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Le Festival International Du Film De Montréal De 1960 À 1967, Du Personnalisme Au Néonationalisme

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Le Festival International Du Film De Montréal De 1960 À 1967, Du Personnalisme Au Néonationalisme Université de Montréal Cinéma et modernité Le Festival international du film de Montréal de 1960 à 1967, du personnalisme au néonationalisme par Antoine Godin-Hébert Département d’histoire Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maîtrise ès arts (M.A.) en histoire Décembre 2016 © Antoine Godin-Hébert, 2016 Résumé En 1960, Fernand Cadieux et Pierre Juneau créent le premier Festival international du film de Montréal. Chaque année le Festival a lieu au mois d’août jusqu’à l’Expo 67, événement qui marque à la fois le point culminant et final de cette aventure culturelle. L’histoire de cette institution touche à la culture, au personnalisme, au nationalisme, à la cinéphilie ainsi qu’à l’institutionnalisation et à l’industrialisation du cinéma au Canada et au Québec pendant les années cinquante et soixante. Conçu sous le régime politique de Duplessis par d’anciens membres de la Jeunesse étudiante catholique qui deviendraient presque tous fédéralistes, le Festival constitue un objet idéal d’histoire culturelle propice à étendre la compréhension des origines catholiques de la Révolution tranquille. Au plan culturel, il permet aussi de comprendre plus finement la resynchronisation du Québec dans la trajectoire de la modernité, ainsi que les répercussions du choc entre nationalistes et gauchistes québécois contre libéraux fédéralistes. Ce mémoire permet aussi de découvrir le FIFM comme institution cinématographique québécoise, le réseau d’acteurs et d’établissements qui le soutiennent et l’objet de leur passion : les films. La présente analyse explore la manifestation dans ses dimensions à la fois cinématographique et politique, artistique et historique. Mots-clés : Canada, Québec, modernité, tradition, Révolution tranquille, fédéralisme, nationalisme, universalisme, personnalisme, génération, réseaux sociaux, mouvements catholiques, institutions, ciné-clubs, duplessisme, idéologie, culture, cinéphilie, cinéma, festival, film. Abstract In 1960, Fernand Cadieux and Pierre Juneau founded the first Montreal International Film Festival. This great cultural adventure was held each August, up until what became its culminating and final year: that of Expo ’67. The history of the festival is intrinsically linked to culture, personalism, nationalism, and cinephillia, as well as the institutionalization and industrialization of cinema in Canada and Quebec during the 1950s and 60s. Created under the political regime of Duplessis by former members of the Jeunesse étudiante catholique (Young Christian Students), who would almost all become federalists, it became apparent to me that the festival constituted a cultural-historic event conductive to expanding our understanding of the Catholic origins of the Quiet Revolution. It also allowed for a finer understanding of the resynchronization of Quebec with modernity and the shock waves that emanated from this change, in particular, between leftists Quebec nationalists against federal Liberals. Moreover, this paper allows us to discover the FIFM in its role as a Quebec cinemagraphic institution, as well as the community of actors and establishments that supported it and the object of their passion: film. The wager is therefore, to analyze in one hundred or so pages, the multiple facets of these issues: the cinemagraphic, political, artistic and historic. Keywords : Quebec, Canada, modernity, tradition, Quiet Revolution, federalism, nationalism, universalism, personalism, generation, social networks, catholic lay movements, institutions, film societies, Duplessis, ideology, culture, cinephilia, cinema, festival, films. ii Table des matières Résumé ......................................................................................................................................... i Abstract ....................................................................................................................................... ii Table des matières...................................................................................................................... iii Tableau ....................................................................................................................................... vi Liste des sigles .......................................................................................................................... vii Remerciements ........................................................................................................................... ix Introduction ................................................................................................................................. 1 Problématique : Le festival comme objet d’étude .................................................................. 1 État des connaissances : L’art entre histoire et critique .......................................................... 6 Cadre conceptuel : Tradition, modernité et Révolution tranquille ......................................... 8 Définition de la Révolution tranquille ................................................................................ 9 Modernité, temps et Révolution tranquille ....................................................................... 11 Les réseaux sociaux .......................................................................................................... 14 Génération ou jeunesse? ................................................................................................... 14 Sources .................................................................................................................................. 17 Méthodologie ........................................................................................................................ 18 Une analyse en quatre chapitres ............................................................................................ 19 Chapitre 1 - De l’engagement chrétien au cinéma .................................................................... 20 1.1 Modernité et cinéma au Québec, synchronisé ou désynchronisé? ............................ 20 1.1.1 Cinéma américain ................................................................................................. 20 1.1.2 L’Église catholique ............................................................................................... 21 1.1.3 Narrativité et identité ............................................................................................ 23 1.2 JEC, internationalisme et cinéma : la mobilisation sous Fernand Cadieux .............. 24 1.2.1 JEC internationale et l’après-guerre : du marxisme au cinéma ............................ 25 1.2.2 Le cinéma à la JEC du Canada ............................................................................. 29 1.3 Images ....................................................................................................................... 40 iii 1.4 Matrice du Festival : Université de Montréal et Groupe de recherche sociale (GRS) 41 1.5 Conclusion ................................................................................................................ 45 Chapitre 2 - Une manifestation cinématographique ................................................................. 47 2.1 FIFM : l’an 1 ............................................................................................................. 47 2.2 Survol 1960-1967...................................................................................................... 51 Financement ...................................................................................................................... 54 2.3 Un festival international non-compétitif ................................................................... 57 2.4 Sélection des films .................................................................................................... 59 2.4.1 Le cas américain et la Motion Picture Association of America (MPAA) ............ 59 2.4.2 Attitude de l’industrie ........................................................................................... 62 2.4.3 Cinéma indépendant.............................................................................................. 64 2.4.4 Critères de sélection .............................................................................................. 66 2.5 Événements spéciaux ................................................................................................ 68 2.5.1 Japon ..................................................................................................................... 68 2.5.2 Semaines des cinémas nationaux : les obstacles ................................................... 70 2.5.3 Cinémas tchécoslovaque et polonais .................................................................... 72 2.5.4 URSS..................................................................................................................... 75 2.5.5 Semaine du cinéma suédois .................................................................................. 76 2.5.6 Semaines du cinéma international ........................................................................ 76 2.6 Expo 67 ..................................................................................................................... 78 Chapitre 3 - Une manifestation politique .................................................................................. 80 3.1 Censure ....................................................................................................................
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