Quebec National Cinema

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

In Canadian history, nationalism and sovereignty tend to be common themes prevalent since Confederation. A well-known example of this in Quebec was during the Quiet Revolution which strengthened the need for change through Premier Lesage’s reforms and in turn, developed a strong sense of nationalism in Quebec. In contrast to beliefs that the rapid modernization of the Quiet Revolution had a positive impact on Quebec, it rather had a negative impact on Quebec and its citizens and identity. The three consequences which arose in Quebec as a result of the revolution are the encouragement of separatism, the elimination of traditional values and roles and the establishment of powerful bureaucratic control. Quebec’s attempt to be more like the

Nationhood and identity are both very slippery and ambiguous terms. As such, the possibilities to which these two concepts can be explored are quite extensive. Within Canadian cinema, there is a tendency towards realism as opposed to escapism, as seen in American/Hollywood cinema. This realist tradition can often be used to critique and explore the flaws of concepts such as nationhood and ‘the national’, while Hollywood cinema is much less critical and has a tendency to depict utopic and universalized places. This tendency towards realism and identifying the flaws of nationhood and identity while simultaneously emphasizing the importance of specific places is explored in the two Canadian short films, Withering Heights (2014) directed by Liz Van Allen Cairns and Luk 'Luk 'i: Mother (2014) directed by Wayne Wapeemukwa. Both films explore the struggles of nationhood and identity through the experiences of forgotten female protagonists whose problems are rooted in financial difficulties and whose narratives are intricately intertwined with the sense of place represented in each film. In Withering Heights, a woman in her 50s, Margot (Gabrielle Rose, best known for her role as Dolores in the 1997 Canadian film The Sweet Hereafter), suffers from a failing marriage leaving her sleepless and shrinking as she loses touch with her memory and sense of personal identity. Meanwhile, Luk 'Luk 'i: Mother documents the struggles of a mother and aboriginal woman, Stoney (Angel Gates), as

Though the beginning of the separatist movement was marred by fighting and violence, the vast majority of the conflict has been a political one. The reason for the revolution in Quebec stems from the restrictions placed upon the populace by the English. These restrictions were on both the language and culture of the Quebecois, and caused them to feel trapped in under the English rule, for lack of a better term. This revolution is on a much less certain foot than the others however, with many of the younger citizens not remember the restrictions of days

From the Confederation of Canada, to present day, French Canadians have always thought that Canada's path towards the future should be embodied in a different manner. Several events in Canadian History have resulted in several heated feelings between French and English Canadians. Though the majority of English Speaking Canadians have tried to reconcile with French Canadians by making several attempts to mend their relationships, the question about the needs of French Canadians still exists. Through an extremely thorough analysis of several key sources, it is evident that the needs of French Canadians were, undoubtedly, not met, which shall be plainly and exhaustively proven through an in depth analysis of French Canadian Nationalism,

The concept of recognizing Quebec as a distinct society is an idea that has been kicking around for some time, but just what does it mean and what are its broader implications? This paper will examine the origins of the term, what it means, and its historical context. It will then examine rival interpretations of federalism. The essay will conclude with an in-depth examination of the concept's involvement with the failed constitutional accords and the failed Quebec succession attempts.

Alfred Hitchcock is widely regarded as a prime example of an auteur, a theory that emerged in the 1950s by Truffaut, in the ‘politique des auteurs’ of Cahiers du Cinema (Tudor 121). The auteur theory, as defined by Andrew Tudor, is premised on the assumption that “any director creates his films on the basis of a central structure”(140) and thus, if you consider their films in relation to each other, commonalities can be found within them. These commonalities work to demonstrate the view of the director as “the true creator of the film” (Tudor 122). Evidence of an auteur can be found in examining a director’s creative tendencies, in their distinctive themes and motifs, stylistic choices,

Finally in 1867, the United Canadas joined two other British Colonies, Nova Scotia and New Brunswick to form the Dominion of Canada (McRoberts 1991, 413). French-Canadians continued to fight against assimilation and received autonomous privileges with exclusive jurisdiction over matters regarding its cultural distinctiveness***. Thus, the Francophone language and culture has always been at the forefront of Quebec priorities. Since Confederation, Quebec nationalist have felt that the Francophone language and culture has been at risk of assimilation by the rest of Canada. As a result, Quebec nationalism is fundamentally rooted in the preservation of the Francophone language and culture (Guiberneau 2006, 52). Political leaders in Quebec continuously urge for the recognition that Canada is composed of two nations or cultures (McRoberts 1991, 413). Prior to confederation Quebec enjoyed numerous autonomous privileges. Unfortunately, post-confederation Quebec did not enjoy as many autonomous privileges because Canada was created as a relatively centralized federation (Beland and Lecours 2007, 406). A centralized federation not only took several of these autonomous powers away from Quebec, but it also threatened the Francophone language and culture (Beland and Lecours 2007, 406). With this said, Quebec nationalism has placed a great deal of pressure on the federal government to decentralize, giving more powers to provincial governments.

The Australian film industry is currently in a point of crisis due to the lack of audiences attending Australian films, hence creating a decline in the revenue received towards our national industry. However, this is not due to the lack of creative talent, it is rather the many underlying issues that don?t allow the Australian public with the awareness and accessibility of these films. These problems are within the distribution, marketing and funding of these Australian films, allowing the national Australian community to not seek for films made by people within their nation due to negative pre-conceived notions and the convenience of going to see a Hollywood Blockbuster. These issues are seen through the poor release of both critically received films, Jennifer Kent?s The Babadook (2014) and Hugh Sullivan?s The Infinite Man (2014), both not gaining a wide audience. Through these issues within the industry, Australian filmmakers have not been able to create the revenue needed for these films to branch out to be easily attained by the public.

While the rest of Canada employs the concept of multiculturalism, Quebec emphasizes on another theory: interculturalism, or the notion of support in cross-cultural dialogue and challenging self-segregation tendencies within cultures. In the province, the word multiculturalism announces pejorative meanings. This was due, in part, to the fact that “a federal commission which was charged several years ago with the task of developing policies for Canada, based on its bicultural and bilingual character emerged with a recommendation that Canada think of itself as a multicultural and bilingual country.3”. Francophones, on the other hand, felt that this concept placed them at the same level as minority ethnic groups, thus erasing their thoughts of being seen as one of the country's founding nations.

Jacques Godbout is a Quebecois historian, author, and filmmaker as well as the great-nephew of Adelard Godbout. He sets out to create a documentary to explore the work of his great-uncle who was once the Premier of Quebec, who has somehow been lost in the history books. This documentary is titled “Patriot or Traitor”, because Jacques openly provides the information on his great-uncle that allows the viewer to ultimately make the decision on how we wish to view this great Canadian. With slight bias, Jacques realizes his fascination with Adelard’s politics may be caused because his childhood was influenced by him, since he and his family were framed as

‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’

To fully comprehend why and how this cinematic motion took place, it is valuable here to establish the wider social climate of France at the time, and the active forces which heavily shaped New Wave cinema. Between the years of 1945 and 1975, France would undergo “thirty glorious years” of economic growth, urbanization, and a considerable baby boom, all of which came to expand and radically alter the parameters of French culture (Haine 33). Beneath the surface affluence however, France was in a state of deep self-evaluation and consciousness. Following WW11, the

By analyzing the historical contexts of these specific movements, we take a deeper look at society's social, religious, economic, and political conditions that existed during a certain time and place. These relevant factors profuse mass influence into a filmmakers decisions while in the production process of a film. Additionally, these components have the role of establishing distinct trends in the film industry. Each movement has its own purpose for creating each film in regards to a stylistic standpoint.

Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.