Abstract
Robert Morin holds an important place in the recent history of Quebec cinema due to his unique filmic practice which constantly questions the notion of reality. Morin’s videos, even more so than his feature films shot on 35mm, overtly mix fiction and documentary to the point where any distinction between the two modes disappears completely. This draws our attention to a central aspect of his work, the phenomenon of the Spectacle. This concept, introduced by Guy Debord in The Society of the Spectacle, affords a new perspective on Morin’s oeuvre. In the process, one can identify a particular path in the development of contemporary Quebec film by which Morin’s work can be interpreted as an evolutionary development of his predecessors in the direct cinema movement.
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