Le Temps D’Une Chasse: One Take on Québec Cinema :: Movies Film Films Cinema Quebec Canada Essays

Le Temps DUne Chasse One Take on Qubec CinemaQubecs peculiar political and cultural shape as a French-speaking and reluctant province of an English Canadian Confederation began to modify 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 sh be, both implicitly and explicitly, in a common struggle of exploring, questioning and constructing a arbitrariness of nationhood in the delineations themselves and in the consciousness of the viewer. This has not resulted in a homogeneous notion of Qubec, entirely one of contradiction, fragmentation and uncertainty. (Barrowclough 205) This statement speaks to the futility of devising a range of a function for assessing the so-called typical Qubec scud at the really core of such films lies a contradiction which cannot be summed up into one archetypal structure. Any Qubec intersection reflects some part of the Qubcois experience. Attemp ts to prescribe criteria for what qualifies as a Qubec film are restrictive, and defy the legitimacy of the multiple voices speaking out from Qubec. The complexity of meat in Qubec films is reflected in the disparate critical response to director Francis Mankiewiczs film, Le Temps DUne 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 prolong beyond reality (Godard 34). Another stated that the film was very much a product of French-Canada, showing little promise as a move out anywhere else in the world (Mosk). A third reviewer thought that the episodes in the film capture and reflect a Qubcois mentality, but that the film also had many qualities and therefore had the potential to succeed extraneous as well as inside of Qubec (Tads). Such varied reactions serve to indicate that preconceptions had been organize as to what characterizes a Qubec film, and that these preconceptions are assumed to dictate what audiences motivation to watch. The fact that Le Temps DUne Chasse is open to various interpretations should not indicate a flaw in the film rather, it should be seen as representing other 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 arts rebellion against the fixed viewpoint of perspective and linearity that created a sense of order and harmony in the erstwhile(prenominal) (Leach 226).Le Temps DUne Chasse One Take on Qubec Cinema Movies Film Films Cinema Quebec Canada EssaysLe Temps DUne Chasse One Take on Qubec CinemaQubecs 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 19 60s 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 Qubec, 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 Qubec film at the very core of such films lies a contradiction which cannot be summed up into one archetypal structure. Any Qubec production reflects some part of the Qubcois experience. Attempts to prescribe criteria for what qualifies as a Qubec film are restrictive, and deny the legitimacy of the multiple voices speaking out from Qubec. The complexity of content in Qubec films is reflected in the disparate critical response to director Francis Mankiewiczs film, Le Temps DUn e 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 Qubcois mentality, but that the film also had many qualities and therefore had the potential to succeed outside as well as inside of Qubec (Tads). Such varied reactions serve to indicate that preconceptions had been formed as to what characterizes a Qubec film, and that these preconceptions are assumed to dictate what audiences want to watch. The fact that Le Temps DUne 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 contradict ory 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 arts rebellion against the fixed viewpoint of perspective and linearity that created a sense of order and harmony in the past (Leach 226).