Quebec Studies

Introduction: Space and Place in the Work of Contemporary Québécois Filmmakers

Quebec Studies (2018), 65, (1), 57–59.

Abstract

Introduction: Space and Place in the Work of Contemporary Québécois Filmmakers Amy J. Ransom Central Michigan University Introduction: Space and Place In the introduction to Spatial Ecologies: Urban Sites, State and World-Space in French Cultural Theory (2014), Verena Andermatt Conley outlines the “spatial turn” (1) in the fields of literary, cultural, and social studies. French thinkers like Henri Lefebvre, Michel de Certeau, Jean Baudrillard, Gilles Deleuze, and Félix Guattari, among others, have been attempting to theorize the questions of space, place, and territory, both before and after France’s hinge date for the second half of the twentieth century, May 1968. Whereas “[w]e generally tend to define space in the spirit of analogy or relation,” it is “produced or invented,” for Andermatt Conley; in contrast, “[p]lace is simply there” (2; bold my emphasis). In contrast to former models of territory linked with hegemony and control, she argues that “[t]he spatial turn now curves toward an ethics of living and working collectively on a planet whose habitability seems to be problematic and whose resources are today less abundant” (1). A pendant to this reconceptualization of space that appears rather utopian, is the perception that we are, on a global scale, nonetheless in a dystopian phase of human development. Thus, in the twilight of the old millennium, Marc Augé introduces the notion of the “non-place,” a location that has nothing of the habitus but is instead a site of passage, its flourishing a sign of the global mobility typical of a new age that he terms “supermodernity.” In this era of so-called supermodernity, Québec’s French-language cinema has without question reached an unprecedented maturity, both as an industry and as an art form. Not only has it produced deeply territorialized local successes ranging from adaptations of literary classics such as Séraphin: un homme et son péché (Binamé 2005) to the action comedies, Bon cop, bad cop (Canuel 2005) and De père en flic (Gaudreault 2009), several auteur directors have begun to cross Québec Studies, 65 https://doi.org/10.3828/qs.2018.5

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Author details

Ransom, Amy J.