By Jim Leach
Publish 12 months note: First released in 1999
Through shut readings of Jutra's significant motion pictures, Jim Leach analyses their specified cinematic characteristics and discusses the responses they've got bought from reviewers and critics. He focuses either at the motion pictures and the ancient and cultural contexts within which they have been made, arguing that critics have often used beside the point standards to pass judgement on them and that those misunderstandings demonstrate a lot approximately attitudes to Canadian cinema more often than not.
Jutra's movies are proven to mirror the instability in their cinematic and cultural contexts and lift very important questions on nationhood. Jutra consistently pointed out himself as a separatist and his motion pictures have been formed by way of the speedy alterations in Quebec society throughout the Quiet Revolution and via the political tensions of the sixties and seventies. whilst his paintings was once frequently preferred by means of English Canadian critics and audiences and was once suffering from federal movie coverage and associations.
Although Jutra died in 1986, his movies and profession nonetheless have a lot to inform us approximately Canadian cinema and media creation, and concerning the complicated cultural contexts that underlie the continuing debates on Canadian and Quebec nationhood.
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Additional resources for Claude Jutra: Filmmaker
While such an account is clearly relevant to a body of films populated with "marginal" figures troubled children, adolescents, and "mad" women - who struggle to define themselves against an adult and male symbolic order, I want to stress the way it also reflects the divided culture in which the films were produced. 69 Society depends on language and on the willingness of reasonable adults to accept that they cannot have everything they desire. For francophones in Quebec, the experience of lack involves the added difficulty of becoming an adult in a culture in which authority seems to be located elsewhere and speaks a foreign language.
8 This precision and the commitment to what Jutra called the "physical dimension" of the medium were most apparent in the films McLaren made without a camera, by drawing directly on the celluloid. 9 Although McLaren often found inspiration in the other arts, especially music, painting, and dance, the cinematic element is primary and creates its own structures and forms. In drawing attention to McLaren's use of film language, Jutra almost certainly chose the term "direct" to suggest a provocative connection, across the "two different polarities," between McLaren's abstract use of the medium and the documentary practices often referred to as direct cinema.
79 In Quebec, the depiction of the October Crisis in Les Ordres, which Knelman found "narrow" and "didactic," often came under attack for not being political enough because of its stress on the personal experiences of the victims rather than on the underlying causes of the situation. Jutra's own response to the invocation of the War Measures Act revealed his tendency to mediate political issues through "personal" memories of childhood. "80 This translation of the disturbing political reality of the present into the subjective experience of a poet-child could only seem evasive - a slippage from symbolic struggle to imaginary impotence - to critics who saw film as a force for political change.