at a standstill because
no municipal services had been installed. Conflicts arose over the development of Erin Mills as
both Cadillac and Fairview began to expand their areas of operation, so the two companies
sought a solution.
CADILLAC & FAIRVIEW MERGE
In the spring of 1974, two of the most dynamic forces in the Canadian real estate industry agreed
to merge. A quick flip of a coin positioned the Cadillac name before Fairview, and a new real
estate powerhouse was born. Cadillac Fairview continued its successful association with the
Toronto-Dominion Bank, and along with a new partner, the T. Eaton Company, launched two
other landmark projects: Vancouver’s Pacific Centre (opened in phases starting in 1971) and the
Toronto Eaton Centre (opened in phases starting in 1977).
By the end of 1986, the Bronfman family agreed to sell their interest in Cadillac Fairview. [It
means Phyllis Lambert hasn’t had role on the last piece which was built in 1991]

Christopher Hume, “When Mies's towers scraped the sky,” in: Toronto Star, (Monday, May
28, 2007)
Though he is listed simply as a consultant, the man who designed the TD Centre, Ludwig Mies
van der Rohe, ranks among the giants of 20th-century architecture. It was he as much as anyone
who invented the building forms in which we live and work to this day.
Though work on the complex continued after his death in 1969, the concept had been laid out.
Once the first three towers were completed – the last, Canadian Pacific, in '74 – two more were
added, TD Waterhouse ('85) and Ernst &Young ('91).