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tlUMAN1U.t.:, 4~) frustratingly short. For it is here that Morris demonstrates an interest in broader critical questions of form, structure, and ethos. Nevertheless, it would be churlish in the extreme for future scholars of Canadian film culture to regret Morris's modest conclusions. A definitive study of the early development of Canadian film production has now been written, and Morris leaves to others the challenge of understanding and analysing in depth its artefacts. (DAVID CLANDFIELO) Claude Jutra. Mon oncle Antoine Art Global. 102 The publication of the text of this, one of the best-known Quebec films (produced by the National Film Board, 1970), raises interesting questions about a rarely discussed editorial dilemma: what is the bestformat for the publication of the script of a well-known film? The format presented by Jutra is deceptively simple. Apart from the credits and twenty photographs (both frame enlargements and production stills), the film is described and the dialogues reproduced in full without introductory comment or annotation of any kind. The film is divided into 19 sequences (numbered but untitled) and the dialogues are presented in a conventional play-like fashion (with a minimum of 'stage directions' in parentheses). The descriptive passages surrounding the dialogues are Wlitten in the present tense, and go well beyond the simple boundaries of what is perceived on the screen. Final and consecutive clauses abound, providing us with analysis of the action. Affective adjectives and picturesque similes and metaphors often affirm the presence of a sensibility through which the description of the film is mediated: '" une petite eglise blanchatre emerge d'un paysage qui semble fige dans Ie temps. La terre enneigee et Ie del ne font qu'une surface blanche continue sur laquelle se dessinent des petits sapins it l'encre de Chine, La dompe est un gigantesque rempart ou s'agrippent des plaques de neige, In all, then, the description is clearlycarried by a definable narrator in a way which suggests a novelizing tendency. For whom is the script intended? The curious hybrid of theatrical and novel-like modes of presentation suggests that this is not intended to be purely the novel from the film. The reader is constantly reminded by the typography and the photographs of the filmic performance on which the Wlitten text is based. It would appear that, since the work does not stand 4YO J..,.IHT.t:lU; IN t::ANADA 1979 alone as a written text, it is addressed to those who desire such a written adjunct to the film, either for nostalgia or study purposes. Students, however, will be disappointed to discover that only diegetic elements of the film (dialogues, gestures, settings, costumes, etc) are treated as signifiers and that filmic elements (framing, angles, shots, camera movements ) are strictly excluded. This is all the more disappointing since we have come to expect the publication of such detailed shot-by-shot analyses from Quebec - see, for example, the excellent series called La Collection Le Cinematographe, in which seven major film works have so far been published (from Les Ordres to La Maudite Galette, 1975-8). Prior to this series there had been a series launched by Editions L'Aurore called Lesgrandes vues, in which two scripts appeared (II etait une{ois dans I'est and Bingo, both 1974). The format of the last ofthese (Bingo) is the one used by Jutra. It is a shame to see this retrograde step being taken in the 'novelization' of filmscripts at a time when, in Quebec, the tendency is towards the serious provision of good working tools for film students. However, the existence of even such an imperfect and heavily mediated aide-memoire as Jutra's edited text is an improvement over the sorry state of the art in the rest of Canada. So far, a dozen or more filmscripts have been published of Quebec films. I am not aware of any having been published for English-Canadian films. It is a sad commentary on the state of English-Canadian film criticism and study. (DAVID CLANDFIELD) Les Etudes sociales CELINE SAINT-PIERRE Un livre de Jean-Marc Piotte, que nous connaissons deja pour ses travaux sur Gramsci et sur Lenine, est publie chez...


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