{"title":"Ciné-Document: Introduction: Peter Morris and Canadian Film History","authors":"J. White","doi":"10.3138/CJFS.25.1.156","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.156","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81803567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The End of Cinema?: A Medium in Crisis in the Digital Age By André Gaudreault and Philippe Marion Translated by Timothy Barnard New York: Columbia University Press, 2015","authors":"J. Locke","doi":"10.3138/CJFS.25.1.172","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.172","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82763124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ciné-Document: The Specious Past: Reflections of a Film Historian in Canada (1999)","authors":"P. Morris","doi":"10.3138/cjfs.25.1.159","DOIUrl":"https://doi.org/10.3138/cjfs.25.1.159","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75344144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Archive Effect: Found Footage and the Audiovisual Experience of History By Jaimie Baron London and New York: Routledge, 2014","authors":"William C. Wees","doi":"10.3138/CJFS.25.1.169","DOIUrl":"https://doi.org/10.3138/CJFS.25.1.169","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85755107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Human Rights Film Festivals: Activism in Context By Sonia M. Tascón New York: Palgrave MacMillan, 2015","authors":"Lyell Davies","doi":"10.3138/CJFS.24.2.166","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.166","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81233623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Montreal's Rencontres internationales pour un nouveau cinéma were the occasion for delegates from five French production and distribution collectives to discuss the future of militant cinema with their European, Latin American, African, Asian and North American equivalents. From the French perspective, the Rencontres also allowed the opportunity to provisionally take stock of militant cinema's national situation, amidst the effervescence that had followed May 1968. Only a few weeks following the defeat of the Programme commun de la gauche in the French presidential elections, the Quebec meeting displayed the absences of unity and coordination amongst the French groups. This article seeks to analyse the different conceptions of French militant cinema that were being brought together in Montreal.
摘要:蒙特利尔国际电影大会(Rencontres internationales pour un nouveau cin ma)是来自五个法国制作和发行集团的代表与他们的欧洲、拉丁美洲、非洲、亚洲和北美同行讨论激进电影未来的机会。从法国的角度来看，在1968年5月之后的热潮中，Rencontres也给了一个机会来暂时评估激进电影的国家形势。在“左派共同纲领”在法国总统选举中失败仅仅几个星期之后，魁北克会议就显示出法国各集团之间缺乏团结和协调。本文试图分析在蒙特利尔被聚集在一起的法国激进电影的不同概念。
{"title":"Les brasiers de l'hexagone : Les cinémas militants français à Montréal (1974)","authors":"Ignacio del Valle Dávila","doi":"10.3138/CJFS.24.2.41","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.41","url":null,"abstract":"Abstract:Montreal's Rencontres internationales pour un nouveau cinéma were the occasion for delegates from five French production and distribution collectives to discuss the future of militant cinema with their European, Latin American, African, Asian and North American equivalents. From the French perspective, the Rencontres also allowed the opportunity to provisionally take stock of militant cinema's national situation, amidst the effervescence that had followed May 1968. Only a few weeks following the defeat of the Programme commun de la gauche in the French presidential elections, the Quebec meeting displayed the absences of unity and coordination amongst the French groups. This article seeks to analyse the different conceptions of French militant cinema that were being brought together in Montreal.","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Tourner le dos : Sur l’envers du personnage au cinéma Sous la direction de Benjamin Thomas Saint-Denis : Presses Universitaires de Vincennes, 2013","authors":"Stéphanie Croteau","doi":"10.3138/CJFS.24.2.162","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.162","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74018940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema By Katherine Spring Oxford: Oxford University Press, 2013","authors":"K. Donnelly","doi":"10.3138/CJFS.24.2.159","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.159","url":null,"abstract":"","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79523903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Résumé:Le présent article se penche sur les débats qui eurent lieu entre le critique marxiste italien Guido Aristarco et le cinéaste et théoricien cubain Julio García Espinosa lors des Rencontres internationales pour un nouveau cinéma, événement tenu à Montréal en 1974. Tout en situant dans leur contexte culturel et historique les désaccords théoriques et politiques apparus lors de cette confrontation, cet article met l'accent sur l'importance de l'héritage des débats sur le réalisme politique en Italie, ainsi que l'évolution des attitudes de la Gauche européenne vis-à-vis de Cuba au cours des années soixante et soixante-dix. En conclusion, l'article examine la question de la réception aux plans national et international du film ayant suscité la controverse à Montréal, en particulier Girón (Baie des cochons, Manuel Herrera, 1972).
{"title":"Dissonances in 1970s European and Latin American Political Film Discourse: The Aristarco – García Espinosa Debate","authors":"I. Rozsa, Masha Salazkina","doi":"10.3138/CJFS.24.2.66","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.66","url":null,"abstract":"Résumé:Le présent article se penche sur les débats qui eurent lieu entre le critique marxiste italien Guido Aristarco et le cinéaste et théoricien cubain Julio García Espinosa lors des Rencontres internationales pour un nouveau cinéma, événement tenu à Montréal en 1974. Tout en situant dans leur contexte culturel et historique les désaccords théoriques et politiques apparus lors de cette confrontation, cet article met l'accent sur l'importance de l'héritage des débats sur le réalisme politique en Italie, ainsi que l'évolution des attitudes de la Gauche européenne vis-à-vis de Cuba au cours des années soixante et soixante-dix. En conclusion, l'article examine la question de la réception aux plans national et international du film ayant suscité la controverse à Montréal, en particulier Girón (Baie des cochons, Manuel Herrera, 1972).","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Montreal, June 2-8, 1974: some of the most important representatives of political cinema from around the world got together at the Rencontres internationales pour un nouveau cinema. The list of participants included: filmmakers, producers and '68 film groups from France and elsewhere; Latin American political filmmakers and representatives of a burgeoning African cinema; film critics, historians and producers; and members from film institutes and distributors from Europe and North America, including, of course, the Canadian organizers of the conference, Andre Pâquet and the Comite d'action cinematographique (CAC). Given the sheer number and diverse backgrounds of the participants, the Montreal conference holds a serious claim to being one of the most important worldwide events in political cinema of the period."New Cinema"-a term that appears in the conference's name-functioned as a broad umbrella term under which diverse trends of renovation and rupture had been spreading across the world throughout the 1960s. In Montreal, this idea solidified around the notion that cinema culture's primary goal is to promote decolonization, finding its correlate in a new kind of national cinema that aimed to "democratize the structures of film," consistent with the concept of Third Cinema developed earlier by Fernando Solanas and Octavio Getino. Perhaps the boldest and most ambitious goal of the gathering in Montreal was to forge or strengthen ties among politically committed cinemas in the wake of the ruptures of 1968 in Europe as well as the emergence of Third Worldist filmmaking. The idea of an "Estates-General of Third Cinema" combines two references: firstly, the events of May '68, when the French film industry united in solidarity with those who had gone on strike, occupying the IDPIEC (Institut des hautes etudes cinematographiques), and when the CNC (Centre national de la cinematographie) established the Estates General of Cinema (Les etats generaux du cinema francais)-a term with its roots in the French Revolution, with its subtending notion of "cahiers de doleances" (the collected grievances of the population that animated the first meeting of the etats generaux)-, secondly, the notion of Third Cinema-whose goals of cinema as the vehicle for national liberation and solidarity among the Third World comtries were shared by several projects of the period.This introduction aims to sketch a brief history of the Rencontres internationales pour un nouveau cinema as part of a larger network of leftist film culture internationally, and suggest some approaches for thinking of its significance historically and theoretically in hopes of stimulating further research and creating an ongoing conversation about its legacy.I.Planning for the Conference began in early 1973. The idea was Andre Paquets, who had been living in Europe for a few years prior where he attended many of the most important events representing new developments in cinema worldwide (the Berlinale, t
1974年6月2日至8日，蒙特利尔:来自世界各地的一些最重要的政治电影代表聚集在国际新电影大会上。参与者包括:来自法国和其他地方的电影制作人、制片人和1968年的电影团体;拉丁美洲政治电影人和新兴非洲电影的代表;影评人、历史学家和制片人;以及来自欧洲和北美的电影学院和发行商的成员，当然包括会议的加拿大组织者安德烈·帕斯凯和动作电影摄影委员会(CAC)。考虑到参与者的数量和不同背景，蒙特利尔会议有资格成为这一时期政治电影中最重要的世界性事件之一。“新电影”——一个出现在会议名称中的术语——作为一个广泛的总称，在这个总称下，20世纪60年代世界各地出现了各种各样的革新和破裂趋势。在蒙特利尔，这个想法围绕着电影文化的主要目标是促进非殖民化的概念而固化，在一种旨在“使电影结构民主化”的新型国家电影中发现了它的相关性，这与Fernando Solanas和Octavio Getino早期发展的第三电影院的概念一致。也许蒙特利尔会议最大胆、最雄心勃勃的目标是，在1968年欧洲的分裂和第三世界主义电影制作的出现之后，建立或加强政治电影院之间的联系。“第三电影总委员会”的想法结合了两个参考文献:首先是1968年5月的事件，当时法国电影业团结一致，占领了IDPIEC (Institut des hautes etudes cinematograpques)，以及CNC (Centre national de la cinematographie)成立了电影总委员会(Les etats generaux du Cinema francais)，这是一个源于法国大革命的术语，第二是第三电影的概念，其目标是将电影作为第三世界国家之间民族解放和团结的工具，这一时期的几个项目都有共同的目标。本导论旨在概述国际新电影运动的简史，作为国际左派电影文化更大网络的一部分，并提出一些思考其历史和理论意义的方法，希望能促进进一步的研究，并就其遗产创造一个持续的对话。这个想法是安德烈·帕克茨提出的，他在欧洲生活了几年，在那里他参加了许多代表世界电影新发展的最重要的活动(柏林电影节，佩萨罗电影节，曼海姆和莱比锡电影节，以及迦太基电影之旅等)，并与其他电影团体和发行商接触，促进新电影运动。1973年4月回到蒙特利尔后，帕奎特开始着手创建动作电影摄影委员会，该委员会将组织次年的蒙特利尔会议。委员会的成员名单包括当时魁北克电影界的一些重要人物:Guy Bergeron, Rene Boissay, Marc Daigle, Fernand Dansereau, Carol Faucher, Roger Frappier, Claude Godbout, Gilles Groulx, Arthur Lamothe, Jean Pierre Lefebvre, Raymond Marie Leger，以及多伦多的Sandra Gathercole和温哥华的Werner Aellen。委员会决定将自己建立为一个自治团体，并就其将推广的电影类型达成共同决定:面对强大的商业电影工业，唯一的选择是捍卫“濒危的其他电影”(un autre cinema)。…
{"title":"Introduction: Estates General of Third Cinema, Montreal '74","authors":"Mariano Mestman, Masha Salazkina","doi":"10.3138/CJFS.24.2.FM","DOIUrl":"https://doi.org/10.3138/CJFS.24.2.FM","url":null,"abstract":"Montreal, June 2-8, 1974: some of the most important representatives of political cinema from around the world got together at the Rencontres internationales pour un nouveau cinema. The list of participants included: filmmakers, producers and '68 film groups from France and elsewhere; Latin American political filmmakers and representatives of a burgeoning African cinema; film critics, historians and producers; and members from film institutes and distributors from Europe and North America, including, of course, the Canadian organizers of the conference, Andre Pâquet and the Comite d'action cinematographique (CAC). Given the sheer number and diverse backgrounds of the participants, the Montreal conference holds a serious claim to being one of the most important worldwide events in political cinema of the period.\"New Cinema\"-a term that appears in the conference's name-functioned as a broad umbrella term under which diverse trends of renovation and rupture had been spreading across the world throughout the 1960s. In Montreal, this idea solidified around the notion that cinema culture's primary goal is to promote decolonization, finding its correlate in a new kind of national cinema that aimed to \"democratize the structures of film,\" consistent with the concept of Third Cinema developed earlier by Fernando Solanas and Octavio Getino. Perhaps the boldest and most ambitious goal of the gathering in Montreal was to forge or strengthen ties among politically committed cinemas in the wake of the ruptures of 1968 in Europe as well as the emergence of Third Worldist filmmaking. The idea of an \"Estates-General of Third Cinema\" combines two references: firstly, the events of May '68, when the French film industry united in solidarity with those who had gone on strike, occupying the IDPIEC (Institut des hautes etudes cinematographiques), and when the CNC (Centre national de la cinematographie) established the Estates General of Cinema (Les etats generaux du cinema francais)-a term with its roots in the French Revolution, with its subtending notion of \"cahiers de doleances\" (the collected grievances of the population that animated the first meeting of the etats generaux)-, secondly, the notion of Third Cinema-whose goals of cinema as the vehicle for national liberation and solidarity among the Third World comtries were shared by several projects of the period.This introduction aims to sketch a brief history of the Rencontres internationales pour un nouveau cinema as part of a larger network of leftist film culture internationally, and suggest some approaches for thinking of its significance historically and theoretically in hopes of stimulating further research and creating an ongoing conversation about its legacy.I.Planning for the Conference began in early 1973. The idea was Andre Paquets, who had been living in Europe for a few years prior where he attended many of the most important events representing new developments in cinema worldwide (the Berlinale, t","PeriodicalId":41748,"journal":{"name":"Canadian Journal of Film Studies-Revue Canadienne d Etudes Cinematographiques","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69685850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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