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Dear Professor, I can’t believe you didn’t screen the film C.R.A.Z.Y which revolves around the second youngest son in a family of five sons who struggles to come to terms with his sexual identity and a desire to be normal as his tumble brothers. Zachary born on 25th of December 1960 feels disconnected to his brothers who appear to be different from each other in character. The story revolves around a family disintegrated by family indifference that forms the background of Quebec films. To his mother, Zachary was like a miracle son touched by God since he shares the same birth day as Jesus Christ. Despite her mothers pride about this day, Zac has always hated the idea. His father on the other hand, to his father, he is a young man who more than anything should develop to be a man and not a sissy. As the boy grows into an adult, he finds it hard to live up to the ideas of mother or father.
The film C.R.A.Z.Y directed by Jean Marc Vallee explores around an object that is most important. His point is organized in a way that it encompasses an important whole. His themes incorporate structural coherence that exhibited in Quebec’s culture. He focuses on religion as a product of historical forces and the result of power games. Through religion, the movie expresses the legitimate offspring and the church and holy mother. The film C.R.A.Z.Y enlists religious beliefs and how it affects a country’s population that begins at the family level. The end of the films portrays the end of a period that is also elicited in Marshall’s approach to Quebec national cinema. In the book Quebec National Cinema, Marshall assumes the existence of particularity. His reflexive book focuses on problems and the conceptualization of particulars based on nationhood. He expresses his sympathy to Quebec’s nationhood based on hegemonic potential. Like the movie C.R.A.Z.Y, Quebec cinema talks about authentic issues from the local cultural perspective to provide the funding structures, cultural industries and neo-colonizing forces.
This French-Canadian film highlights different genres such as dysfunctional family and gay issues thus portraying how a nation should look like and its national identities. We realize that at birth, Zac was dropped on his head and survived the fall. His mother therefore thinks that he posses healing powers. She bases her belief in the fact that Zac as Jesus Christ, were born on 25th of December. Religious belief is key factor that identifies a nation. He develops a special relationship with his father whom they always spend time together while driving in a car together listening to blaring music. In his later years, his father begins to think that he is turning out to be soft.
The family seems broken apart because everybody acts differently. After breaking his Dad’s record collection, Zachary tries to win his love back amid the ambivalent relationship he has with his tattooed brother. The father son relationship is similar to that people wince over when their presence is felt. This encompasses the debate in the Canadian culture. We see in the film that Zachary’s dad often insisted on singing at every family function and further insists on being idealized by his sons.
Multiculturalism in Canadian cinema is depicted by the fact that the film C.R.A.Z.Y encompasses two decades of the 70s and 80s through the use of music from a ray of singers. Zac is depicted to fantasize about levitating in church and sympathizing with the devil. The change through decades is also depicted by Zachary’s various hair styles and cloth transformations. As a teenager, the film depicts much stuff that young people can relate to. Such things involve agonizing about attraction another man, being in love with one’s cousin and sneaking to smoke cigarettes.
Unlike the English cinema, Marshal historically and theoretically gives account of Quebec cinema as producing and envisioning the nation. Through this, he is able to identify elements of faultiness in the cinema. These elements include time, space, identity and recognition. The writer’s master problematic approach is informed by the concept of imagined community and conversations of personal identity. Marshal outlines a variety of factors that influence film production, reception and articulation of cultural identity.
The film asks about the kind of identity articulated by the people of Quebec in their film. This is done through Zac’s search of identity as a homosexual. He is torn between wanting to make his father see him as a man and not a sissy. The book Quebec National Cinema by Marshal, explains the problems faced by Quebec’s national cinema. He also highlights the following paradigms such as post-modernity, modernity, heterogeneity, auterism and realism as affecting the national cinema.
In his modernity and post-modernity chapter and in trying to create a connection of one’s individual to history, Marshal indicates that as from 80’s the cinema in Quebec became less concerned with a nation’s self determination. All the concentration was directed toward the family as the starting point of a nation’s well being. He observes cultural and global flows in communication. Modernity and post-modernity are articulated in four different variations i.e. the city, diagnostic, memory and pastiche. In Quebec’s cinema, nuclear family and homosexuality have been used to express national tension. And thus Marshall provides a comprehensive analysis of cultural and historical phenomenon to support his explanation of Quebec cinema. The cinema not only provides the basis of reference and methodology, but also provides an appetite for further research.