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Description:
Cinema of Quebec From Wikipedia, the free encyclopedia The history of cinema in Quebec started on June 27, 1896 when the French Louis Minier inaugurated the first movie projection in North America in a Montreal theatre room. However, it would have to wait until the 1960s before a genuine Quebec cinema industry would emerge. Due to language and cultural differences between the predominantly francophone population of Quebec and the predominantly anglophone population of the rest of Canada, Quebec's film industry is commonly regarded as a distinct entity from its English Canadian counterpart. In addition to participating in Canada's national Genie Awards, the Quebec film industry also maintains its own awards ceremony, the Jutra Awards. In addition, the popularity of homegrown French language films among Quebec audiences means that Quebec films are often more successful at the box office than English Canadian films — in most years, in fact, the top-grossing Canadian film of the year is a French language film from Quebec. Before the Office national du film From 1896 to the 1960s, the Catholic clergy tried to control what movies Quebecers could see. Two methods were employed: censorship and prohibition of attendance by children under 16. In 1913, the Bureau de censure de vues animées (Office of censorship for motion pictures) began regulating the projection of movies in Quebec. In 1927, the Laurier-Palace theatre burned down, killing many children. The church then almost succeeded at closing down all projection rooms in the province. However, the Parliament of Quebec passed a law preventing only children under 16 from attending movie projections. This law would be repealed only in 1961. Nevertheless, some films were produced in Quebec during this period. Those were mostly documentaries, some of which were made by priests. In the 1940s and 1950s, the first commercial attempts at cinema happened. Two production houses were at the origins of all the movies of this period: Renaissance Films and Québec Productions. Le gros Bill and Un homme et son péché were both released in 1949. A popular movie from that era is 1952's La petite Aurore l’enfant martyr by Jean-Yves Bigras, a drama movie based on the story of abused child Aurore Gagnon. After the Office national du film The National Film Board of Canada was established by the Parliament of Canada in 1939. Its office moved from Ottawa to Montreal in 1955. In 1957, the new commissioner, Albert Trueman, recommended the creation of a separately funded French production wing. Minister J. W. Pickersgill rejected Trueman's recommendation as Ottawa feared that two separate organizations would develop under the same roof. This decision intensified the campaign of the Quebec French language press for an autonomous French language branch. Guy Roberge was appointed Commissioner in April 1957. The French branch of the National Film Board of Canada was established and the NFB became autonomous in 1959. Cinema-Vérité ("truth cinema") authors Michel Brault and Pierre Perrault made their debut. For most of the 1960s, Quebec films were about the country. Other important filmmakers of the 60s include Gilles Groulx and Claude Jutra. That decade also saw the beginnings of directors Gilles Carle and Denys Arcand. The 1970s Two key changes in the late 1960s paved the way for a new era in Québécois cinema. First, in 1967, Quebec's (religious) censorship bureau was replaced by a film ratings system administered by the province, film distribution was now free of Catholic rigidity. The other phenomenon was the introduction, in 1968, by the federal government, of its Canadian Film Development Corporation (CFDC, to become Telefilm Canada). This allowed a greater number of films to reach the screen through government subsidy. Commercial directors such as Denis Héroux became known for his films Valérie and Deux femmes en or, two comedies with erotic overtones showing popular success not seen in Quebec since Jean-Yves Bigras' La Petite Aurore l'enfant martyre (1952). The seventies also marked a high in national filmmaking seen from an artistic perspective, an assessment supported by opinion polls such as the TIFF List of Canada's Top Ten Films of All Time, which has included several films from that decade every year that the poll was taken. Arcand and Carle had critical (especially at Cannes) and some commercial success with films such as Gina (Arcand) and La vraie nature de Bernadette (Carle). In 1971, director Claude Jutra released one of the most critically praised Quebec film to date, Mon oncle Antoine. However, his next movie, an adaptation of Anne Hébert's Kamouraska, was a commercial and critical failure. It should be mentioned that this film suffered re-editing done to accommodate theater owners. A two-hour-long restored version, seen in 2003, shows more artistic coherence. In 1977, Jean Beaudin's J.A. Martin Photographe was selected at Cannes where Monique Mercure, the female star of the film, won Best Actress (tying with Shelley Duvall for 3 Women). The 1980s The victory of the "no" camp in the referendum on sovereignty association was a turning point in Québécois history and culture. Denys Arcand made one of his most acclaimed picture with the NFB, Le confort et l'indifférence, about the result of the referendum. He then proceeded to direct two movies that were nominated for best foreign picture at the Academy Awards: 1986's Le Déclin de l'empire américain and 1989's Jésus de Montréal. After 1980, a lot of artists felt that the struggle to build a nation that had animated early Quebec cinema was lost. Québécois filmmakers began to make movies that were no longer centred on the Québécois identity. The 1986 success, at home and abroad, of Le déclin... marked another turning point in the movie history of the province. The government-funded movie industry tried to repeat Arcand's success with international co-productions, big budget movies and so-called "mass audience movies". These posters were in the private collection of a noted jazz musician and producer and are only a couple of hundreds which we have just received. The others will be appearing in our ebay store shortly. The Fugue en Mort Mineur poster measures 22 x 17 and the Evenement Doux poster measures 19 x 23 inches - both are unframed, and price is for 2 posters. All of our posters, prints and pochoirs are authentic, vintage items. Please see our other items for sale - check back often we add things almost every day! Please e-mail any questions or requests for additional photos.We are happy to ship worldwide - please note that the price marked for international shipping is for surface shipping: if you would like air mail or courrier costs please let us know and we will provide you with those costs. Thank you for your interest.
| Status: For Sale |
Reference#: JLQC7 |
| Condition:
B+ |
Year:
1980's ca
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| Country:
Canada |
Maker:
various |
| Height:
22 in. (55.88 cm) |
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Width: 17 in. (43.18 cm)
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| Title:
2 Original Posters-Quebec Films/70's+80's-FANTASTIQUE!! |
Style:
various |
| Materials:
paper |
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