argument in ‘Subtly Subversive or Simply Stupid” is that the Quebec “stupid” film is politically subversive because of the films’ focus on humour rather than politics. Loiselle says “these films focus on the body primarily to avoid the affairs of the mind” (76), meaning the films are more interested in body humour than they are in politics, because the films are seen as an escape from social issues. Loiselle believes that this mirrors how the Quebec people are at the time: it’s “a symptom of the lack of
Challenge of Maintaining Quebecois Culture At first glance through Tremblay's article, "Is Quebec Culture Doomed to Become American?" he proposes that the vulnerable and threatened Quebec province is in danger of a cultural invasion by our Big Brother the United States. He fails to directly answer the question "Is Quebec Culture Doomed to Become American?" According to the statistics presented Quebec is hardly in such a bad state. The data outlined in the article assessed the degree of American
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
world, questions of truth, and more specifically, how “real” a film is, are inherent to the form. With this in mind, this essay aims to critically analyze the key theoretical, historiographical and formal debates surrounding ethnography, direct cinema and cinema verité, and the ways in which these schools of documentary film are all situated in a never-ending quest for the truth. The following
Why do the authors say that “In a sense, our own domestic cinema is foreign to Canadian audiences”? More than ninety percent of screen time in commercial cinemas in Canada is dedicated to Hollywood films, and between 94 and 97 percent of Canadian box office grosses is derived from non-Canadian films (Lorimer, Gasher, & Skinner, 2008, p. 169). Why do the authors say that “Ottawa has perceived cinema for most of its history as a medium of nation-building”? Since the beginning of the Canadian film
little trouble fitting in, since we wear the same clothes, listen to the same music, watch the same television shows, and play the same games. But how would the assimilation begin? The answer is simple. If Quebec were to win a referendum and leave Canada, we would lose much of our industry. After Quebec, the maritime provinces would also leave, which would cripple us further. In desperate need of a stable economy, we would begin negotiations with the United States. The House of Commons would become a
The famous five were five Albertan women involved in the famous “persons case”. In 1927, the five filed a petition asking whether women were legally considered persons, in the context of the British North America Act of 1867, which was to determine whether they were eligible for appointment to the Senate. The law stated that “the Governor General shall … summon qualified Persons to the Senate”, and at the time “persons” was understood not to include women. Although the supreme court ruled against
its original language being anything other than English typically, the film was created in a foreign country, an exception to this rule being the occasional anomaly of North American films starring minority cultures that use foreign languages and Québec films. Behind every foreign language is a history complete with information of where the language originates, how many speak it, the implications of speaking it, etc. An example of such a use of language is the film Whale Rider and despite the film’s
Theorist Laura Mulvey is notorious for her claims about the nature of cinematic enjoyment. In “Visual Pleasure and Narrative Cinema”, she concludes that a spectator experiences two main pleasures in viewing conventional Hollywood films: (1) a voyeuristic pleasure, constituted from considering a female figure in an objectified, sexual way, and (2) a narcissistic pleasure, arising from identification with a male protagonist and his ‘gaze’. (Mulvey 62) Central to her argument is Mulvey’s emphasis on
love to spend time with one of my friend which one is French and his wife is mexican, i have always a fantastic opportunity to learn about their culture and way of life. Spanish and French culture are very similar, my mexican friend studied French in Quebec, where met her husband from france. we love to share tradition, opinions about our country, story, etc. through my bachelor study in pedagogy at the University Uned and work expirience as volunteer, in agencies working for nurseries and schools
After the war, some 60 000 Americans had remained loyal to the crown and had seen their lands and goods confiscated by the republic. These Americans to Canada were known as the United Empire Loyalists. Coming to Nova Scotia, and Quebec, they received some assistance from the British government for compensation and to show the recognition that the loyalists had taken up arms in the defence of King George III and also the British interest. This had helped shape the theme of multiculturalism
been bringing a lot of benefit to many companies, there have been an argument on banning the broadcasting promotion aimed at children. In fact, nowadays, there has been some countries banning advertising aimed at children such as Sweden, Norway or Quebec (Watson 2014) while in Australia, this topic is still in debate. There are many opinions to protect the child advertising industry and explain that this marketing should not be banned because
positive attributes demonstrates to some extent my current narrow-mindedness on Hollywood-style pictures. I think it's only fair to treat this film as an article of film criticism in order to accurately look at it within the context of a national cinema. And so, let us begin by looking first at the particulars of the Canadian film industry around the time The Silent Partner was released. Maybe afterwards, we'll be able to understand the implications of what audiences saw on that illustrious Canadian
Cultural Change in Canada Pierre Trudeau stated that English Canada didn't have a culture and he wanted to give it one. He wanted Canada to be a strong country when Canadians of all provinces felt at home in all parts of the country, and when they felt that all Canada belongs to them (Trudeau, 1971) Trudeau encouraged immigration and thought these immigrants will assimilate and strengthen Canada. He wanted Canada to be a society where people were all equal and where they can share some fundamental
limited resources and no real hopes, the Chinese Canadian community was placed at the bottom of the socioeconomic ladder for a long period of time. Running laundry facilities became the main living principal for the Chinese near the eastern Rockies, Quebec, the Maritimes and Newfoundland. Opening laundry businesses required little wealth, and had the ability to work long hours. From 1890 to 1950, a majority of the Chinese immigrants practiced this sector. The life of a launderer was very difficult
they can never be ignored. This, after all, is the land which gave the planet Liberté, Égalité, Fraternité, Charles de Gaulle and Gérard Depardieu, the Musketeers, Madame Bovary and Cyrano de Bergerac, Brigitte Bardot and Joan of Arc, claret and the cinema, the Cancan, denim and champagne, the theory of deconstruction and Édith Piaf, the Statue of Liberty and the modern totalitarian revolution, liposuction and the vegetable mixer, the sardine can, striped bathing costumes, the Impressionists, disposable
Thirties” was the Union Nationale. This party believed in the promotion of French language and culture and it installed the Padlock Law against so called ‘communists’. The Union Nationale (led by Maurice Duplessis) was successful enough to gain control of Québec for 25 years. By 1935, people were fed up with Bennett. This prompted the return of King, who, under the slogan “King or Chaos”, was re-elected in a landslide election. In regards to political parties, the “Dirty