关于《Québec-U.S.A. Ou L'Invasion Pacifique》纪录片

Québec-U.S.A. Ou L'Invasion Pacifique是一部由米歇尔·布洛尔特|克洛德·朱特拉导演的纪录片(加拿大),片长约28分钟,猫看电影(maokantv.com)免费提供《Québec-U.S.A. Ou L'Invasion Pacifique》剧情介绍、纪录片在线观看/高清HD下载(获得正版授权方可提供相关播放下载资源)

Québec-U.S.A. Ou L'Invasion Pacifique

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纪录片资料

导演:米歇尔·布洛尔特 克洛德·朱特拉

编剧:未知

主演:未知

影片分类:纪录片

制片国家/地区:加拿大

语言/原声:英语 / 法语

首映时间:

片长:28分钟

制片人:--

其他名称:Visit To A Foreign Country

IMDb码:tt0267864

纪录片剧情

This is another beautifully shot documentary by Canadian/Quebecois director's Michel Brault and Claude Jutra in the tradition of Direct Cinema. The film was directed by Brault & Jutra, shot by Brault & Gosselin, and edited by Jutra- a truly collaborative effort. Yet another glimpse into Quebec culture during the infancy of the Quiet Revolution. The film is shot as if from the perspective of a privileged toursit with most of the footage being shot from a moving car; the rest emulating the curious eye of the other- always with a keen an attentive eye observing and absorbing, not only the events, but the local inhabitants as well.

"The invader is an American tourist in the convertible racing car, armed with his camera and curious to discover French Canada like his inhabitants. Its first destination? The town of Quebec, which plunges it in the French culture without having to cross the Atlantic. This film collects with humour the glance of people of Quebec on the American tourists who come to see them." (translated from nfb.ca)

"Defending a different approach to cinema, from then on Brault was part of a new documentary process that was equally technically innovative and artistically innovative. He worked on several films that have become classics; for instance, La lutte (1961), which he photographed, edited and co-directed with Claude Fournier, Claude Jutra and Marcel Carrière; Golden Gloves (1961), directed by Gilles Groulx; and Québec USA ou l'invasion pacifique (1961), also co-directed with Jutra. In photographing all of these films, Brault deliberately used the fluid style of movement developed through his signature method of carrying the camera on his shoulder. He also made use of a wide-angle lens, which put him at the heart of the action and close to his subjects." (from filmreferencelibrary.ca)

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