The Quiet Revolution Parts I and II
- Submitting institution
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Birmingham City University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 34Z_OP_Q3001
- Type
- Q - Digital or visual media
- Publisher
- 101 Films
- Month
- -
- Year
- 2020
- URL
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https://www.researchcatalogue.net/view/1167974/1167975
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
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- Proposed double-weighted
- Yes
- Double-weighted statement
- This project comprises two documentaries from 2019 and provides a sustained examination of Canadian horror cinema from the 1960s to the present. Part one of the project (70 minutes) considers social and political tensions in 1970s Quebec horror cinema, while part two (52 minutes) examines contemporary indigenous/diasporic film trends. The portfolio contributes new knowledge to the study of regional tensions within Canadian society, as well as representations of diversity in its horror traditions. The project incorporated archival materials with interviews from 17 leading Canadian filmmakers. It was commissioned by distributor 101 Films for UK national release.
- Reserve for an output with double weighting
- No
- Additional information
- This two-part documentary (which Mendik co-directed and co-researched) examines Canadian horror cinema from the 1960s onwards. It contextualises the genre through wider tensions surrounding national identity (part one, 70 minutes), and struggles for representation as advanced by female and indigenous filmmakers (part two, 52 minutes). This project advances previous documentaries on Canadian cinema that Mendik completed (2016), while seeking to add new knowledge to academic debates around Quebecois filmmaking and indigenous filmmaking that apply to horror cinema. Currently, accounts of Canadian horror (Vatnsdal 2004, Mathijs 2008 and Freitag & Loiselle 2015) fail to fully situate these studies against the regionalised tensions that underpin these creations. Equally, while discussions of indigeneity are embedded within academic examinations of Canadian cinema (Gittings 2002), they remain isolated within ethnographic considerations, whereas the documentary provides a primary consideration of indigenous/diasporic trends in Canadian horror. As part of his analysis Mendik employs a range of historical and sociocultural methodologies derived from academic studies of Canadian national cinema and indigeneity, applying these perspectives to the following research questions: To what extent can 1960s and 1970s horror films be seen as reflecting wider social and historical tensions within Quebecois society? What does the critical reception of Quebecois horror reveal about the wider funding structures that underpinned 1970s populist film production? What was the historical significance of Toronto based film education to 1980s horror production trends? How are identity politics and diaspora filmmakers shaping debates within contemporary Canadian horror cinema? The documentary was commissioned for national release by 101 Films, and both components of the project have sold in excess of 5,500 units across the UK. A 2020 festival cut of the documentary was later released, winning awards for Best Documentary (Montreal Independent Film Festival, 2020) and Best Editing (The Diabolic Film Festival [USA], 2020).
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -