Vive Le Québec Libre! Die Unabhängigkeitsbewegung in Québec Und Ihre Filmische Umsetzung Bei Pierre Falardeau

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Vive Le Québec Libre! Die Unabhängigkeitsbewegung in Québec Und Ihre Filmische Umsetzung Bei Pierre Falardeau Pyotr Magnus Nedov Vive le Québec libre! Die Unabhängigkeitsbewegung in Québec und ihre filmische Umsetzung bei Pierre Falardeau kassel university press Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar ISBN print: 978-3-89958-830-9 ISBN online: 978-3-89958-831-6 URN: http://nbn-resolving.de/urn:nbn:de:0002-8313 © 2010, kassel university press GmbH, Kassel www.upress.uni-kassel.de Printed in Germany In memoriam Pierre Falardeau (1946-2009) 5 i. Vorwort Ich möchte mich bei all denjenigen bedanken, die mich bei der Verfassung dieser Arbeit unterstützt haben- allen voran bei meinem Betreuer Prof. Heinrich Stiehler und meinem Zweitbetreuer Prof. Peter Cichon von der Universität Wien. Für die Unterstützung bei meinen Forschungen in Montréal spreche ich der Université de Montréal und der Cinémathèque québécoise sowie dem Office National du Film du Canada (ONF) meinen besonderen Dank aus. Für die finanzielle Unterstützung bedanke ich mich bei der Universität Wien, bei der Kunsthochschule für Medien Köln (KHM) und beim Verein der Freunde der KHM, beim Pro Scientia Studienförderungswerk sowie beim Rotary Club Innsbruck. Nicht zuletzt möchte ich meiner Mutter, Frau Dr. Anna Puşkaşu, ein großes Dankeschön dafür aussprechen, dass sie mir stets mit Rat und Tat beigestanden ist und mich bei all meinen Vorhaben und Projekten unterstützt hat. 6 gefördert durch das Forschungsstipendium 2007 der Universität Wien 7 ii. INHALTSVERZEICHNIS i. Vorwort ....................................................................................................... 5 I. EINLEITUNG............................................................................................ 11 I.1. Synopsis .......................................................................................................................11 I. 2. Kino und Politik in Quebec.......................................................................................14 I.2.a. Forschungsstand.........................................................................................................14 I.2.b. Überlegungen zur Filmproduktion in Quebec ...........................................................16 I. 3. Einleitendes zu Pierre Falardeau .............................................................................19 II. EXKURS QUEBECKISCHER NATIONALISMUS ........................... 21 II.1. Vom Überlebensnationalismus Duplessis` über die Révolution tranquille zur Unabhängigkeitsbewegung in Quebec.............................................................................21 II.1.a. Die Stille Revolution („Révolution tranquille“) (1960-1965) ..................................22 II.1.b. Radikalisierung des Unabhängigkeitsdiskurses in Quebec (1965-1980) .................25 II.1.b.1. Die Oktoberkrise von 1970....................................................................................27 II.1.b.2.Sprachpolitik in Quebec .........................................................................................29 II.1.c.Die Phase nach 1980. Umorientierung des Unabhängigkeitsdiskurses. „nationalisme civique“ vs. „nationalisme ethnique“...........................................................33 III. FALARDEAUS „CINÉMA DE GUERRILLA“: DIE 1970ER ......... 36 III.1.a. Quebec als kolonisiertes Land : « Continuons le combat » (1971).........................37 III.1.b. Vom Leben und Tod im Parc Belmont : Falardeaus « À mort» (1972)..................40 III.1.c. Un film subversif : « Les Canadiens sont là» (1973)...............................................41 III.1.d. Vom fascisme ordinaire in Quebec : « Le Magra » (1975) ....................................43 III.1.e. Algerien als Beispiel für Quebec ?Á force de courage (1976)................................46 III.1.f. Quebec auf Selbstssuche: Pea Soup (1978).............................................................49 III.2. Le „Cinéma de guerrilla“ und die Filmpolitik im Quebec der 1970er...............53 III.2.a. „récit économique“ vs. „récit identitaire“................................................................54 III.2.b. Falardeaus filmischer « récit identitaire » und die Filmpolitik in Quebec..............58 III.3. Falardeaus „Cinéma de guerrilla“ und die Unabhängigkeitsbewegung Quebecs der 1970er...........................................................................................................................61 IV. FALARDEAUS POSTREFERENDUM- KINO DER 1980er........... 65 IV.1. Die Unabhängigkeitsbewegung Quebecs in den 1980ern.....................................65 IV.1.a.Das Referendum von 1980.......................................................................................65 IV.1.b.Trudeaus „accord de la cuisine“oder die „Nacht der langen Messer“in Quebec.....67 IV.1.c.Die Verfassungskrise und die Spaltung des PQ.......................................................72 IV.1.d.Lévesques beau risque: „Meech Lake“ ...................................................................73 IV.2. Das Ende des „récit identitaire“ : Filmpolitik im Quebec der 1980er...............75 IV.3. Der Unabhängigkeitsdiskurs im Kino Falardeaus der 1980er ............................78 IV.3.a. Ein poetischer Angriff gegen den „récit économique“: Falardeaus Speak White (1980)...........................................................................................79 IV.3.a.1. Das thematische Tryptichon in Speak White: die „progression de la colère“ ......80 IV.3.a.2. Das Paradigma der Gegensätze in Speak White...................................................85 IV.3.a.3 Diffusion von Speak White: “un travail de vietnamien” .....................................85 IV.3.b. Humor als politische Waffe: Falardeaus Elvis Gratton (1981-1985) ....................86 IV.3.b.1.Zur Kritik von Elvis Gratton................................................................................89 IV.3.b.2. Das Kunstprodukt Elvis Gratton: die Liaison zwischen dem „récit économique“ und dem „récit identitaire“ ..................................................................................................91 8 IV.3.c. Ein Film über die Freiheit: Falardeaus Le Party (1989) ........................................94 IV.3.c.1. Zur Kritik von Falardeaus Le Party ....................................................................96 V. FALARDEAUS FILMISCHE REINTERPRETATION DER VERGANGENHEIT: 1990- 2004 ................................................................ 99 V.1. Die Unabhängigkeitsbewegung Quebecs seit 1990.................................................99 V.1.a. Vom Scheitern des Charlottetown- Abkommens bis zum Referendum von 1995...99 V.1.b. Das Referendum von 1995 .......................................................................................102 V.1.c. Die Unabhängigkeitsbewegung in Quebec und die Immigranten............................104 V.1.d. « Qui est québécois? »..............................................................................................106 V.1.e. Die Unabhängigkeitsbewegung in Quebec nach 1995 .............................................109 V.1.e.1. Die Debatte um die Legitimität der unilateralen Sezession Quebecs....................109 V.1.e.2. Der Clarity Act.......................................................................................................114 V.1.e.3. Die Unabhängigkeitsbewegung Quebecs nach 2000.............................................116 V.1.f. Perspektiven der Unabhängigkeitsbewegung Quebecs.............................................116 V.2. Tendenzen der Filmpolitik in Quebec seit 1990 .....................................................119 V.2.a. Das Erfolgsrezept « récit identitaire » + « récit économique » ...............................119 V.2.b. Vom „cinéma d´auteur“ zum „cinéma populaire“ ...................................................120 V.3. Die Postmoderne und das quebeckische Kino ........................................................123 V.3.a. « l´autopsie d´une passion »: Falardeaus Le Steak (1992).......................................123 V.3.a.1. Zur Struktur von Le Steak: Zwischen Dokumentar- und Spielfilm.......................125 V.3.a.2. Le Steak: Ein politischer Film?.............................................................................133 V.3.b. Zurück zum « cinéma de guerrilla »: Falardeaus Le temps des bouffons (1993)....134 V.3.b.1. Zum Inhalt von Falardeaus Le temps des bouffons ...............................................137 V.3.b.2.Falardeaus Le temps des bouffons: ein kinematographisches Agitprop-Pamphlet.140 V.3.c. Octobre (1994) .........................................................................................................143 V.3.c.1. Zum Inhalt und Struktur von Falardeaus Octobre.................................................145 V.3.c.1.a. Die Hollywood- Form von Octobre....................................................................148 V.3.c.1.b. Der separatistische Diskurs in Falardeaus Octobre............................................150 V.3.c.2. Die Entmystifizierung der Oktoberkrise................................................................151 V.3.c.3. Zur Finanzierung und Kritik von Falardeaus Octobre ..........................................152 V.3.c.3. a. Die Affäre Gigantes...........................................................................................154 V.3.c.3.b. Zur Kritik von Octobre in „English-
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