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Create AccountLe Devoir is a French-language newspaper founded in Montreal in 1910 by Henri Bourassa. Known for its financial independence, this daily newspaper is still active to this day.
This entry presents an overview of Quebec cinema, from the explosion that followed Denys Arcand’s Le déclin de l’empire américain (1986) to the setback that followed 10 years later and the new wave of filmmaking that emerged at the beginning of the 21st century. It highlights the most important films, whether in terms of box office success or international acclaim, and covers both narrative features and documentaries. It also draws attention to an aspect of filmmaking that still has difficulty finding its place: women's cinema.
This entry presents an overview of Québec cinema, from the burgeoning of a distinctly Québec cinema in the 1970s, to the production explosion that followed Denys Arcand’s Le déclin de l’empire américain (1986). It highlights the most important films, whether in terms of box office success or international acclaim, and covers both narrative features and documentaries. It also draws attention to an aspect of filmmaking that still has difficulty finding its place: women's cinema.
Corridart dans la rue Sherbrooke was an exhibit of installation artworks organized by Melvin Charney and commissioned for the 1976 Olympic Summer Games in Montreal. The exhibit stretched for several kilometres along Sherbrooke Street. It comprised 16 major installations, about 80 minor installations, and several small performance venues and related projects. It was funded by the Quebec culture ministry and was intended as an international showcase for Quebec artists. But roughly a week after it was unveiled, Montreal mayor Jean Drapeau had the exhibit destroyed on the grounds that it was obscene. Most of the artists involved did not recover their works. Drapeau never apologized and subsequent legal actions dragged on for more than a decade. Given the size, scope and budget of the exhibit, the dismantling of Corridart might be the single largest example of arts censorship in Canadian history.
