Le Temps D’Une Chasse: One Take on Québec Cinema
Québec’s peculiar political and cultural status as a French-speaking and reluctant province of an English Canadian Confederation began to change with the rise of a militant independence movement in the 1960s and 1970s. … [Its] emergent cinema, although it never speaks with one voice, could be said to share, both implicitly and explicitly, in a common struggle … of exploring, questioning and constructing a notion of nationhood in the films themselves and in the consciousness of the viewer. … [This] has not resulted in a homogeneous notion of Québec, but one of contradiction, fragmentation and uncertainty. (Barrowclough 205)
This statement speaks to the futility of devising a paradigm for assessing the so-called typical Québec film; at the very core of such films lies a contradiction which cannot be summed up into one archetypal structure. Any Québec production reflects some part of the Québécois experience. Attempts to prescribe criteria for what qualifies as a Québec film are restrictive, and deny the legitimacy of the multiple voices speaking out from Québec.
The complexity of content in Québec films is reflected in the disparate critical response to director Francis Mankiewicz’s film, Le Temps D’Une Chasse. The film, released in 1972, was met with varied, contradictory reviews. One critic found that the film was not at all typically French-Canadian, but that it was about "the impossible efforts of man to get beyond reality" (Godard 34). Another stated that the film was very much a product of French-Canada, showing little promise as a hit anywhere else in the world (Mosk). A third reviewer thought that the episodes in the film "capture and reflect a Québécois mentality," but that the film also had "many qualities" and therefore had the potential to succeed outside as well as inside of Québec (Tads).
Such varied reactions serve to indicate that preconceptions had been formed as to what characterizes a Québec film, and that these preconceptions are assumed to dictate what audiences want to watch. The fact that Le Temps D’Une Chasse is open to various interpretations should not indicate a flaw in the film; rather, it should be seen as representing another aspect of the complex and contradictory social context within which it was produced. "An awareness of contradiction and a willingness to allow this awareness to shape the aesthetic experience are essential elements of modern art’s rebellion against the fixed viewpoint of perspective and linearity that created a sense of order and harmony in the past" (Leach 226).
In the piece “Cinema/Ideology/Criticism,” Jean Luc-Comolli and Jean Narboni define the critic's job as the discernment of “which films, books and magazines allow the ideology a free, unhampered passage, transmit it with crystal clarity, serve as its chosen language” and which films “attempt to make it turn back and reflect itself, intercept it, make it visible by revealing its mechanisms, by blocking them” (753). Through their examination, seven film categories are outlined. Clue falls into the “E” category, which is defined as “films which seem at first sight to belong firmly within the ideology and to be completely under its sway, but which turn out to be so only in an ambiguous manner” (75...
Much has been written about the ways in which Canada's state as a nation is, as Peter Harcourt writes, "described" and hence, "imagined" (Harcourt, "The Canadian Nation -- An Unfinished Text", 6) through the cultural products that it produces. Harcourt's terms are justifiably elusive. The familiar concept of "Canadian culture", and hence Canadian cinema, within critical terminology is essentially based on the principle that the ideology of a national identity, supposedly limited by such tangible parameters as lines on a map, emerges from a common geographical and mythological experience among its people. The concept that cultural products produced in Canada will be somehow innately "Canadian" in form and content first presupposes the existence of such things as inherently Canadian qualities that can be observed. Second, it presupposes a certain commonality to all Canadian artists and posits them as vessels through which these said "inherently Canadian qualities" can naturally flow. Third, it also assumes the loosely Lacanian principle that Canadian consumers of culture are predisposed to identify and enjoy the semiotic and mythological systems of their nation, and further connotes that Canadians have fair access to their own cultural products. Since these assumptions are indeed flawed but not altogether false, this paper will deal with the general relationship between the concept of Canada, its cultural texts, and its mythological and critical discourse as an unresolved problematic that should be left "open" in order to maximize the "meaning potential" of films as cultural texts within the context of "national identity," an ideological construct that remains constantly in flux.
Darong thos pley, thi thrii iqaovuceturs nut unly hevi en ivol effict Mecbith end hos ectouns bat elsu un thi uthir cherectirs on thi pley. “Lissir then Mecbith, end grietir. Nut su heppy yit mach heppoir. Thua shelt git kongs thuagh thua bi nuni.
Patriquin, M. (2014, April 11). The epic collapse of Quebec separatism. Retrieved May 15, 2014, from Maclean’s website: http://www.macleans.ca/politics/the-epic-collapse-of-separatism/
Semley, John. “From Big Snow to Big Sadness: The Repatriation of Canadian Cultural Identity in the Films of Guy Maddin.” Cineaction 73 (2008): 32-37.
Robert Hayden poem ”Those Winter Sundays” explores his father as an unsung hero and it also presents an acknowledgement of poets lack of gratitude for his father. The speaker reflects on the childhood memories of his father and goes on to find all kinds of disabilities he had in terms of realization regarding the pain father bared for the poet. Story is very emotional in the way that the speaker reveals sacrifices of his father during his childhood throughout the poem. It is agonizing and the words used in the poem are really an expression of desperation and sadness as he is really missing that time. There are a number of sacrifices made by the father during the harsh winter season of writer’s childhood. In his childhood he was not actually aware about the harshness of those lovely and affectionate feelings that his father had about him. In the poem ”Those Winter Sundays” Robert Hayden uses imagery and sound devices to portray his father as an unsung hero and to acknowledge his own lack of gratitude
government, t. p. (n.d.). Quebec Nationalism - Quebec History. Faculty.marianopolis.edu. Retrieved May 27, 2012, from http://faculty.marianopolis.edu/c.belanger/quebechistory/events/natpart4.htm
Throughout the 1960s and 1970s, Quebec was exposed to the possibility of its own national identity. The realization of this identity emerged through events such as the Quiet Revolution, the creation of the Parti Quebecois, and the inherent separatist activism seen through the actions of the Front de Liberation du Quebec. The Front de Liberation du Quebec (FLQ) was generally characterized as a protesting terrorist group who sought French nationality and rallied for independence. Through an examination of the literature, the actions of the FLQ are framed as unjustifiable attacks on British liberalism and the unification of Canada. For example, in the article “Quebec: October 1970”, Laurier LaPierre states the vandalism done throughout the 1960s
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Osteoporosis is one of the main types of bone diseases that is more commonly developed in the adult years of men and women, but can also affect younger aged people too. This disease contributes to “…decrease bone mass, increased skeletal fragility, and an increased risk of fractures…” (Caple & Schub. 2014). Bones are constantly being replaced by new bone hence it is living tissue. Osteoporosis eventually occurs when new bone has failed to be developed. In Canada, “1.5 million Canadians 40 years of age or older (10%) reported having been diagnosed with osteoporosis, of which, women were 4 times more likely to report having osteoporosis than men” (“What is the impact,” 2010). Women are at greater risk then men because the hormone changes in women can affect the bone density. Estrogen is essential for bone density but after menopause the levels fall resulting in bone loss. On the other hand, the cause for men is still unknown. However, testosterone: the male hormone helps to keep bones healthy. Even though men still produce the male hormone at an old age, there is still a risk of osteoporosis because the levels have dropped. Occasionally bone loss occurs without any cause, and later realizing that it is a silent theif when you ultimately develop symptoms (“Osteoporosis – Review,” 2014). In most instances osteoporosis is preventable, even though it is not reversible and harmful disease.
... movie stars like royalty or mythical gods and goddesses, viewing the drama between great archetypal characters in a personal psychic realm. By considering the statements made and their societal impact from a Marxist perspective, Benjamin’s method is highly effective, as it does not simply consider art in terms of pure aesthetics anymore, but considers art’s place in a society capable of mechanically reproducing and endlessly duplicating film, photography, and digital art. His qualm with losing the aura and mystique of an original work is negated by the cult of movie stars, the adoration of fame, the incorporation of soundtracks which embody a particular time period, cinematographic allusions, and time-capsule-like qualities of a film such as Basquiat, a 90s tribute to the 80s, produced both as a part of and resulting from the art movements and trends it addresses.
Clibbon, J. (2010, June 21). Re-examining the roots of Quebec’s ‘Quiet Revolution’. Retrieved 2 24, 2o11, from CBCNews. http://www.cbc.ca/news/canada/story/2010/06/18/f-quebec-conradblack-interview.html
The ten sections of health education that is very important for parents to be aware of are. Mental and emotional health it is important to find the warning signs and to be aware and give children ways in which they can get help, if they are feeling down, or stressed. Next is family and social health this is important that way children and families are able to develop healthy relationships with family members. Growth and development comes next and it is how each child develops differently in their life times. Nutrition is very important cause it shows how the children are to be eating during the days and healthy diet ideas. Personal health and physical activity is next and it’s about the importance of a good night’s sleep, and being physically active and how important it is for a child to do. Alcohol, tobacco, and other drugs are not good for children and can lead to many negative factors down the road. Communicable and chronic diseases are to make sure your child has the right immunizations at any given time. Consumer and community health is being aware of the laws of healthcare around you and aware of what healthcare can offer you as a consumer. Next is environmental health, which is to be protecting the environment by recycling and conserving. Lastly is injury prevention and safety, which shows about how to reduce the risk of unintentional injuries by following rules or guidelines.
Lacey, N. (2005). Film Language. Introduction to film (pp. 16-22). Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.