Cinema in Canada

von: Mathias Hanf

Organization

I. The diversity and uniqueness of Canadian cinema Page 03

II. A short history of Canadian cinema Page 04

III. Examples of films discussing Canadian issues

III.1 Québec-USA ou l’invasion pacifique (1962) Page 09
III.2 Moving the Mountain (1993) Page 10
III.3 Mocassin Flats (2002) Page 11
III.4 Waydowntown (2000) Page 12

IV. The success of Canadian and US cinema compared Page 14

V. Bibliography Page 15

The diversity and uniqueness of Canadian cinema

Canadian cinema, as seen through its diverse scales, e.g. Franco- or Anglophone, documentary or fictional, independent- or blockbuster- film, reflects the cultural and social wealth of this young nation, and the artistic independence of some of its filmmakers, who, situated between Hollywood and different traditions from overseas, found their own unique voice. It is a voice which reflects the countries values within its history. It shows social, political, and cultural aspects of Canadian life. Whether it be the urban communities in the big cities, the endless landscapes of the provinces, or the personal and political struggles within notions of national identity, everything which defines this faceted country has found its expression also in the Canadian cinema.

In the following, an overview shall be given on the development of Canadian film. In the second part, some films from Anglophone and Francophone cinema with the colorful topics of Canadian life shall be portrayed. The films stand as popular examples for many others to discuss certain issues such as Francophone and Anglophone biculturalism, Canadian multiculturalism, the struggles of minorities within the Canadian society, or loneliness and isolation due to technization and overwork in the big cities of the Canadian country.

A short history of Canadian Cinema

The films seen by the first generation of Canadian moviegoers were “one-minute moving snapshots [of natural sights such as the Niagara Falls], mute testimony to the realism of the photographic image and the illusion of continuous movement”1 around 1900. Among the first sponsoring companies was the Canadian Pacific Railway, which frequently used film to promote the land-settlement in the West, such as in “Living Canada” in 1903. The first dramatic works shot in Canada came from Joe Rosenthal. He made a movie named “Hiawatha’ – The Messiah of the Ojibway” with Ojibway Indians. The Canadian Western, called “northwoods melodrama”, rose to popularity around 1915 and the race- for- life-stories attracted many viewers. Already during this time American companies were advocating a take-over of the Canadian moving picture business and thus found its critics in the voices of Canadian citizens and politicians. Soon films dedicated to a Canadian cause began to sprout and themes from Canadian history filled the plot, and an entirely Canadian film-crew was hired. With the backing of the Canadian Reconstruction Association, a pro-Canadian protectionist organization, which tried to secure the countries values, “The Great Shadow”, a Red-scare drama, was released in 1919.

A newsreel pionier was Léo-Ernest Ouimet, who won his reputation for example through films on a train-accident in Montreal and his version of the Titanic-disaster. Due to his famous entrepreneurial style, which consisted in arriving in a city, establishing a filmcompany with local money for one or two films, and then moving on, also Ernest Shipman became popular and his works were notable, as “he attempted independent production in Canada with an appeal to national sentiment and regional pride”2. But as later many of the Hollywood giants secured their control of the Canadian industry, small independents like Shipman were eventually forced out.

During the First World War, in principle, the film production was co-ordinated from England, the Canadian government also sponsored films promoting war bonds at home. In 1924, the Canadian Government Motion Picture Bureau was established under Ray Peck and continued under Capt. Frank Badgely. It mainly focused on the production of documentaries promoting tourism and trade. Also, many Provincial governments moved into film production. A documentary-drama and educational film from this time was “Cinderella of the Farms” by John McLean French. In 1920 Bernard Norrish established the Associated Screen News of Canada Ltd. in Montreal, responsible for newsreels, theatrical shorts, and sponsored films. It grew famous with film-makers such as Gordon Sparling, who launched a series of “Canadian Cameos” dealing with tourism, sports, and recreation.

The arrival of sound coincided with the introduction of the British empire quota on foreign films and a big-budget fiasco as the production of the film “Carry On, Sergeant” came to an abrupt stop due to the lack of production funds. Under the new British law, films produced anywhere were allowed into Britain freely “as long as British subjects dominated the payroll”3. A loophole led to the so-called “quota quickies”, usually low-budget “B- films” made by companies fronting for American financial interests to cash in on preferential treatment in the British market. Two memorable English- language films attracted attention in Canada between the world wars; “Nanook of the North”, a movie on the traditional activities of Inuit people, shot by the American Robert Flaherty in 1922, and “The Viking” in 1931, written and produced by Varick Frissell. “It was shot extensively on location, both for the ship-board scenes and for a dramatic trek across the ice-fields”. The popular film-makers Alfred Booth, Albert Tessier and Maurice Proulx achieved prominence with works during the Depression and Duplessis era, and Proulx introduced French-language films to a national audience.

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1 Clandfield, David. “Canadian Film”. Oxford University Press: Toronto, 1987. Page 3.

2 Clandfield, David. “Canadian Film”. Oxford University Press: Toronto, 1987. Page 6.

3 Clandfield, David. “Canadian Film”. Oxford University Press: Toronto, 1987. Page 12.