Le Confessional Structure - Research Paper Example

?Introduction The use of different films is one that is not only dependent on entertainment and gathering the attention of viewers. There are severaltypes of movies that combine cultural connotations that question a specific time frame or place. The culture that is associated with this is able to create a link between the spectators and provide an appeal that either questions the boundaries of society or agrees with the current identity in society. Each film produced becomes an identity of a nation by showing culture and boundaries of society. The concept of Le Confessional, directed by Robert LePage, shows how the culture of Quebec is one which is associated with the history of the region and the connotations of the specific time frame. This not only shows a cultural type of grammar toward Quebec and the French during this time frame but is also directly linked to other movies which associated with the same cultural beliefs. Historical Background of the Film Le Confessional was first written in 1994 and released in 1995 as a Canadian film in Quebec. The background also links to the shooting of Hitchcock’s film, I Confess, released in 1952. There are several shots and references to this particular movie as a flash back and as an association with the culture of Quebec when this film was created. The approach which this took as well as the unique perspective which was associated with the film led to distinguished responses from viewers. This included the Genie Award for Best Canadian Film in 1996. The noticed reactions were not only based on the double storyline and philosophical approach that was taken. There were also attributes to the cinematography, acting and the structure that the film had in revealing the double time periods and the twisting of plots (Canadian Film Encyclopedia, 115). The inspiration for the film is one that is directly linked to the instructions of Robert LePage and the approach which was taken with the film. LePage was born in Quebec City in December of 1957. He was not only known as a director, but also worked as a playwright, actor and stage director. LePage began theater in high school as an outlet for his personality. From 1975-1978, he began to study theater at the Conservatory for Art Drama. He also studied in France under the direction of Alain Knapp for direction in theater. After coming back to Quebec, LePage began to participate in different theater opportunities, including the Theater Repere in 1982. Through this time, LePage used independent films and short cuts as his main outlet. In 1984, LePage released his first full film, Circulations, which was recognized for the best Canadian production at the International Theater of Quebec. After this release, he began producing several films that continued to gain wide recognition and international critiques for their unique plot lines and cinematography (Caux, Gilbert, 7). Even though LePage was working with film, he also continued to work on the theater. From 1989 – 1993, LePage produced a variety of stage plays, including Shakespeare classics and his own writing. It wasn’t until 1994 that LePage was able to move into a complete studio that he opened, known as Ex Machina. He became the artistic director of the productions that were worked on, including The Far Side of the Moon and Elsinore. LePage directed a total of four films, with Le Confessional as his first approach. He was also known for his acting in Jesus de Montreal and Stardom, both feature films by Denys Arcand. His acting is followed by his musical talent where he worked with providing funding for tours while working in opera as well as acting. The works of LePage are continuously involving both theater and film productions as well as experimental works, such as street plays, that LePage works with to make statements related to societal problems and philosophies. The several areas of success by LePage have caused him to be one of the most recognized forces of talent in Canada. In 1994, he was made Officer of the Order of Canada for his works. This was followed with his recognition in 1999 with an Officer of the National Order of Quebec. In 2001, LePage was introduced to the Canada’s Walk of Fame. In 2009, his promotion was inclusive of being given recognition to the Companion of the Order of Canada for international contributions in the fine arts. He also has gained recognition in Europe with 2007 awarding him the European Commissions Theater Prize and in 2009 for the Governor General’s Performing Arts Award for Lifetime Artistic Achievement (Dundjerovic, 7-21). Cultural Grammar of the Film The background of LePage, as well as the associations with Quebec throughout the movie associate not only with the philosophical viewpoints of creating an intertwining of thought and stories. There is also a sense of cultural grammar that is used throughout the film and which is attributed directly to the accepted components of Quebec during both the 1950s and the 1990s, when the film was produced. The concept of cultural grammar is one that is defined by the identity in which one holds. The approach taken is one that is defined by the cultural implications of individuals belonging to a specific identity. This is followed by the social status that is expected. The cultural grammar that is used moves beyond this into a national culture that creates a sense of pride and which is used to define the overall attributes of the nation and the way in which each associates with the country and city in which they are portrayed in (Bashir – Ali, 628). The first components of cultural grammar that are seen is one which comes from the cinematography and art of Quebec and Canada and which defines the cultural acceptance of different types of shows. The national culture that is used is one which is popular for cultural borrowing. This particular concept is associated with taking pieces and fragments of other forms of art and combining it and mixing it within the shows that were displayed in the country. The silent films that were created from the 1900s to the 1940s were well – known for combining the cultures of other nations with the Quebec culture to create cultural appropriation. Society sensed this as one which was directly linked to a sense of attraction and entertainment. Combining the exotic and mixing this with the national identity of Quebec then became well – known as a part of the culture and history of Canada (Lacasse, 98). The concept of hybrid culture is one that is displayed through the overall format and ideals that LePage uses. The first way in which this is done is by the cultural borrowing taking from I Confess by Hitchcock. The cultural link is one that is displayed through the pride of the movie being taped in the Quebec church and gaining the amount of recognition afterwards. This pride with culture from the 1950s was incorporated into the newer turns that LePage uses to create a hybrid effect. The sense of cultural borrowing is then furthered by the intertwining with the French concepts which LePage uses. The name of the movie is in French, which is followed by several of the identities in the movie. While this is specifically attributed to Canadian culture, it is also a cross between other cultures, specifically linking the French natives and the Quebec culture. The overall language of culture in Quebec cinema not only portrays the cross cultures that are exhibited throughout the film. This moves one step beyond into the specialized techniques that were popular specifically in Canada. The auter cinema is one which remained popular for French Canadian films. This was done to create a multifaceted reality, specifically which was used as an experimental measure against traditional film. The idea was to move into the aesthetics, poetics and artistic parts of the cinema without generic conventions. This was done as an offset from the 1950s when several film producers began to write generic films that would instantly get audiences and call for entertainment. The film producers were known to take plot lines and applications from Hollywood productions, specifically because of the growing success that was a part of the region during this time. The backlash to this was created with several French Canadians looking for experimental films that was able to move into a reality that could be compounded by different genres while moving outside of this norm. The main focus was to fill in the gap between art and the cinema that was being created (Loiselle, McSorley, 98). The experimentation that was noted during this era was one that can be seen in Le Confessional, specifically with the ability to create a multifaceted reality. The double plot line, as well as the integration of historical components of Hitchcock’s movie all work to create this reality. LePage is working specifically with the agenda of Hollywood during the 1950s to have the movies go to Canada while others craved for a different type of story. The use of Hitchcock’s movie then becomes a part of the culture, specifically because of the backlash against Hollywood films. This is followed by the ability to add in the multifaceted reality that audiences were looking for through the main agenda of creating more than one storyline that intertwined. The cinematography that followed with this with the use of perspectives that were more artistic in nature, then created a cultural grammar that is specific to the Canadian beliefs that relate to film and the use of having an artistic presentation combined with a plot line that carries several dimensions. Cultural Grammar and Social Identity The way in which the movie was composed created a defined cultural grammar for film viewers in Canada. Beyond this were several pressing issues that LePage integrated into the film which Quebec could relate to. This was able to create a different spectacle for audiences and worked to provide a strong connection to the cultural history that was a part of Quebec. The main attributes that LePage uses through the main character relates directly to the political and social discourse in the history of Canada as well as what were considered the current time agendas which were a part of society. LePage was able to define and recreate a different understanding of the culture through this perspective and by putting some of the social issues with identity in a different light. The first cultural grammar used with the film is through the use of religion. This is a continuous theme throughout the film, specifically with the Catholic confessionals that reveal the information while propagating secrecy with those who use the confessional area. During the 1950s, there were several uprisings with the Catholic beliefs in Quebec. This led to many in society to change to the Protestant belief system. The changes in society led the Catholic institution to be questioned. The problems which arose were based on lifestyle and the decisional roles which the church should have as well as the importance of the norms that were a part of society. Marriage, family, co-habitation and other societal questions arose. The church refused to change the doctrine that was based on these rules, causing many to turn away from the Catholic religion (Laplante, 1). The Catholic questions of the 1950s were seen specifically with the pregnancy of Rachel, which created controversy over her identity as well as the Catholic identity of upholding specific laws. The question of the church and religion in the 1950s was not only questioned through the societal laws that were no longer effective in society. The identity continued with the public politics and private religion that was associated with the 1950s. During this time frame, there were several debates over the deprivitization over religion as well as how much the political realm should be involved with politics. Liberal theories that created a different boundary between the secular and private while questioning how much power institutions should have over the private lives of individuals and political leaders continued to raise debates and cause boundaries within society. The values that were raised from this began to transform the identity with those involved in the church as well as the way in which many referred to the Catholic church with (Seljak, 131). The problems which arose in Quebec in the 1950s are a part of the cultural grammar that is understood by those living in Canada. However, this wasn’t only from the upheavals and questions which began to change the structure of religion during this time frame. The concept of the church becoming more modern lasted through the 1990s and during the filming that Lepage created. The modernism was no longer based on marriage and cohabitation, but instead was inclusive of the pressing social issues and identities of the day. Remaining conservative and to the book was one which led to many turning away from the church during the 1990s. It was noted that this time frame led to the crisis of faith in Canada as well as in other international arenas. Religion was one that many began to view as a sense of propaganda and which was based on outdated and unable to approach and participate in the needs of the day (Tentler, 208). When looking at the religious aspects of LePage’s film, it can be seen that this is a part of the cultural grammar and understanding of Quebec. The continuous question of the Catholic laws, understanding of how the church was one which didn’t apply the modern identity and the social and cultural struggles seen from the church is one which most related to. The intertwining of stories from the 1950s of Rachel’s dilemma with a teenage pregnancy, to the viewpoints of privacy during the 1990s and the confessions of her son of belonging to the gay lifestyle all become problematic. This isn’t from the viewpoint of social identity and marginalization. Instead, it is an opinion based on the Catholic Church not having the ability to provide a change with regulations because of social changes and the controversies between the public and private realm. By LePage combining the stories with the Catholic Church as a main scene, there is the ability to relate to how the church remains a continuous struggle for those in the culture, despite the individual confronting the church or the time frame that one is in. The struggle with religion is one that is followed by the cultural grammar and controversies related to the personal identities of those in the movie. The main cultural grammar that LePage builds is based on the concept of marginalization. It is the characters that don’t belong to the mainstream of society that are highlighted in the movie. The gay lifestyle of the 1990s, pregnancy of the 1950s and the shady concepts that are approached, such as lying, bribing and actions leading to violence and death are all noted throughout the movie. The diplomat, Marc, Pierre and Rachel all show the behaviors that question morality and the lifestyle that is not considered as acceptable. These all work as types of marginalization that distinguishes the behaviors of those that are in society. This particular attribute is one that identifies society and creates a space where only the marginalized identity and the concept of belonging outside of the normal components of culture are accepted. Each of the marginalized features of the characters leads to the questions that LePage raises about the cultural grammar and what is expected. Multiculturalism as a social perspective in Canada is one that is widely accepted by those in Canada. Pierre shows this by speaking in French and English and with his trips to China to study the arts. The father of Marc, who takes Pierre to Tokyo, also shows the sense of diversity created. However, there are boundaries and marginalization which takes place not from the multiculturalism, but instead through the morality that is created. The question which LePage raises is one which links back to the political identification of multiculturalism as well as the misrepresentations of morality. The cultural grammar is one which is defined by the political movements and the public understanding of what diversity and other representations mean in society (Dewing, 3). Each of these concepts of marginalization then relate to the different concepts of what it means to be Canadian. The movie begins with the statement “In the city where I was born, the past carries the present like a child on its shoulders” (LePage, 1). This creates an immediate national identity that is based on the marginalization and the choices which individuals take, as opposed to the public creation of ideals such as marginalization. The boundary which LePage creates moves between the identity of Quebec carrying the past on its shoulders by actions and responses, then following this with the identity that many consider to be a part of the culture. The cultural grammar moves into statements by characters such as the taxi driver when speaking about politics. His statement is one that moves from wearing a broken hat to stating “This is what the French Canadian wants to be. This is the French Canadian” (LePage, 1). The concept then becomes one that is based on how the identity of Canada is marginalized and fractured through politics, public discourse, religion, social identity and the way in which those in the film present specific ideas. Comparison with Jesus of Montreal The identity which is created with Le Confessional is one which also relates to the ideas presented in Jesus of Montreal by Deny Arcand. This particular movie creates an allegory of the church and the need to create a change within the community with the passion play during Christmas. The actors and actresses in the film are able to create a sense of creativity while bringing the experimentation to life by showing the crucifixion with a hybrid approach. The film, similar to Le Confessional shows a direct relationship between the concepts of multi-dimensional uses of media. Showing the actors as playing on stage while combining real life situations is one of the elements that is similar in both movies. There are also aspects of linking to other multimedia facets as a part of the allegory and to create a different set of dimensions to the play. Jesus of Montreal works in a similar manner to Le Confessional not only with the approach to multimedia but also by creating a representation of the concept of religion. This shows that there is a direct component that links to Quebec and the religious identity. The concept of creating a modern approach to the church as well as the controversies that arise out of this are portrayed in both films. In Arcand’s film, this is displayed through the allegory as well as the extreme measures that occur after within the field of religion (Dundjerovic, 3). The interpretation of the story of Jesus in the film, as well as the way in which the church has changed the meanings in the Bible specifically for society is the main controversy that both raise while changing the meaning and definition of what it means to belong to a church. Both represent how the modern society changes the meaning of the church and religion while going away from the roots of the Christian religion (Gilmour, 2). The films portrayal is not only meant to change perspectives but both also speak to the religious market of Canada. The main objective, as seen in both films, is to question the identity of those that are in Canada and the perspectives of what it means to hold a specific identity in the region. Whether this is the French Canada that is spoken of in Le Confessional, or the representations of the marginalized, the religious proponents tie together the social identity that is created. This leads to not only a sense of religion but also creates a specific connection to how the religion either identifies one in the main group and as following something that is out of proportion with society. Those who don’t follow a specific area of religion then become a part of a marginalized culture and defined differently. In Le Confessional this is seen with the identity of sexuality and the complexities of those who reject the Catholic Church and the laws that are withheld. In Jesus of Montreal, this is seen with the allegories that show how Canadian identity blindly leads to those following an act or scene, as opposed to the reality of the religion. The religious market then becomes one that is in contrast to the secular perspectives. However, both identify that this is the main boundary with the Canadian identity and creates the sense of marginalization (Beyer, 272). Assessment of Deconstruction of Stereotypes in Quebec The movies that are represented are an example of the questions of boundaries in Quebec as well as the association with deconstructing stereotypes. Both of the movies create a sense of what it means to belong to Canada and to be either French or English as a part of the roots and heritage. However, the stereotypes that build from this include segments of society that are naturally marginalized. The question which arises in both movies is based specifically on the need to create a different understanding of the marginalized identity that is believed to begin with areas such as the church and institution. From this point, the need to break down the boundaries and create a different approach to the concepts of marginalized individuals becomes the primary objective (Merkle, 1). The individuals that are marginalized in both films include actors and actresses, individuals going outside of the laws of Christianity and societal boundaries that aren’t accepted into the mainstream of Quebec. While the cultural language is used for the spectator of Quebec, both also challenge the association with the stereotypes. The main concept is one that is based on the deconstruction of those who hold a conservative viewpoint in the region. The conservative viewpoint is not only from the religious perspective, but also comes from those who have a sense of nationalism or identity related to the region in which they are living in (Howell, 23). Both movies challenge the conservative identity by creating the main boundary between those who are in the mainstream identity while creating a different presence to those who are working in the marginalized societies and see a different perspective of the region (Howell, 23). The deconstruction of stereotypes that is used is furthered by creating boundaries by being on the inside of some scenes while being on the outside of others. The sociopolitical context that is defined by most in Quebec is one which is based on the conservative nature as well as the ideals that are withheld by morals and other concepts passed down from generations that relate to controls and expectations in society. The construction of institutions to uphold specific laws and rights as well as the acceptance by the majority in society has created the main culture of those in Canada (Maidment, 3). Both the movies create a sense of understanding the conservative nature. In Le Confessional, this is shown through the politicians and the church leaders, both which come from an institutional background and withhold the laws. In Jesus of Montreal, this comes from the church and the need to uphold the passion play. However, the marginalization of individuals in society as well as the demand to create a modern identity creates a question with this. The confessions that are questioned with whether they should be private, the individuals that move outside of the church with identity and the main association with the actors in Jesus of Montreal all show the extreme marginalized culture and how it remains as the spectacle in society and with identity, as opposed to being accepted. It is this main concept that creates the conflict in both movies (Naylor, 231). The stereotypes that are able to be broken from the marginalized representation in both films work as a tactic to first get the approval of the society and audience. The approval is then broken down by showing the other extreme with identity. The boundaries which can be deconstructed are done by complicating the plot lines specifically to show how the defined acceptance of specific groups and the rejection of others leads to the drama of many lives and creates a lack of living in a multicultural and plural culture. The pride of Canada is one that thrives on these particular concepts, which allows the movies to show how the spectators haven’t completely believed in the political propaganda and understanding of different identities in society. By creating this question, it deconstructs the way in which the spectator thinks about the boundaries in society and the different ways in which marginalization is created (Henry, Tator, 2). Conclusion The cultural construction that is established in different films and movies is used to create boundaries and identity for the spectator. In Le Confessional, this is seen with marginalized groups as well as the way in which others interact with the social identity. Religion, sexual identity and the overall meaning of what it means to be in a French Quebec are some of the ways in which stereotypes and culture are spoken of and questioned. When looking at other movies from Canada, the same questions arise, specifically which define the boundaries withheld in society and to show these as conservative in nature compared to the true sense of accepting marginalized identities within society. Works Cited Arcand, Denys. Jesus of Montreal Center of National Cinematography: Canada, 1989. Bashir - Ali, Khadar. “Language Learning and the Definition of One’s Social, Cultural, and Racial Identity.” TESOL Quarterly40 (3), 2009. Beyer, Peter. “Religious Vitality in Canada: The Complimentary of Religious Market and Secularization Perspectives.” Journal for the Scientific Study of Religion 36 (2). Canadian Film Encyclopedia. Le Confessional. 2011 Retrieved from: http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/films/le-confessionnal. Caux, Patrick, Bernard Gilbert. Ex Machina: Creating for the Stage. Talonbooks: New York, 2009. Dewing, Michael. “Canadian Multiculturalism.” Canada: Library of Parliament, 2011. Dundjerovic, Aleksander. The Cinema of Robert LePage: The Poetics of Memory. Wallflower Press: New York, 2003. Dundjerovic, Aleksander. “Contradictions and Paradoxes in Deny Arcand’s The Barbarian Invasion.” London Journal of Canadian Studies 21, 2005. Gilmour, Peter. “Son of Man: The Latest Contribution to the Jesus Film Canon.” Religious Education 100 (3), 2005. Henry, Frances, Carol Tator. “Deconstructing the Rightness of Whiteness in Television Commercials, News, and Programming.” Prairie Center of Excellence for Research on Immigration and Integration, 2003. Howell, Colin. “Development, Deconstruction and Region: A Personal Memoir.” Acadiensis 30 (1), 2000. Lacasse, Germain. “American Film in Quebec Theater.” Cinema Journal 38 (2), 1999. Laplante, Benoit. “The Rise of Cohabitation in Quebec: Power of Religion and Power Over Religion.” The Canadian Journal of Sociology. 31 (1). LePage, Robert. (dir). Le Confessional. Canada: Canal Productions, 1995. Loiselle, Andre, Tom McSorley. Self Portraits. Ottawa: The Canadian Film Institute, 2006. Maidment, MaDonna. Doing Time on the Outside: Deconstructing the Benevolent Community. Toronto: University of Toronto Press, 2006. Merkle, Matthias. “Images of Canada: From a Eurocentric Perspective to Multiperspectiveness.” Revue LISA Journal 3 (2), 2005. Naylor, RT. “Violence and Illegal Economic Activity: A Deconstruction.” Crime, Law and Social Change (52 (3), 2009. Seljak, David. “Resisting the No Man’s Land of Private Religion: The Catholic Church and Public Politics in Quebec.” David Lyon (ed). Rethinking Church, State and Modernity: Canada between Europe and America. University of Toronto Press: Toronto, 2000. Tentler, Leslie. The Church Confronts Modernity: Catholicism Since 1950 in the United States, Canada and Europe. The Cornac University of America Press: New York, 2007. Read More