Se basant sur les théories de Colin McArthur au sujet de la reconnaissance complexe des lieux cinématographiques par le spectateur, cet article examine la représentation du Pont de Québec dans le film Le confessionnal de Robert Lepage. Les images du pont qui marquent le début et la fin du film font allusion au Forth Bridge écossais du film 39 Steps, d'Hitchcock. Ces images sont aussi porteuses d'une symbolique qui évoque des moments précis de l'histoire du Québec et du Canada. Cette utilisation polyvalente du pont illustre les façons par lesquelles le cinéma dépeint le lieu canadien à la fois comme matériau historique et potentialité cinématographique.
If the evolution o f suburbs and o f thinking about suburbs owes much to the geographical scale and material wealth of the North American continent, are the suburbs of Canada different from those of the United States? The sometimescontroversial versatility with which Canadian cities have played American ones in recent film and television productions would suggest that North American urban and suburban spaces are generic and interchangeable-or at least enough so for the requirements o f mainstream cultural industries. However, are Canadian representations o f suburbs distinctive in ways that matter? I will argue that at least in the cases of two notable Canadian films, they are. I will also, however, address some of the complicated and perhaps contradictory and controversial ways in which Canada itself can be regarded as a cultural, economic, and/or ideological suburb of the United States. The film industry itself presents perhaps the clearest and most literal instance in which Canada has been a "suburb"-that is, a subordinate satellite territory-to the United States. Since before World War II, Hollywood has dominated film production, distribution, and exhibition in Canada, treating the country as an outlying extension of its domestic market (Gittings 87). With rare exceptions, Canadian movie theatres-particularly suburban ones-have shown the same Hollywood Peter Clandfield grew up in Edmonton, Alberta, in a neighborhood that was a suburb in the 1950s but is now inner-city. Currently he teaches English at the Royal Military College o f Canada in Kingston, Ontario. He has published several articles on representations o f place, space, and urban development in contemporary novels and films. Among his other interests are theories and practices o f censorship and questions o f race and cultural hybridization.
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