QUEBEC CINEMA - Festival de Cannes (International Film Festival)EXIST, WHATEVER THE COST. The five elections between 1. Maurice Duplessis as Prime Minister, established a climate of Great Darkness which was ill- suited to any creative experimentation. American neighbours simply included it in their own domestic market. Yet for early Quebec cinema, the simple fact of existing, albeit in its most inoffensive form (its main films being those by the priest Albert Tessier and the abbot, Maurice Proulx, which proudly depicted the values of a good, submissive people, nature and rural life), seemed an achievement in itself. However, while the Government of Canada established the National Film Board (NFB) in 1. Full text of 'Directory : Montana state audiovisual library' See other formats. Films about sports had pride of place in the 1960s. Norman Mc. Laren rapidly gained ground, a neglected industry attempted to free itself by tapping into the great successes of cultural heritage led by international directors (long live colonisation!). Amongst these directors (which included the French filmmaker, Paul Gury, who produced Un homme et son p! A historical curio, but also a symbol of the questions which would, from that point onwards, be associated with the growing Quebec film industry: should the American or the French market be targeted? Should films be shot in the local French or international French, or even in English? How could these differences be managed? Written by the painter, Paul- . Other manifestations expressing this same desire appeared, such as the first short film by a young Claude Jutra, aged just 1. The films in this program – all of which have been preserved by Anthology Film Archives – are not part of the Essential Cinema cycle, but are being screened as a. The shock of the Great Depression. This rather typical Li Pawel and Lidka are from different worlds but they somehow meet each other in a night club. He's a young lad from a wealthy family, she's an attractive dancer. Manouane River Lumberjacks: Regia: Lamothe, Arthur: Anno di produzione: 1962: Nazione: CA : Colore/BN: B/N: Durata: 28: Suono originale: Sonoro: Tipologia. Manouane River Lumberjacks, in 0 top lists. View the official lists that include B CRIMES OF CARELESSNESS. Manouane River Lumberjacks take you to the very heart of a major Canadian industry. Michel Brault: Le D. Even mass- market productions, such as Tit- Coq directed by Ren. Quebec cinema seemed to be ready to emerge from its chrysalis. Whilst the NFB was established in Montreal in 1. Michel Brault and Gilles Groulx directed Les Raquetteurs (The Snowshoers). Although they did not know it, the film was a pioneer of the Direct Cinema movement: it embodied this young form of cinema, which was confident and full of a real sense of national conscience, and was also present in Golden Gloves directed by Gilles Groulx and La Lutte (Wrestling) directed by Michel Brault, Claude Jutra, Marcel Carri. Using a light, mobile camera, filmed in synchronous sound and capturing real- life, unique events, young Quebec cinema refused to educate or set an example. It aimed to stay loyal to the reality of a society undergoing great change. Some people credit the beginnings of this socially engaged form of cinema to the sublime documentary by Arthur Lamothe, B. Others quote Pour la suite du monde (The Moontrap) by Pierre Perrault and Michel Brault, the first Quebec entry In Competition at the Festival de Cannes, or Le Chat dans le sac (The Cat in the Bag) by Gilles Groulx, who described the then current situation by depicting the end of a love affair between a francophone and an anglophone. Nonetheless, this burst of energy did not escape the interest of the rest of the world, with the Cahiers du Cinema even dedicating a special edition to Quebec cinema in March 1. The mood of the time was also one of emerging feminism, the NFB opened its doors to women and created a studio dedicated to them, at the instigation of Anne Claire Poirier (De m. Yet, as in any good film, the honeymoon period did not last long. Although the Expo '6. Originally religious in nature, censorship became political, and despite allowing the booming popular cinema to be coloured by light- hearted eroticism (Val. In 1. 97. 1, the documentary On est au coton (Cotton Mill Treadmill) directed by Denys Arcand was consequently banned. Yet filmmakers were inspired by the climate of agitation that was all around them: R. International attention was also received by Claude Jutra for Mon Oncle Antoine (My Uncle Antoine) which reaped 2. Quebec cinema: the absent father. Haunting and essential viewing, it would later influence the magnificent Bons d. In 1. 97. 0, the prolific Jean Pierre Lefebvre saw three of his films (La Chambre blanche (The House of Light), Mon amie Pierrette (My Friend Pierrette) and Q- bec my love) selected for the Director. The amazing animated filmmaker, Fr! Martin photographe (J. A. Martin Photographer) by Jean Beaudin. Quebec cinema was burning bright, everywhere, that is, except in Quebec. Trailer for Death of a Lumberjack directed by Gilles Carle? Or widespread indifference? The fact remains that Quebec audiences were abandoning Quebec film. To solve this problem, the industry settled on the sure values of heritage, via big- budget co- productions destined for both cinematic and televisual release. Although Les Plouffe(The Plouffe Family) by Gilles Carle came out on top, others such as Le Matou (The Alley Cat) or Bonheur d. This status quo was, however, suddenly interrupted in 1. D. This film perfectly combined the author. His unprecedented success - reproduced on a smaller scale by J. The fallout from the defeat of the . One filmmaker, however, bucked this trend: Pierre Falardeau, himself the very embodiment of political cinema of the time, revisited both the October Crisis of 1. Octobre), and the Rebellions of 1. This new generation slowly made its mark on Quebec cinema: a generation of talented stylists, fully versed in the aesthetics of advertising and music videos, and who leisurely pondered on all the mistakes made by dissatisfied thirty- somethings. Yet a new breed of films emerged, one somewhere between the heritage of Direct Cinema and the beginnings of low budget films, which would later infect the film industry with their boldness and urgent need to create: Robert Morin from Requiem pour un beau sans c. However, despite these undeniable artistic successes, it was commercial cinema, more specifically popular comedies, in the form of series such as Cruising Bar, Les Boys (The Boys) and C. This situation did not, however, abate the emergence of several atypical works that periodically displayed the irrepressible diversity of Quebec cinema. The following list is by no means exhaustive: Les Invasions Barbares (The Barbarian Invasions) which followed D. In addition, C. R. A. Z. Y. On the one side, the supposedly commercial productions (which are in fact financed by the State), revisit the conventions of supremely digestible and inconsequential cinema. On the other, independent film (often filmed in less than ideal circumstances), is shunned by its own audience, yet revered on an international level (films by Denis C. Marginal on its own soil, Quebec cinema, which remains steadfastly the reserve of film enthusiasts, is morphing into confused poetry, lined with traces of bittersweet humour, permeated by a sad downward force which reflects the state of Quebec cinema of today. A cinema which is losing its sense of self: in search of itself and unsure. A film industry in crisis, yet one which is ardently contemplating, with passion and integrity, the ways in which Quebec cinema can solve its own problems, by itself. Trailer for Curling directed by Denis C.
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