Film and the city: the urban imaginary in Canadian cinema
Saved in:
| Main Author: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Edmonton
AU Press, Athabasca University
[2014]
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| Subjects: | |
| Online Access: | FAW01 FAW02 Volltext |
| Item Description: | Print version record |
| Physical Description: | 1 online resource (x, 309 pages) illustrations |
| ISBN: | 1306808324 1927356601 192735661X 9781306808323 9781927356609 9781927356616 |
Staff View
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| 505 | 8 | |a Most Canadians are city dwellers, a fact often unacknowledged by twentieth-century Canadian films, with their preference for themes of wilderness survival or rural life. Modernist Canadian films tend to support what film scholar Jim Leach calls "the nationalist-realist project," a documentary style that emphasizes the exoticism and mythos of the land. Over the past several decades, however, the hegemony of Anglo-centrism has been challenged by francophone and First Nations perspectives and the character of cities altered by a continued influx of immigrants and the development of cities as economic and technological centers. No longer primarily defined through the lens of rural nostalgia, Canadian urban identity is instead polyphonic, diverse, constructed through multiple discourses and mediums, an exchange rather than a strict orientation. Taking on the urban as setting and subject, filmmakers are ideally poised to create and reflect multiple versions of a single city. Examining fourteen Canadian films produced from 1989 to 2007, including Denys Arcand's Jésus de Montréal (1989), Jean-Claude Lauzon's Léolo (1992), Mina Shum's Double Happiness (1994), Clément Virgo's Rude (1995), and Guy Maddin's My Winnipeg (2007), Film and the City is the first comprehensive study of Canadian film and "urbanity"--The totality of urban culture and life. Drawing on film and urban studies and building upon issues of identity formation in Canadian studies, Melnyk considers how filmmakers, films, and urban audiences experience, represent, and interpret urban spatiality, visuality, and orality. In this way, Film and the City argues that Canadian narrative film of the postmodern period has aided in articulating a new national identity.-- | |
| 505 | 8 | |a Introduction : The Urban Imaginary in Canadian Cinema -- The City of Faith : Navigating Piety in Arcand's Jésus de Montréal (1989) -- The City of Dreams : The Sexual Self in Lauzon's Léolo (1992) -- The Generderd City : Feminism in Rozema's Desperanto (1991), Pool's Rispondetemi (1991), and Villeneuve's Maelström (2000) -- The City Made Flesh : The Embodied Other in Lepage's Le Confessionnal (1995) and Egoyan's Exotica (1994) -- The Diasporic City : Postcolonialism, Hybridity, and Transnationality in Virgo's Rude (1995) and Mehta's Bollywood/Hollywood (2001) -- The City of Transgressive Desires : Melodramatic Absurdity in Maddin's The Saddest Music in the World (2003) and My Winnipeg (2007) -- The City of Eternal Youth : Capitalism, Consumerism, and Generation in Burns's waydowntown (2000) and Radiant City (2006) -- The City of Disfunction : Race and Relations in Vancouver from Shum's Double Happiness (1994) to Sweeney's Last Wedding (2001) and McDonald's The Love Crimes of Gillian Guess (2004) -- Conclusion : National Identity and the Urban Imagination | |
| 648 | 7 | |a Geschichte 1989-2007 |2 gnd |9 rswk-swf | |
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| 650 | 7 | |a Cities and towns in motion pictures |2 fast | |
| 650 | 7 | |a City and town life in motion pictures |2 fast | |
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| contents | Most Canadians are city dwellers, a fact often unacknowledged by twentieth-century Canadian films, with their preference for themes of wilderness survival or rural life. Modernist Canadian films tend to support what film scholar Jim Leach calls "the nationalist-realist project," a documentary style that emphasizes the exoticism and mythos of the land. Over the past several decades, however, the hegemony of Anglo-centrism has been challenged by francophone and First Nations perspectives and the character of cities altered by a continued influx of immigrants and the development of cities as economic and technological centers. No longer primarily defined through the lens of rural nostalgia, Canadian urban identity is instead polyphonic, diverse, constructed through multiple discourses and mediums, an exchange rather than a strict orientation. Taking on the urban as setting and subject, filmmakers are ideally poised to create and reflect multiple versions of a single city. Examining fourteen Canadian films produced from 1989 to 2007, including Denys Arcand's Jésus de Montréal (1989), Jean-Claude Lauzon's Léolo (1992), Mina Shum's Double Happiness (1994), Clément Virgo's Rude (1995), and Guy Maddin's My Winnipeg (2007), Film and the City is the first comprehensive study of Canadian film and "urbanity"--The totality of urban culture and life. Drawing on film and urban studies and building upon issues of identity formation in Canadian studies, Melnyk considers how filmmakers, films, and urban audiences experience, represent, and interpret urban spatiality, visuality, and orality. In this way, Film and the City argues that Canadian narrative film of the postmodern period has aided in articulating a new national identity.-- Introduction : The Urban Imaginary in Canadian Cinema -- The City of Faith : Navigating Piety in Arcand's Jésus de Montréal (1989) -- The City of Dreams : The Sexual Self in Lauzon's Léolo (1992) -- The Generderd City : Feminism in Rozema's Desperanto (1991), Pool's Rispondetemi (1991), and Villeneuve's Maelström (2000) -- The City Made Flesh : The Embodied Other in Lepage's Le Confessionnal (1995) and Egoyan's Exotica (1994) -- The Diasporic City : Postcolonialism, Hybridity, and Transnationality in Virgo's Rude (1995) and Mehta's Bollywood/Hollywood (2001) -- The City of Transgressive Desires : Melodramatic Absurdity in Maddin's The Saddest Music in the World (2003) and My Winnipeg (2007) -- The City of Eternal Youth : Capitalism, Consumerism, and Generation in Burns's waydowntown (2000) and Radiant City (2006) -- The City of Disfunction : Race and Relations in Vancouver from Shum's Double Happiness (1994) to Sweeney's Last Wedding (2001) and McDonald's The Love Crimes of Gillian Guess (2004) -- Conclusion : National Identity and the Urban Imagination |
| ctrlnum | (OCoLC)858716769 (DE-599)BVBBV043036766 |
| dewey-full | 791.43/658209732 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43/658209732 |
| dewey-search | 791.43/658209732 |
| dewey-sort | 3791.43 9658209732 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| era | Geschichte 1989-2007 gnd |
| era_facet | Geschichte 1989-2007 |
| format | Electronic eBook |
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| publisher | AU Press, Athabasca University |
| record_format | marc |
| spelling | Melnyk, George Verfasser aut Film and the city the urban imaginary in Canadian cinema George Melnyk Edmonton AU Press, Athabasca University [2014] 1 online resource (x, 309 pages) illustrations txt rdacontent c rdamedia cr rdacarrier Print version record Most Canadians are city dwellers, a fact often unacknowledged by twentieth-century Canadian films, with their preference for themes of wilderness survival or rural life. Modernist Canadian films tend to support what film scholar Jim Leach calls "the nationalist-realist project," a documentary style that emphasizes the exoticism and mythos of the land. Over the past several decades, however, the hegemony of Anglo-centrism has been challenged by francophone and First Nations perspectives and the character of cities altered by a continued influx of immigrants and the development of cities as economic and technological centers. No longer primarily defined through the lens of rural nostalgia, Canadian urban identity is instead polyphonic, diverse, constructed through multiple discourses and mediums, an exchange rather than a strict orientation. Taking on the urban as setting and subject, filmmakers are ideally poised to create and reflect multiple versions of a single city. Examining fourteen Canadian films produced from 1989 to 2007, including Denys Arcand's Jésus de Montréal (1989), Jean-Claude Lauzon's Léolo (1992), Mina Shum's Double Happiness (1994), Clément Virgo's Rude (1995), and Guy Maddin's My Winnipeg (2007), Film and the City is the first comprehensive study of Canadian film and "urbanity"--The totality of urban culture and life. Drawing on film and urban studies and building upon issues of identity formation in Canadian studies, Melnyk considers how filmmakers, films, and urban audiences experience, represent, and interpret urban spatiality, visuality, and orality. In this way, Film and the City argues that Canadian narrative film of the postmodern period has aided in articulating a new national identity.-- Introduction : The Urban Imaginary in Canadian Cinema -- The City of Faith : Navigating Piety in Arcand's Jésus de Montréal (1989) -- The City of Dreams : The Sexual Self in Lauzon's Léolo (1992) -- The Generderd City : Feminism in Rozema's Desperanto (1991), Pool's Rispondetemi (1991), and Villeneuve's Maelström (2000) -- The City Made Flesh : The Embodied Other in Lepage's Le Confessionnal (1995) and Egoyan's Exotica (1994) -- The Diasporic City : Postcolonialism, Hybridity, and Transnationality in Virgo's Rude (1995) and Mehta's Bollywood/Hollywood (2001) -- The City of Transgressive Desires : Melodramatic Absurdity in Maddin's The Saddest Music in the World (2003) and My Winnipeg (2007) -- The City of Eternal Youth : Capitalism, Consumerism, and Generation in Burns's waydowntown (2000) and Radiant City (2006) -- The City of Disfunction : Race and Relations in Vancouver from Shum's Double Happiness (1994) to Sweeney's Last Wedding (2001) and McDonald's The Love Crimes of Gillian Guess (2004) -- Conclusion : National Identity and the Urban Imagination Geschichte 1989-2007 gnd rswk-swf PERFORMING ARTS / Reference bisacsh Cities and towns in motion pictures fast City and town life in motion pictures fast Motion pictures fast Film Geschichte Motion pictures Canada History City and town life in motion pictures Cities and towns in motion pictures Stadt Motiv (DE-588)4126697-3 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Kanada Kanada (DE-588)4029456-0 gnd rswk-swf 1\p (DE-588)4143413-4 Aufsatzsammlung gnd-content Kanada (DE-588)4029456-0 g Film (DE-588)4017102-4 s Stadt Motiv (DE-588)4126697-3 s Geschichte 1989-2007 z 2\p DE-604 Erscheint auch als Druck-Ausgabe Melnyk, George Film and the city http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=781953 Aggregator Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Melnyk, George Film and the city the urban imaginary in Canadian cinema Most Canadians are city dwellers, a fact often unacknowledged by twentieth-century Canadian films, with their preference for themes of wilderness survival or rural life. Modernist Canadian films tend to support what film scholar Jim Leach calls "the nationalist-realist project," a documentary style that emphasizes the exoticism and mythos of the land. Over the past several decades, however, the hegemony of Anglo-centrism has been challenged by francophone and First Nations perspectives and the character of cities altered by a continued influx of immigrants and the development of cities as economic and technological centers. No longer primarily defined through the lens of rural nostalgia, Canadian urban identity is instead polyphonic, diverse, constructed through multiple discourses and mediums, an exchange rather than a strict orientation. Taking on the urban as setting and subject, filmmakers are ideally poised to create and reflect multiple versions of a single city. Examining fourteen Canadian films produced from 1989 to 2007, including Denys Arcand's Jésus de Montréal (1989), Jean-Claude Lauzon's Léolo (1992), Mina Shum's Double Happiness (1994), Clément Virgo's Rude (1995), and Guy Maddin's My Winnipeg (2007), Film and the City is the first comprehensive study of Canadian film and "urbanity"--The totality of urban culture and life. Drawing on film and urban studies and building upon issues of identity formation in Canadian studies, Melnyk considers how filmmakers, films, and urban audiences experience, represent, and interpret urban spatiality, visuality, and orality. In this way, Film and the City argues that Canadian narrative film of the postmodern period has aided in articulating a new national identity.-- Introduction : The Urban Imaginary in Canadian Cinema -- The City of Faith : Navigating Piety in Arcand's Jésus de Montréal (1989) -- The City of Dreams : The Sexual Self in Lauzon's Léolo (1992) -- The Generderd City : Feminism in Rozema's Desperanto (1991), Pool's Rispondetemi (1991), and Villeneuve's Maelström (2000) -- The City Made Flesh : The Embodied Other in Lepage's Le Confessionnal (1995) and Egoyan's Exotica (1994) -- The Diasporic City : Postcolonialism, Hybridity, and Transnationality in Virgo's Rude (1995) and Mehta's Bollywood/Hollywood (2001) -- The City of Transgressive Desires : Melodramatic Absurdity in Maddin's The Saddest Music in the World (2003) and My Winnipeg (2007) -- The City of Eternal Youth : Capitalism, Consumerism, and Generation in Burns's waydowntown (2000) and Radiant City (2006) -- The City of Disfunction : Race and Relations in Vancouver from Shum's Double Happiness (1994) to Sweeney's Last Wedding (2001) and McDonald's The Love Crimes of Gillian Guess (2004) -- Conclusion : National Identity and the Urban Imagination PERFORMING ARTS / Reference bisacsh Cities and towns in motion pictures fast City and town life in motion pictures fast Motion pictures fast Film Geschichte Motion pictures Canada History City and town life in motion pictures Cities and towns in motion pictures Stadt Motiv (DE-588)4126697-3 gnd Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4126697-3 (DE-588)4017102-4 (DE-588)4029456-0 (DE-588)4143413-4 |
| title | Film and the city the urban imaginary in Canadian cinema |
| title_auth | Film and the city the urban imaginary in Canadian cinema |
| title_exact_search | Film and the city the urban imaginary in Canadian cinema |
| title_full | Film and the city the urban imaginary in Canadian cinema George Melnyk |
| title_fullStr | Film and the city the urban imaginary in Canadian cinema George Melnyk |
| title_full_unstemmed | Film and the city the urban imaginary in Canadian cinema George Melnyk |
| title_short | Film and the city |
| title_sort | film and the city the urban imaginary in canadian cinema |
| title_sub | the urban imaginary in Canadian cinema |
| topic | PERFORMING ARTS / Reference bisacsh Cities and towns in motion pictures fast City and town life in motion pictures fast Motion pictures fast Film Geschichte Motion pictures Canada History City and town life in motion pictures Cities and towns in motion pictures Stadt Motiv (DE-588)4126697-3 gnd Film (DE-588)4017102-4 gnd |
| topic_facet | PERFORMING ARTS / Reference Cities and towns in motion pictures City and town life in motion pictures Motion pictures Film Geschichte Motion pictures Canada History Stadt Motiv Kanada Aufsatzsammlung |
| url | http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=781953 |
| work_keys_str_mv | AT melnykgeorge filmandthecitytheurbanimaginaryincanadiancinema |