Being at Home with Roy Dupuis and Pascale Bussieres: Or, Star-Gazing in and out of Quebec
Notice bibliographique
Résumé
Let me state at the outset that I see this essay participating, very modestly, in a (queer) film studies tradition that takes seriously fan culture and the notion that star images circulate among and are productively engaged with by audiences as ideological texts of self-stylization and collective identification. As such, I wish to point out that the immediate impetus for the following reflections was this particular fan's immense pleasure in learning of the double best acting wins by Roy Dupuis and Pascale Bussieres at the 2005 Genie and Jutra Awards (for Memoires affectives and Ma vie en cinemascope, respectively). Not only did this happy coincidence present an opportunity to reflect critically on the parallel twenty-year careers of two bona fide Quebec film stars--and my own identification with them as such--it also allowed me a quasi-scholarly platform from which to hazard a few critical speculations about the nature of Quebec celebrity culture more generally. If we accept, following from Richard Dyer and others (see especially the work of Jackie Stacey), (1) that film stars can be read semiotically as clusters of signs that intersect with and communicate to spectators at given historical moments larger ideas and meanings about gender, race, sexuality, nationality, and the like; and if we agree, moreover, that the phenomenon of celebrity that underpins the star is in some fundamental way compensatory, speaking to various anxieties and/or voids in an individual's or a collective's social and psychic life, then how do we interpret the various television and film roles of Dupuis and Bussieres, as well as the equally various audience identifications they provoke? How, in turn, do those roles and identifications necessarily comment on the cultural/national nexus at the heart of the Quebec entertainment industry's surprisingly successful battle against a North American media universe saturated with American content? And how, finally, do those roles and identifications signify differently nationally and internationally? For, unlike many of their Quebec acting contemporaries, Dupuis's and Bussieres's recognizability as stars transcends the hothouse environment of the province's local media culture. This has to do, on the one hand, with the successful exporting and showcasing of their talent to the English-speaking world via Bussieres's high-profile roles in films by English-Canadian auteurs Patricia Rozema, Guy Maddin, and Jeremy Podeswa, and via Dupuis's long-running stint as Michael on the popular syndicated television series Nikita. But, as I will conclude by arguing, each actor's international appeal owes as much to their status as queer film icons, an aspect of their star personae that was arguably established at the very outset of their respective careers, and then solidified with Dupuis's role as the gay hustler Yves in Jean Beaudin's Being at Home with Claude and Bussieres's as the newly liberated Camille in Rozema's When Night is Falling--films which both enjoyed great popularity on the international film festival circuit. This, then, is the system behind my own star analysis in this essay: I begin first with a general discussion of celebrity media in Quebec, before moving on to comment briefly on the particular medium of transmission (i.e. television vs. film) of Dupuis's and Bussieres's evolving star images. Next, I offer a few observations about genre, focusing on the role played by the costume drama and the biopic in solidifying each star as both a movie celebrity and a national icon. And, finally, I conclude with some remarks on gender and sexuality as they relate to theories of (queer) spectatorship and transnational audience identification. Media In addition to having a more robust film industry than its English-Canadian counterpart, Quebec's star operates at a more fevered pitch, fueled by television talk shows like Toute le monde en parle (which attracts audiences of close to one million every Sunday evening when it airs on Radio-Canada), and by celebrity gossip magazines like Echos vedettes, 7 Jours, and Star Systeme (all owned by Pierre Peladeau fils's Quebecor Inc. …
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| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
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| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
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score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
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