The author, researcher at University of Toronto, chronologically studies the first one hundred years of both English Canadian and French Canadian cinema to critically examine Canada’s attempt to develop a national cinema and cultural identity. By examining genres of film, the filmmakers, and the political climate at the birth of films, he demonstrates to a non-academic audience that Canadian Cinema (with the exception of Quebec) has been unsuccessful at strengthening Canada’s national cultural identity.
“Strange Brew” was a full-length movie released in 1983 that depicts how Canadian Identity was viewed at the time and to Canadians, it was a blatant representation of national identity through cultural commentary. The idea was put forth after a sketch with a similar plot line aired and was very successful in Canada and the United States, thus leading to the creation of the film. When compared to modern national identity it emphasizes the change globalization has facilitated. The national identity of past Canadians is vastly different from what is considered national identity of the modern population. Some aspects of identity affected are; the cultural ethnicity of Canadians, the fashion worn and the technology used.
This video is called Canada Between Two World Wars and describes the difficulties and impacts that Canada made to the world war and how it influenced our identity as Canadians to further develop the Canadian name. It also shows the years of prosperity as Canada went into the Great Depression. Audiences of all ages are able to experience and learn from the good and bad things that happened in Canada’s past. It also shows the different economic changes happening at the time. For example, entertainment, economy(factories amd technology) and new ways of life.In summary, the video illustrates
As Alvin Toffler once said, “The wider any culture is spread, the thinner it gets”1. Such holds true for the American culture, which is not only a dominating factor in its own internal market and known domestically but also a dictating force in countries around the world on the global scale, and the first on their list – Canada. This issue of cultural imperialism is touched upon by Gaëtan Tremblay in his article, “Is Quebec Culture Doomed to Become American?”
Finally, as the film begins to reach its ends, one may watch as the the trio begins to bond and become more understanding of one another. The last significant part of the movie occurs when Nick and the children finally reach Vancouver so that they can all meet up with Suzanne again. Earlier in the movie, when Lindsey and Kevin truly disliked Nick, they told some truck drivers that they were kidnapped. This caused major damage upon Nick SUV as he tried to escape the destruction inflicted by the driver. But later in the movie, the truck drivers come to find Nick and the children while in Vancouver and they begin to confront Nick, thinking that he is still attempting to kidnap Kevin and Lindsey. While Nick, Lindsey, and Kevin are awaiting Suzanne’s
Author Jennifer Ried through her book, Louis Riel and the Creation of Modern Canada, provides her readers insight into the creation of Louis Riel not only as a myth but why many believe he is a hero not a traitor to Canada. It is Reid’s argument that though Louis Riel was considered by the vast majority of Canadians as a traitor, he was ultimately, according to her, responsible for influencing Canada’s search for a national identity. “Both the myths and the man point to the profound inadequacy of the concepts of nationalism and the nation in the Canadian situation.” With the examination of poetry, film, operatic and historical accounts of Louis Riel, she argues that he is exceedingly one of the most highly celebrated and often-studied figures
Often children, because they integrate into a more popular language. They do this for an economic advantage.
Nationalism is an important aspect of national pride and identity for countries around the world. For example, Canada takes pride in its cultural identity, one that is claimed to be different from other ‘Western’ more ‘industrialized’ nations, such as countries in Europe, and the United States. Even though Canada currently has a national identity that differs greatly from that of other more established countries, history has dictated the way in which a particular national identity exists today. In Canada, Samuel De Champlain and the French established colonies that created a cultural clash between the French Europeans, and First-Nations Canadians within the country. However, this notion of French Canadian Nationalism isn’t necessarily embraced by all of the Canadian Population. This paper seeks to analyze important pieces of Canadian History that have contributed to a broken concept of what constitutes Canadian nationalism, with an emphasis on how historic events prevent and affect coherent Canadian Nationalism in modern society. Through the analysis of the notions and histories associated with ‘First-Nations Nationalism’, ‘Quebecois Nationalism’, and a broader ‘Anti-American’ identity embraced by many Canadians, this paper seeks to locate common ground within the culturally diverse Canadian population in order to progress toward a singular coherent
The board had about 90% of English speaking workers and only had a small amount of French workers who converted the films into French for the francophone. Back then, French films were known as foreign films due to production being mostly English. Many French filmmakers were hired to increase the number of French films and have a French production branch. Around the 1940’s and 1950’s, filmmakers toured the country giving the chance to other communities who did not have access to films, be able to view them. The filmmakers had a specific name for their team called “travelling projectionists”. In 1967, the Canadian film development corporation signed an agreement to promote the development of the film industry. The company began making educational films in 1960, for the change in society and for schools to show the students different views from around the world. During the late 1960’s, First Nations people were given access to NFB equipment to start producing their own films. Women made great contributions during the war years in the film industry but after that, they weren’t used for much until early 1970’s. Due to the company being well invested and wonderful productions for the country, in 1970, film productions started expanding across Canada after the postwar decade.
Films in Quebec, like in many other international markets, were produced in response to a need for films that reflected the feelings, atmosphere, and identity of the French-Canadian people; plainly, they are films that mirror the people of Quebec: “A desire to see the nation in cinema, to see cinema as a national object at a critical juncture in Quebec’ struggle towards political independence [is present],” (Gittings 121). Bill Marshall also explains that a national cinema comes about due to the relationship between a “nation” and “identity” – Quebec has developed an increasingly strong identity in opposition to that of the Anglo-Canadians, and therefore an increased sense of “nation” has come along with it (2). When these elements come together, the resulting films produced incorporate specific traits to make them categorically of that nation. Just as one can say there are specific traits for Canadian films that make them uniquely Canadian, many scholars, like Marshall, agree that there are traits that make Quebec films uniquely
Canada’s own identity starts with our remarkable sense of culture and customs. For the native peoples, the Canadian identity stretches thousands of years into the search of struggles to retain elements of their ancient
According to Carlos Diegues, a leader of Brazil’s revolutionary Cinema Novo movement, “Every country has two national cinemas: its own, and Hollywood (Sterritt, David).” The American Film Industry is the oldest in the world and its styles and methods have exerted a powerful influence on filmmakers and audiences worldwide since the early twentieth century. Foreign film industries don’t necessarily actively seek to adopt the practices and styles of American film; rather, international countries have been flooded with the big-budget spectacles that intrigue and engage the audience through their grand style of narrative storytelling, which inevitably impacts the way foreign filmmakers produce their films. Audiences worldwide have been conditioned
American Experience, a PBS program that shares stories with us from our history, displays the very events and tools that shaped our nation. Their film: Scottsboro Trials, was a moving and informative movie about racism in America and the impact it has left on us. To this day, this movie still has an important message to teach and show. Racism is still a problem and more than likely always will be, this is a sad part of life that we must do our best to deal with. American Experience puts racism up in our faces and reminds us of what we have done. This film opens up our eyes to our past and in doing so, makes us better people.
Art’s and Culture has and will continue to make a significant impact on Canadian identity. Media, Radio,Television,Film,Song,Book and Magazine industries have all helped to shape our society by using These industries show us who we really are as true canadians. (See For Yourself)(Blattberg)
As cultural identity being questioned in global screen due to the influences of transnational cinema and Diasporas in different places, this clip question further the possibilities in future transnational cinema. Through the emergence of cinema styles, all films are to be considered transnational. This essay will argue that transnational cinema could be emerging to a new level in the film industry. The clip provided with the essay explores the potential of transnational films with the context of films studied included in this subject.
This paper was prepared for Introduction to Film History, Module 1 Homework Assignment, taught by Professor Stephanie Sandifer.