Abstract
More than simply an aesthetic choice, cinema direct was the cultural articulation of an emerging post-colonial Quebec. The filmic form functioned as an ideological statement of refusal of the patriarchal documentary tradition of the National Film Board of Canada. Through the deliberate inclusion/inscription of the voices of their subjects on their films, Quebecois filmmakers sought to avoid the structural tendency of documentary forms to unconsciously colonise the objects of their gaze. The cinema direct tradition, as exemplified by Pour la Suite du Monde (Pierre Perrault, 1963) and Chronique de la Vie Quotidienne (Jacques Leduc, 1977), is analysed as the appropriate and necessary cultural response of a colonised people to their marginalisation by the dominant 'other' By articulating their condition in their own language, Quebecois filmmakers participated in the cinematic documentation of a proudly vocal Quiet Revolution.
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