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    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

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    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

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    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

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    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

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    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

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    Socioeconomics and Anti-Sovereignist Sentiment in Les bons débarras Considering the maelstrom of sovereignist sentiment in which late 1970s Québec politics and society were immersed, it seems almost inevitable that Québec cinema emerging during that time should be examined for some evidence of nationalist ideology. Les bons débarras, directed by Francis Mankiewicz and based on a screenplay by Québécois novelist Réjean Ducharme, was written in 1977, but first saw theatrical release in 1980. Arriving

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    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

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    The Failure of Black Robe's Cinematic Redemption Works Cited Missing Musings over Talk Radio [1] I've been listening to talk radio lately. Not exactly sure why. I suppose I derive a smug sense of superiority over callers who are a little too concerned with high quality mulch or the Phillies' relief pitching. People become incensed over the most ludicrous things. Recently, though, I heard callers venting over something a little closer to my heart, and I couldn't listen with the same ironic

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    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

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    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

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