The Problem of Film Theatre Intermediality in Jesus of Montreal

My paper resorts to the recently theorized notion of intermediality in order to examine the representation of theatre in Jesus of Montreal (Denys Arcand, 1989) Far from being a stopgap term called into being by the ever more numerous instances of border violation between media, intermediality comes with a prestigious pedigree. It is a member of the ‘inter’ family (alongside terms such as intertextuality and interdisciplinarity) and a descendant of a comparative approach which extends far back in time, encompassing genres such as the apology and the paragone. Despite the fact that in film studies intermediality is still to a certain extent impending, it is highly applicable to instances where film quotes or references another medium. A focus on intermediality in Jesus of Montreal authorizes questions such as: Which are the prioritized connection points between film and theatre? How is the relation of the two media formulated by Arcand? How does a filmmaker stage a theatrical event for a cinema audience? My paper seeks to demonstrate and exemplify the sophisticated nature of the film’s involvement with theatre. To this effect, I shall use ideas drawn from intermediality studies, narratology and drama theory in conjunction with close analysis of chosen sequences.

Still Here, Still Queer? Rethinking Queer Canadian Cinemas/Canadian Cinemas Queered

This chapter pushes for a broad revision of Canadian national cinemas, arguing for queerness as their privileged mode of expression. The prominence of queerness in the Canadian cinematic imaginary is explored throughout four sections that demonstrate the uniqueness of Canadian cinemas over examples of queer cinema elsewhere. First, the roots of queer cinema/cinema queered in Canada are located in the work of pre-Stonewall pioneers such as Claude Jutra, Norman McLaren, and David Secter. Second, queerness is seen informing the institutional and political structures of Canadian cinema through practices of activism around identities, intersectionality, and serostatus. Third, queerness is recentered in the oeuvre of the nonqueer auteurs Atom Egoyan, David Cronenberg, and Denys Arcand, as a synonym for sexual fluidity and a symptom of sexual/national anxiety. Finally, the contributions of Léa Pool, John Greyson, Thirza Cuthand, and Xavier Dolan uncover the intersectional heritage and souls of contemporary queer Canadian cinemas.

W cieniu rewolucji kulturalnej 1968 roku. O Inwazji barbarzyńców Denysa Arcanda raz jeszcze

W 2018 roku mija 50 lat od wydarzeń w Europie i Ameryce, które dały początek zmianom w dziedzinie mentalności, obyczajowości i polityki. Zrewolucjonizowały światopogląd wielu ludzi na długie lata. W 2003 roku powstały dwa oddzielne filmy na temat owego przewrotu, zwanego często „rewolucją kulturalną”: Marzyciele (ang. The Dreamers [2003], reż. Bernardo Bertolucci) oraz Inwazja barbarzyńców (franc. Les invasions Barbares, ang. The Barbarian Invasions [2003], reż. Denys Arcand). Autorka przygląda się wieloaspektowości tego drugiego filmu, skupiając uwagę na świecie wartości, pseudoi antywartości. Podejmuje kwestię idei i ideologii, którymi żyło pokolenie ’68, książek, które czytało, filmów, które oglądało. Ten świat wartości humanistycznych konfrontuje z zepsuciem moralnym i pustką duchową bohaterów po 35 latach od tamtych wydarzeń.

Das invasões bárbaras à grande beleza: mídia e utopia, embates entre estética e política

Os impasses que caracterizam o contemporâneo podem ser relacionados com a perda do sentido de utopia, marca da modernidade, e afetam o regime estético da arte e da mídia, e levam também a rever o conceito de autonomia, outra potência da modernidade. Motivado pelas teorizações de Jacques Rancière, este ensaio procura testar a rentabilidade de conceitos por ele trabalhados, para pôr em questão as relações entre estética e política, mídia e (pós)utopia, que são dramatizados, por exemplo, nos filmes As invasões bárbaras (2003), do canadense Denys Arcand, e A grande beleza (2013), do italiano Paolo Sorrentino.

Das invasões bárbaras à grande beleza: mídia e utopia, embates entre estética e política

Os impasses que caracterizam o contemporâneo podem ser relacionados com a perda do sentido de utopia, marca da modernidade, e afetam o regime estético da arte e da mídia, e levam também a rever o conceito de autonomia, outra potência da modernidade. Motivado pelas teorizações de Jacques Rancière, este ensaio procura testar a rentabilidade de conceitos por ele trabalhados, para pôr em questão as relações entre estética e política, mídia e (pós)utopia, que são dramatizados, por exemplo, nos filmes As invasões bárbaras (2003), do canadense Denys Arcand, e A grande beleza (2013), do italiano Paolo Sorrentino.