Worlds Within; In the World
This epilogue underscores the fact that 'cinéma-monde' always came with a question mark: it was a hypothesis, a heuristic device, conjuring up a 'what would happen if' we looked at Francophone film production through a slightly different lens. Moving forward from this mapping of...
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Edinburgh University Press
2018
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Online Access: | http://dx.doi.org/10.3366/edinburgh/9781474414982.003.0016 |
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credinunivpr:10.3366/edinburgh/9781474414982.003.0016 2023-05-15T15:26:15+02:00 Worlds Within; In the World Marshall, Bill 2018 http://dx.doi.org/10.3366/edinburgh/9781474414982.003.0016 unknown Edinburgh University Press Cinéma-monde book-chapter 2018 credinunivpr https://doi.org/10.3366/edinburgh/9781474414982.003.0016 2022-08-04T18:50:30Z This epilogue underscores the fact that 'cinéma-monde' always came with a question mark: it was a hypothesis, a heuristic device, conjuring up a 'what would happen if' we looked at Francophone film production through a slightly different lens. Moving forward from this mapping of the possibilities of cinéma-monde while at the same time highlighting the persistence of the national, the essay proposes that one way to take ‘monde’ seriously is to situate Francophone film production within world history. An example taken is Chloé Leriche’s Avant les rues (2016, Canada), filmed in an Atikamekw community, which raises questions of colonialism, indigeneity, ecology and the cosmos. It suggests that connections can be formed in terms of parts of wholes, in other words of the worlds within , for example, Quebec or French national cinema. Book Part atikamekw Edinburgh University Press (via Crossref) Canada |
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Edinburgh University Press (via Crossref) |
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credinunivpr |
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unknown |
description |
This epilogue underscores the fact that 'cinéma-monde' always came with a question mark: it was a hypothesis, a heuristic device, conjuring up a 'what would happen if' we looked at Francophone film production through a slightly different lens. Moving forward from this mapping of the possibilities of cinéma-monde while at the same time highlighting the persistence of the national, the essay proposes that one way to take ‘monde’ seriously is to situate Francophone film production within world history. An example taken is Chloé Leriche’s Avant les rues (2016, Canada), filmed in an Atikamekw community, which raises questions of colonialism, indigeneity, ecology and the cosmos. It suggests that connections can be formed in terms of parts of wholes, in other words of the worlds within , for example, Quebec or French national cinema. |
format |
Book Part |
author |
Marshall, Bill |
spellingShingle |
Marshall, Bill Worlds Within; In the World |
author_facet |
Marshall, Bill |
author_sort |
Marshall, Bill |
title |
Worlds Within; In the World |
title_short |
Worlds Within; In the World |
title_full |
Worlds Within; In the World |
title_fullStr |
Worlds Within; In the World |
title_full_unstemmed |
Worlds Within; In the World |
title_sort |
worlds within; in the world |
publisher |
Edinburgh University Press |
publishDate |
2018 |
url |
http://dx.doi.org/10.3366/edinburgh/9781474414982.003.0016 |
geographic |
Canada |
geographic_facet |
Canada |
genre |
atikamekw |
genre_facet |
atikamekw |
op_source |
Cinéma-monde |
op_doi |
https://doi.org/10.3366/edinburgh/9781474414982.003.0016 |
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1766356775812988928 |