dc.description.abstract | In 2014, the new documentary of the quebecois director Simon Beaulieu, Miron : un homme revenu d’en dehors du monde, was released at the Festival Rendez-vous du cinema quebecois (RVCQ). After the documentaries Lemoyne (2005) and Godin (2011), the young director tried to focus on the figure of the quebecois poet Gaston Miron (1928-1996), who often presented in the manifestations and used the poetry and prose as a mean of demonstration. Today, the master book of Miron, L’homme rapaille, is considered a classic work of literature known as Quebecois.
This new film of Beaulieu is constituted only by archives, including images of the poet, images of the Quebec cinema, images that have never used by previous filmmakers. On the one hand, this thesis will analyze the role of the poet Miron in the history of Quebec. On the other hand, we try to investigate how the director Beaulieu reconstructed the trajectory of the identity quest of the people by the cinematographic language.
The first chapter traces the engagement of the poet Miron in the contemporary context of the Quebec and tries to explain the relationship between the work of the poet et the film of the director. Before we analyze the structure and the special images of the film Miron, it is necessary to apprehend the reflection of the director in his work of montage. In fact, le director Beaulieu borrowed images of previous filmmakers and recomposed the image of the era of the poet. By this gesture, Beaulieu pays tribute to Miron and the precursor directors. Actually, it is the same strategy that Miron used in his writing. Thus, we will discuss the work of the montage of the film Miron in the second chapter.
If the filmic extracts integrated into the film Miron can be considered as fragments of the collective memory, thus, viewing the film is like an audiovisual tour in the history of Quebec. Through the assemblage of disperse images, the music sometimes strong and loud sometimes weak and the verses hammered by the voice of the poet, the director Beaulieu weaves a narrative substance. This is why the film Miron is not precisely a film of the biography of the poet, nor a simple adaptation of L’homme rapaille, it is also a film that presents the interpretation of Beaulieu on the archives and history of Quebec. Therefore, the third chapter concentrates on the narrative structure of the film. Moreover, through the experimentation of images, for example, the solarization, the conflagration of images, Beaulieu changes some original images to create a different look on the past of Quebec. We will then analyze the symbol and the meaning of the images reworked in the fourth chapter.
Keywords : Quebecois cinema, Quebecois documentary, archives, identity, collective memory, interpretation on history. | en_US |