This collection of ten chapters and three original interviews with Québécois filmmakers focuses on the past two decades of Quebec cinema and takes an in-depth look at a (primarily) Montreal-based filmmaking industry whose increasingly diverse productions continue to resist the hegemony of Hollywood and to exist as a visible and successful hub of French-language – and ever more multilingual – cinema in North America. This volume picks up where Bill Marshall’s 2001 Quebec National Cinema ends to investigate the inherently global nature of Quebec’s film industry and cinematic output since the beginning of the new millennium. Through their analyses of contemporary films (Une colonie, Avant les rues, Bon cop, bad cop, Les Affamés, Tom à la ferme, Uvanga, among others), directors (including Xavier Dolan, Denis Côté, Sophie Desrape, Chloé Robichaud, Jean-Marc Vallée, and Monia Chokri) and genres (such as the buddy comedy and the zombie film), our authors examine the growing tension between Quebec cinema as a “national cinema” and as an art form that reflects the transnationalism of today’s world, a new form of fluidity of individual experiences, and an increasing on-screen presence of Indigenous subjects, both within and outside the borders of the province. The book concludes with specially conducted interviews with filmmakers Denis Chouinard, Bachir Bensadekk, and Marie-Hélène Cousineau, who provide their views and insights on contemporary Quebec filmmaking.

This collection of ten chapters and three original interviews with Québécois filmmakers focuses on the past two decades of Quebec cinema and takes an in-depth look at a (primarily) Montreal-based filmmaking industry whose increasingly diverse productions continue to resist the hegemony of Hollywood and to exist as a visible and successful hub of French-language - and ever more multilingual - cinema in North America. This volume picks up where Bill Marshall's 2001 Quebec National Cinema ends to investigate the inherently global nature of Quebec's film industry and cinematic output since the beginning of the new millennium. Through their analyses of contemporary films (Une colonie, Avant les rues, Bon cop, bad cop, Les Affamés, Tom à la ferme, Uvanga, among others), directors (including Xavier Dolan, Denis Côté, Sophie Desrape, Chloé Robichaud, Jean-Marc Vallée, and Monia Chokri) and genres (such as the buddy comedy and the zombie film), our authors examine the growing tension between Quebec cinema as a "national cinema" and as an art form that reflects the transnationalism of today's world, a new form of fluidity of individual experiences, and an increasing on-screen presence of Indigenous subjects, both within and outside the borders of the province. The book concludes with specially conducted interviews with filmmakers Denis Chouinard, Bachir Bensadekk, and Marie-Hélène Cousineau, who provide their views and insights on contemporary Quebec filmmaking.

This collection contains a selection of papers presented a the very First All-European Canandian Studies Conference that took place in The Hague, October 24-27, 1990. This unique meeting took place for the first time in the history of Canadian Studies. The focus of the papers is on the future rather than the past and it took place at a moment in time when Canada went through major crises that raised serious doubts about the country’s future. The papers of this volume explore the main issues and problems that Canada faces. The volume contains sections on demography, environmental problems, economic transformations, Canadian identity, political power structure, aboriginal issues and Canada’s international relations. As a whole the book takes stock where Canada stands and where it is going.

Since the defeat of the pro-sovereigntists in the 1995 Quebec referendum, the loss of a cohesive nationalistic vision in the province has led many Québécois to use their ancestral origins to inject meaning into their everyday lives. A Cinema of Pain argues that this phenomenon is observable in a pervasive sense of nostalgia in Quebec culture and is especially present in the province’s vibrant but deeply wistful cinema. In Québécois cinema, nostalgia not only denotes a sentimental longing for the bucolic pleasures of bygone French-Canadian traditions, but, as this edited collection suggests, it evokes the etymological sense of the term, which underscores the element of pain (algos) associated with the longing for a return home (nostos). Whether it is in grandiloquent historical melodramas such as Séraphin: un homme et son péché (Binamé 2002), intimate realist dramas like Tout ce que tu possèdes (Émond 2012), charming art films like C.R.A.Z.Y. (Vallée 2005), or even gory horror movies like Sur le Seuil (Tessier 2003), the contemporary Québécois screen projects an image of shared suffering that unites the nation through a melancholy search for home.

A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.

This report reviews the definition of Canadian content as it applies to film & television production and its relationship to public funding. After an introduction on the review and a summary of stakeholder comments, chapter 2 puts Canadian content into perspective with respect to how it is currently administered & defined, and what it represents in terms of production activity. It also analyzes in detail the degree to which the current definition, more specifically the ten-point creative system, responds to today's realities. It provides information on how some foreign countries promote & determine their national content, and highlights major weaknesses in the current Canadian content system. Chapter 3 proposes fundamental changes to the Canadian content policy infrastructure in three key area: how a Canadian-content production is defined, how Canadian content is administered overall, and how to encourage the greater use of Canadian creators. Chapter 4 examines two areas believed to be integral to the Canadian content system: international treaty co-production and theatrical distribution. Chapter 5 considers the particular challenges faced by Aboriginal & minority communities within the Canadian film & television sectors. Annexes include a list of recommendations, summaries of stakeholder input to the review, and results of a creative & technical cost analysis of various types of productions.

Kim Thúy is a literary phenomenon, rising in her first decade of writing to a level of international recognition that few Québécois writers ever attain. The Vietnamese-born author’s novels have garnered literary prize recognition and have been translated from French into twenty-nine languages in nearly forty countries. Touching Beauty is the first collection to focus solely on Thúy and her economical yet poetic storytelling style that expresses both the traumatic and the beautiful. Her writings, which manage to be culturally specific all while speaking to the fundamentals of the human condition, are examined within the context of what is known as migrant literature in Canada and are situated within the history of Vietnamese literature in French that grew out of the colonial period. Chapters explore food, identity, gender, and the role of writing in Thúy’s life and work. Thúy herself contributes an unpublished poem and an extended interview that focus on her ongoing struggle to find, and write, beauty amidst war, migration, poverty, and loss. Touching Beauty maps the themes that have, to date, animated a literary career of global relevance and enduring value and encourages a deeper appreciation of Thúy’s writing.