Film and the City:Urbanity in Postmodern Canadian Cinema - Essay Example

?Question The cultural grammars of different movies are used to question the concept of identity and the way in which one portrays the world. The feature films of Jesus of Montreal, Loelo and Maelstrom all create a question of identity and how it relates to the culture surrounding Montreal for the present time. The questions of gender, religion and generation are the three aspects which arise, all which create a question of identity among the characters. The identity questions create a sense of boundaries between individuals and leads to the main divisions and conflict throughout the movies. The issue of gender is the first concept of identity that is created in the films. The question of gender is one that is based on the misunderstandings of what it means to belong to gender or to be born under a specific type of identity. This isn’t based only on sexuality, but also is defined by the question of what it means to belong to a social gender. In Leolo, this is questioned by the insanity of the family and the realization of Leo that gender isn’t based on sexuality. His own gender is defined by his interest in Bianca. However, this is one that is suppressed in the family because of the mentality that is associated with this. As the natural sexuality is suppressed, the identity of Leo becomes questioned in other terms of gender. The concept of his father being a tomato takes the place of the normal identity. The question of gender becomes related not only to the natural course of sexuality, but becomes the basis of identity for Leo and how his family identity has twisted with gender and the natural elements of life. The same questions of gender and identity are seen throughout Maelstrom through the character of Bibi. The question of identity is one that comes from the way in which she moves between identities of gender. The movie begins with seeing the character come out of an abortion clinic and of moving through disasters. Bibi is shown at the beginning with easy sexuality and one which denies other parts of her being a woman through the actions which she takes. The identity of gender is one that is based on Bibi and the inability to grasp her personal identity and belief in herself through the various incidents. The change in gender identity occurs after meeting Evian who introduces her to the other side of gender identity and sexuality. One is then able to see the boundary of both sides of gender and how one can cross over and change with a type of dance of identity that occurs. The cultural grammar of religion is also seen in the feature films with the changing boundaries as the main component in each. Jesus of Montreal is the film which shows this aspect best, specifically with the placement of the Passion Play. The approach to the street play and the parallel to modern day acting creates a satire about religion and the serious aspects of identity that have been created from the concept of religion. In this particular film, the question of identity in religion arises through the play and how it is linked to the everyday behaviors of the actors and actresses who are performing the new type of play. This is followed by the opposition to the traditional Catholic Church, specifically which is seen through the directors approach to satire of the characters and how the main stories relate to the events of the characters. While watching this film, there is a question of identity which arises with the cultural beliefs of religion and how this may relate to the life of those in the city. The same question of religious identity and a question of reality and religion are seen through Leolo. The question of identity is one that moves between reality and fiction, specifically with the desire to understand the realities that are a part of life, as well as what is made up in the mind. The overall depiction of Leo is one that questions the reality surrounding him in his home, while having a misunderstanding of the reality that is outside of his home because of the idiosyncrasy that is surrounding him. This becomes a metaphor for the idea of religion that is carried within the family as one that is fictional and made up, while the outside reality is one which remains unknown. Each of the characters cries for the outside; however, the home that each is in is one that creates a different reality. The association with religion comes from the affiliations with the family as Christian and the portrayal of belief which follows this. The third aspect of generation is also one which crosses through both sides of boundaries. The generation that is older is one that is seen as no longer looking for a sense of reality and which is interested in finding death. In Leolo, the older generation is set with the mental problems and difficulties. It is the younger generation, specifically through Leo, that becomes the question of reality. There isn’t an acceptance of the family and how the older generations function. The outlook toward his parents, specifically with his mom becoming impregnated after falling into a tomato stall, is one that doesn’t regard the older generations. Instead, there is a misunderstanding of their actions and the beliefs of who they are. The film creates a sense of the outside and the need to find a new reality. The concept of generational differences is also seen in Maelstrom with the same concept of creating a new identity. Bibi is introduced by the fish as “a young woman starting on a long voyage to reality.” The overall concept in the movie is to focus on the younger generation while showing how the older generation has also learned about reality or has passed into a different phase. In several instances, it is the younger generation that is learning about a new reality, while the older are only waiting toward death. Bibi’s friend also makes a similar statement with “all revelations are manifestations against death.” These types of phrases show that the young have the revelations while the older that are dying don’t have the same attributes as the young. The main ideal is to create a boundary between the younger and older generations. All three of the feature films create a story that relates directly to showing the cultural grammar of Montreal. The question of identity is one that is defined by creating boundaries and questions of what reality is. The gender, religion and the proponents of generations work as ways to draw lines between two sides. The identity that is then built is one that portrays the overall conflicts in the film as each tries to find an identity that moves outside of the old and into a new way of looking at different concepts. Each of the characters reflects this by belonging to at least two worlds. For Jesus of Montreal, this is the reality of the passion play and the fictional elements of religion. For Leolo, the beliefs that are created in terms of family, generations and overall identity create several worlds. The same concept is seen with Maelstrom as Bibi moves out of her old way of living and into a new reality. The image is one that changes the boundaries of identity while creating a question of which side one belongs to (Moorti, 355). The identity which is created is one that is continued by each having the uniting aspect of belonging to Montreal. The space that is used becomes the unifying feature. While each of the characters moves between the realities and the understanding of life, the city of Montreal remains a constant and allows the identity to be set in the reality of this city. Through each of the movies, Montreal is seen through the homes, rural or urban settings and the separate street areas. It is also noted in the actions that take place among the different individuals and the diversity which is set in each place. The cultural grammar at this level creates a sense of unity where each individual can relate to the main attributes of Montreal. However, all three films show that there is a sense of diversity and several marginalized individuals, all which are searching for a separate reality, inside the one city (Marchessault, 3). Word count: 1408 Question 2 The ability to create a mystery out of the death scenes in Le Confessional and Exotica is done through the format of the films and the ability to create a sense of plot through the films. It is the ability to use a specific set of crafts within the film that allow the mystery of each of the deaths to remain throughout the film and to slowly unravel how this relates to the family secrets and dysfunctions in both films. The directors are able to use the concept of Canadian urbanity to combine these concepts and to help in unraveling the mysteries associated with both films. The filmmaker constructs mystery around the death and allows this to unravel through the film by the development of plot line. In Le Confessional, there is a disconnection in the plot line for time. The spectator is able to look at the film and is not able to create a sense of awareness about the time or space. Even though there is the ability to create an understanding of Marc and Pierre as the sons of the main character, while attributing the story line, there is also the need to piece together what occurred before and what is continuing to occur. It is only by piecing together the present and the past that there is the ability to understand what happened and the murder that surrounded the story. The same approach is used in Exotica. The scenery uses the past of Christina, as well as present situations to tie together the theme. The future and past are performed in a non – linear fashion, making the spectators to pick up pieces of what has occurred with the relationships of Christina and the complexities surrounding the murder. The challenges of plot are redefined by creating the central location of “Exotica” where all the types of the past and future are able to meet and show the different aspects and characteristics that tie into Christina. This is combined with the way that the nightclub works as a space in which the different memories and aspects of the past and present can work together to complicate the murder and what has occurred between those at different times. The similarities of both filmmakers’ approaches are based on the ability to take out time in presenting the narrative. By doing so, the spectator becomes responsible for being the detective of the movie and piecing together the fractions of both movies. As this is done, the film maker is able to give clues and details about what has occurred and why. The conversations, actions and the relationships which are built in each movie show this same approach of slowly allowing the spectator to find out what has happened. For instance, Christina is seen as a child in several instances, which then moves into the Exotica club. Each time a flash back occurs, one is given an understanding about the characteristics and personalities which she interfered with and how this relates to the murder. The same aspect is seen with Pierre and Marc, as they are forced to move into the past and discover small fractions of the story of their mother and what occurred with her pregnancy at 16. As these move in and out of both stories, there is the ability to define the realities of what occurred. While there is the similarity between the fractured plot line to reveal the murder, there are also differences in how each film maker decides to connect the pieces together. Exotica use foundational areas that are able to lead to the telling of the story. This includes the nightclub and the association with Christina. The discovery is based on relationship building and the ability to connect to Christina’s story, as opposed to fragmenting the individual characters. Having this main, defining point of character building then unravels the mystery in a different manner. In Le Confessional, the approach is taken with the plot line and with different places that connect together. For instance, the telling of the movie of Hitchcock, the story of Marc and the contrasting elements all lead to the murder. The film producer throws symbols, objects and different pieces of conversation to lead to the main murder. The understanding of Canadian urbanity is best seen through Le Confessional. The fashion and costume which is offered is the first aspect which changes the sense of being in an urban setting. The 1990s was one which was known for changing this aspect of Canadian film, specifically to define fashions that reflected the characters of those in society. The diversity of designs was one which was noted throughout Canada and which was used specifically to define the concept of multiculturalism and the way in which one communicated this. The Canadian concepts of design and fashion were known during this time to represent social status, culture and the way which one attributed with society. When looking at this movie, there is a sense of the diversity of characters and social status, while noting the internal conflicts through the external, material clothing (Armatage, 57). The concept of being urban is one that is furthered with the proponents of diversity of lifestyles. When looking at the concept of cultural economy, social status and the other associations with social status, there is an understanding of a diversity of culture. Le Confessional shows this through the several characters that move throughout the world, create a separate identity and still remained linked to Canada in a different way. The concept of being urban is one which is defined by the diversity of lifestyle created in the land. In Exotica, this is limited to one situation and area as a reflection of urban living. However, in Le Confessional, there is an understanding that the sense of being urban is diverse and complex with each individual. It is this same diversity that leads to a sense of the murder and how it occurred. With Exotica, this diversity is limited to the characteristics, while Le Confessional shows that the diversity is based on every sense of living in urban Canada (Latham, 4). Word Count: 1017 Question 3 The conflict with racism is one that is magnified by Director Virgo’s film, Rude. The different elements of this film show how, while there is a sense of multiculturalism that is praised in Canada, there are undertones of racism that separate communities according to color. This moves into deeper problems and issues of society, ranging from economic status to social upbringing. Virgo’s creation of this community is one that shows how the complexities of racism become more complex within each area and how this is not an isolated problem, but instead one which belongs to the community. There are several characteristics that are shown with Canadian racism in Rude. The first is based on the environment in which all of the characters are seen in. One is coming out from the prison scene and moves back into a low economic community with his brother who is related to drug lords. The second is with a similar environment, even though the story changes to Jordan. The violence of the environment is one which creates the main approach to the story. The third story of Maxine also has the same environment depicted, seen through the apartment setting and placement of Maxine. The environment that each are in shows the black community as separate from any other ethnic area and which shows how the main attributes of this environment don’t allow those who are in this living condition to get out of the situation or environment. The second characteristics that are described by the film are based on the stereotypes that all convey. All of the story lines are united by problems with violence, drugs and sex that cause those in the story to have a similar problem. This is one that is taken up by the conditions each are in and the inability to get out of the environment. However, for those in the Canadian community, this leads to stereotypes that create boundaries and racism with how the Black Caribbean community must be. The stereotypes are followed with the third set of characteristics, which creates assumptions about lifestyle choices for each. The abortion of Maxine, pornographic tapes produced, 10 year old child of General and the homosexual lifestyle of Jordan all show the lifestyle choices of sexuality that create more concepts and beliefs related to Canadian racism. The narrative is one that depicts the last two characteristics of the film. The narrative follows stories that are specific to what it would mean to live in a Black Caribbean community and which creates separation because of the other experience that is created by each of the characters. This is one that can’t be related to by the general population and which creates a sense of division through the narration. The director combines this with music and background elements that are specific to the black community and culture, such as the gospel music. This creates a presence in the film that instantly divides between the black and white communities and creates a sense of the Black Caribbean community belonging as the other and which can’t be understood by those of the general population. The characteristics of racism are furthered by the issues of power that are played out from the male characters in the community. The way in which this is seen within the community is with each trying to build a life outside of the others that creates one as being better than the other. In most instances, this is seen as having power through money, such as Reece. The power is exhibited over his brother by selling the drugs as well as being connected to someone outside of the community, Yankee. While Reece is able to exhibit a sense of power over his brother through the connection to the white community, there is also a power play that occurs outside of the community because of this. Reece has to keep his power by saying he has a connection to the black community with Yankee. Without this, he loses power and his place in the community and is no longer of use with the drug trade. The power that occurs among the males is based on the power with money and with the work that each decides to take. The power plays within the community are also seen with how individuals combat against each other in forms of identity. Jordan becomes a display of this, specifically because of his identity as a boxer and homosexual. His identity as a boxer gives him a place in the community and allows him to show power both physically and with the mentality of the community. Those who know Jordan aren’t interested in questioning his power. Jordan knows that this power is lost if he decides to come out as a homosexual, which allows those in the community to work dynamics against Jordan because of his identity. The power outside of the community is exhibited in a different manner. The violence and the direct actions that move against the other are lost. Instead, the power that is held is based on creating a connection to the black community from those that can’t get involved inside of the area. Each of the characters tries to gain power by getting out of the environment. General tries to do this by painting the murals and going into other communities to display a change. However, as he tries to build this power, he is built into the other power of his brother, Reece. Jordan and Maxine exhibit a same display of trying to go outside of the community and to bring back the new ideas for power over others in the community while connecting those to the outside into the mainstream of the black community. The power relations between the males and females in the community exhibit a similar set of conflicts that is based on one gender dominating over the other. The females are all given a secondary and suppressed role in the film to the men while the men try to take hold of the power that is within the community. For instance, General is found going back to his wife and 10 year old son and there are specific expectations taken with having his wife back in her place to raise the child as he goes back into the community. Even though he has been in prison and hasn’t reconstructed his life, the female role becomes submissive to the male role. The same change occurs with Maxine who has broken up with her after she has had an abortion. Maxine becomes suppressed to her boyfriend, even though he is never seen. He holds a power over her because of his ability to take things from her, specifically which led to her abortion and throughout the movie leads to her fears and sense of unknowing because of the robbery he has been taking part of in the home. The sense of oppression of the women becomes the main component in all of the stories, specifically by causing them to become secondary characters. The concept of power relationships between the males and the females is one that is based specifically on ideas of transgression. There are specific codes with gender and nation that become expected within society and which are the driving force of many movies. The gender codes of Canada are one which has specifically identified the gay attitudes, as well as the roles of women, as ones which are marginalized and which should be suppressed. In this film, a central controversy is based on the males becoming the subjects that are working toward overcoming power, and the women remaining the objects, which always are subjective to power. The inability to move outside of this marginalization and the expected roles of power because of the expectations in Canada then become the main proponent, as opposed to showing an equal balance of power (Waugh, 209). The concepts of power relations that were noted throughout the film were also able to become a metaphor for the overall sense of racism that was experienced in Canada. The racial features were not based on the white and black clash that is often seen in the film. Instead, the main outbreaks and controversies came from within the community. This is specific to the Canadian culture and the controversies associated with various regions, specifically because of communities that are primarily based on economic differences and which create ethnic boundaries surrounding this. For Black Caribbean this holds true to the individuals who have migrated to the country and don’t have as many opportunities. It also holds true to the individuals who have created black communities because of economic and social differences. The powers that were exhibited became representative of other stereotypes which could identify racism and which create immediate boundaries. These boundaries are seen within the community of blacks; however, the same power structures and displays could be exhibited anywhere within the complex structure of Canada (Marks, 25). Word Count: 1492 Works Cited Armatage, Kay. “Fetish and Fashion in Canadian Film.” Topia (7), 2006. Latham, A. “Urbanity, Lifestyle and Making Sense of the New Urban Cultural Economy.” Urban Studies 5 (2), 2003. Marchessault, J. “Film Scenes: Paris, New York, Toronto.” York University in Canada, 2001. Marks, Laura. “Beyond the Glitz.” Afterimage (25), 1998. Moorti, Sujata. “Desperately Seeking an Identity.” International Journal of Cultural Studies 6 (3), 2003. Waugh, Thomas. The Romance of Transgression in Canada: Queering Sexualities, Nations, Cinemas. Queens University Press: Canada, 2006. Read More