Genre et Formation (French Edition)

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These two factors opened the way for commercial filmmaking and explain the production boom of the s. This boom in commercial films soon ran into trouble, made even worse by foreign control of the key sectors of distribution.

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Some commercial films overcame the problems of quality versus commercial viability. Gilles Carle knew how to lace his films with humour and sex, ideology and social colour, showmanship and stars, making them much more interesting than most of the others in his field. With his fifth feature, La Vraie Nature de Bernadette , Carle won lasting international acclaim. Others also knew how to combine quality with commercial success.

The trailblazer of this kind was Jean Beaudin 's tender and simple period film, J. Jean Pierre Lefebvre dominated the genre of the personal statement film for 15 years, with 18 very important features to his credit. His work evolved from two fundamental approaches to filmmaking: Jacques Leduc , who concentrated on nondramatic moments of daily life and the state of the soul, belonged to that same generation of filmmakers.

Leduc's work, marginal yet high-profile, belonged both to the school of direct cinema On est loin du soleil , and to fiction Chronique de la vie quotidienne , — A group of women filmmakers within the NFB produced En tant que femmes —74 , a series of films, some documentary and some fictional, about issues that concerned women. The NFB series encouraged film production by women.

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Direct films began to explore uncharted territory e. The work was much more important than its numerical output would indicate, and was a sign of awakening, renewal and dynamism. Another kind of dynamism in the s originated with young filmmakers who concentrated more on individual, even marginal, problems than on social ones. Three names dominated what was then the fringe of this generation: An exception to this is the astonishing Les Plouffe by Gilles Carle, in which historical authenticity is matched by emotional accuracy. This is primarily due to the work of the veterans: The number of private productions was declining dangerously; even the NFB faced cutbacks.

The CFDC and the SGC were mainly interested in a profitable, commercial film industry based on international markets, and leaned heavily in this direction with the films of the tax shelter era see The History of the Canadian Film Industry. However, this is not always compatible with filmmakers' definitions of a national film industry. Direct and documentary filmmaking decreased, even at the NFB.

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The film genre that most clearly reflected the conflict between the commercial interests of the industry, and the artistic and political concerns of filmmakers, was the documentary. The emergence of new directors also breathed life into production. Inspired by Arcand, older filmmakers caught a second wind.

It should be noted that unlike other retired filmmakers who turned to television or were having great difficulty financing their projects, Forcier persevered, completing, often with budget problems, works that were original and marvelous, imbued with the absurd, fantastical and the imaginary. Films for children opened the door for another important director, Roger Cantin, who specialized in fantasy movies Matusalem , ; La forteresse suspendue , Commercial practices in the s and s went off in all directions. Francophones directed films in English hoping to penetrate the international market, and television became a regular, if not committed, production partner.

It became increasingly common to find film directors making popular television series. The s saw the NFB radically transformed by several developments: Film practices were changing. Film itself was disappearing and being replaced by digital formats; and the means of consumption were multiplying. Everyone was now talking of new media, as imprecise as that name seems. This transformation impacted documentaries most of all, now being relegated more and more to television.

However, it did not stop the emergence of a new generation of documentary filmmakers who took up the baton from the major names in direct cinema. Many engaged in social or political filmmaking, speaking out against the exploitation of peoples and the planet. During the s, a new generation arose among male directors who pursue personal and bold formal innovations, encouraged by video and other arts. Of these, only Morin would pursue a regular filmmaking career, with eight feature films since Windigo. The destiny of the first group was not the same for everyone.

Nécessité d’un plaidoyer sur le genre et la participation politique de la femme congolaise

Pool had several quality films to her credit, including, in French, Emporte-moi and However, Dansereau and Baillargeon did not achieve the same consistency. Dansereau no longer produces full-length features, producing only documentaries which focus on dance Eva , ; Les cerisiers ont envahi les espaces comme incendie , , and on culture and creativity in a more general sense. Baillargeon was also drawn to the documentary world, a field in which she excels, as can be seen in the biographies Claude Jutra, portrait sur film and Le petit Jean-Pierre, le grand Perreault She also produced the magnificent self-portrait, Trente tableaux As for the other directors mentioned, the situation was not an easy one and changes in the NFB's production policies were partly to blame.

More versatile, Lepage has produced documentaries for television. Learn more about Amazon Prime. Get fast, free shipping with Amazon Prime.

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