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Canada 150 Filmed Le Canada 150 Au Cinéma CANADA 150 FILMED LE CANADA 150 AU CINÉMA We acknowledge the support of the Canadian Embassy in Belgrade and the Ministry of Education, Science and Technological Development of the Republic of Serbia for the publication of the Proceedings Cet ouvrage est publié avec le concours de l’Ambassade du Canada à Belgrade et le Ministère de l’enseignement, de la science et du développement techno- logique de la République de Serbie UNIVERSITY OF BELGRADE, FACULTY OF PHILOLOGY UNIVERSITÉ DE BELGRADE, FACULTÉ DE PHILOLOGIE SERBIAN ASSOCIATION FOR CANADIAN STUDIES ASSOCIATION SERBE D’ÉTUDES CANADIENNES Canada 150 Filmed Le Canada 150 au Cinéma Editors / Sous la direction de Jelena Novaković and / et Vesna Lopičić Ministarstvu za nauku i tehnološki razvoj Republike Srbije Ambasadi Kanade U Beogradu Beograd 2019 Publishers / Éditeurs UNIVERSITY OF BELGRADE, FACULTY OF PHILOLOGY UNIVERSITÉ DE BELGRADE, FACULTÉ DE PHILOLOGIE SERBIAN ASSOCIATION FOR CANADIAN STUDIES ASSOCIATION SERBE D’ÉTUDES CANADIENNES Acting Publishers / Responsables Ljiljana Marković Sergej Macura Editorial Board / Comité de rédaction Jelena Novaković, Vesna Lopičić, Aleksandra Jovanović, Sergej Macura, Tanja Cvetković, Marija Panić, Michael Keefer, Tatjana Bijelić The text approved at the meeting of the Editorial Board held on 24th January 2019 following the report by the reviewers: Accepté pour l’impression à la réunion du Comité de rédaction du 24 janvier 2019 à la base des rapports de : Radojka Vukčević Mirjana Drndarski Milica Spremić Končar Maja Ćuk Sergej Macura Cover illustration / Illustration de la couverture Nanook of the North (1922) – Robert Flaherty ISBN 978-86-6153-571-0 Table of Contents Table des matières Introduction .............................................................................................. 9 Introduction ............................................................................................ 19 Fiction in Visual Arts Janice Kulyk Keefer A Tale of Two Adaptations: Sarah Polley and Pedro Almodóvar Do Alice Munro ...................................................................................... 31 Sanja Ignjatović Almodóvar’s Julieta and Munro’s Juliet – Beyond Cultures ................... 53 Andrea F. Szabó Nation and Adaptations: Alice Munro’s Fiction in Film ........................ 65 Tanja Cvetković Alice Munro’s The View from Castle Rock and Its Theatrical Adaptation .............................................................................................. 79 Milena Nikolić Between Fiction and Film: Margaret Atwood’s The Handmaid’s Tale .............................................................................. 89 Snežana Moretić-Mićić Personal Perspectives in Public Mirrors: Margaret Atwood’s Short Stories in Drama Screenplays ....................... 99 Indigenous and Related Issues on Film Michael Keefer A Filmmaker’s Odyssey: Peter Smoczynski’s Documenting of Electoral Irregularities .............................................. 113 6 Luka Jovičić, Balša Ćeranić, Mirjana Savić Obradović Whoa, Canada? .................................................................................... 133 Pavlina Mijatović Popić Canadian Multiculturalism Today as a Redress for Past Inequities through the Prism of the Film Minoru: Memory of Exile .................... 147 Marija Krivokapić, Amela Lukač Zoranić The Black Robe among the Buckskin in Pre-Colonized Canada .......... 163 Vesna Lopičić “There’s No Stranger in the World”: A Village of Widows as Social Advocacy ............................................................................... 177 Radojka Vukčević Simone Stock’s and Misha Skoric’s Iris ................................................ 191 L’art du film et du théâtre au Canada francophone Marija Panić L’image du canada français dans Maria Chapdelaine de Louis Hémon et dans ses adaptations cinématographiques ............ 199 Katarzyna Wójcik Les adaptations de Maria Chapdelaine – le Canada au cinéma français et québécois .......................................................................................... 213 Jelena Novaković Une représentation dramatique de la situation de l’écrivain migrant : Le puits ou une histoire sans queue ni tête de Négovan Rajic .............. 225 Katarina Z. Milić L’herméneutique du monde absent : La Face cachée de la Lune de Robert Lepage .................................................................................. 235 Katarina Melić L’Histoire revisitée dans Volkswagen Blues de Jacques Poulin .......... 249 Canadian Film: Issues Vladislava Gordić Petković The Female Gaze in Atom Egoyan’s Chloe: Fatality and Fragility in Toronto .............................................................................................. 265 7 Mladen Jakovljević, Mirjana Lončar-Vujnović The Ontological Loop of John Mighton’s Possible Worlds .................. 279 Kristijan Vekonj Videodrome and eXistenZ: A New Reality ........................................... 295 Sergej Macura The Multiple Roles of James Cameron in Titanic: Storyteller, Shipbuilder and Nostalgia Maker ...................................... 307 Bojana Stamenković Film and Psychotherapy ....................................................................... 319 Valentina Rapajić Visual Symbolism of the Red Poppy and the Crib: Lt Col John McCrae’s “In Flanders Fields” (1915) and the Reverend Allan Shatford’s Christmas Message (1917) ........................................ 339 Sanja Ignjatović University of Niš, Faculty of Philosophy in Niš, Serbia ALMODÓvar’S Julieta AND MUNRO’S JULIET – BEYOND Cultures Abstract Alice Munro’s Juliet is a mosaic-like portrait of a woman developed in the course of three stories, perhaps intentionally not presented chronologically in the Runaway collection – “Chance,” “Soon” and “Silence”. Juliet is a very specific type of character both for Munro and Almodóvar for they both explore family relationships, and personal and un- spoken tragedies buried under mounds of daily-life events. This paper has two objectives, both of which surpass a mere comparison and contrast of the literary original and Pedro Almodóvar’s film “Julieta”. The first objective is to reveal the universal motivations in the two characters that go beyond the cultures that they operate in. The second objective is to describe the nature of domesticity in the context of personal freedom and family relationships, as well as gender roles, all in the context of the two cultures examined by Munro and Almodóvar, respectively. Both the literary and film protagonists – Juliet who grows up, matures and eventually grows old in Canada, and Julieta who Almodóvar molds against the Spanish conservative and patriarchal culture– have, at the core of their portraits, the exploration of the nature of personal freedom and choice colliding with familiar, social and other expectations. Keywords literary analysis, film analysis, domesticity, short fiction, narrative, Alice Munro, Pedro Almodóvar. 1. Introduction This paper deals with Alice Munro’s three short stories about one particular char- acter, and a film directed by Pedro Almodóvar inspired by those stories. These 54 Sanja Ignjatović narrative discourses, therefore, are examined as structures that are re-configured in the process of reception, but also structures that ultimately require a closure of sorts. David Herman in “How Stories Make Us Smarter” (2003) comments that “narrative is a resource for closure” (5) – an instrument that structures a particular experience in such a strategic way that enables comprehension. That does not, however, imply that narratives ‘bring closure’ – narrative discourses, be their ending “unfinished” or “unfinishable” (Herman 2003: 5), present only a starting point in the process of interpretation, and the ultimate accumulation of meaning that culminates in the reader’s story. David Herman and Richard Walsh, respectively in Story Logic and The Rhetoric of Fictionality, propose that interpretation is a creation of an entirely novel cognitive structure (Herman 2004; Walsh 2007). This cognitive approach to narrative discourse analysis does not steer far from cultural analysis. Quite the contrary, it offers an insight into how the “interpretative community” (Herman 2007) plays the pivotal role in the process of interpretation. Moreover, how the afterthought that is interpretation, the story that emerges from the narrative discourse, is shaped not only by the context of its creation, but also by the context of its interpretation. Namely, the interpretative community can be defined as a group of readers sharing a similar cultural background (Herman 2007), or in Peter Stockwell’s terms – what is created in the end, in the aftermath of the reading process, is not only a cognitive structure and a narrative derived from the discourse using the reader’s available interpretative resources, but a cultural model as well (2005: 33). The story that is the result of the reader’s applying all the available resources – educational, cultural and other– is as authentic as the author’s discourse, and liable to a nu- anced interpretation. In the same vein, it could be argued, genre transmutation, from literary to visual arts, is a cultural reconfiguration of the cognitive models offered by the original work. In his essay, David Herman notes that “narrative affords representational tools for addressing the problem of how to chunk the ongoing stream of experience into bounded, cognizable, and thus usable struc- tures” (4). By framing narratives into a specific form – genre in the
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