JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Notes

1. I am borrowing as my epigraph the dedication used by Claude Jutra for his short documentary Rouli-roulant (The Devil’s Toy, 1966). [return to page 1]

2. All translations from the French in this article are by the author unless otherwise noted.

3. I am aware of the sensitivity around grafting this term onto this situation, away from its historic context, and do so simply to evoke the post-scandal French-language debates in Quebec, which frequently heard the late filmmaker’s defenders use “lynchage” figuratively to denounce the hasty extirpation of Jutra’s name and reputation from the culture.

4. I was 21 in 1969, already a criminal, when Justin Trudeau’s father Pierre initiated the decriminalization of sodomy between two adults of 21 years or more in private; I was 40 in 1988 when another Liberal government lowered the age of consent for homosexual relations from 21 to 18 (in comparison to the heterosexual age of consent then in effect of 14 years). The 1988 change of the age of consent retroactively decriminalized my primary relation of the day with a man born in 1962 who had become my partner at the age of 20, a relationship to which he could not legally consent.

5. To use a term borrowed from Dr. Kinsey by Gayle Rubin (1984).

6. Here is not the place to comment on that contradiction in Canadian film culture, which dictated that no francophone [or anglophone?] intervener in the Jutra affair had read my full analysis, rather only a fragmentary excerpt that had been translated into French in the online journal Nouvelles vues sur le cinéma québécois and cited in the incriminating biography (Waugh 2004,
http://www.nouvellesvues.ulaval.ca/fileadmin/nouvelles_
vues/fichiers/Numero2/parler_waugh_1.pdf
).

7. I am grateful to Toronto psychiatrist Dr. Frank Sommers for having provided an ambitious and lengthy interview he conducted in English with Jutra about his creative process in 1979, from which I have excerpted my two epigraphs of that year. © Dr. Frank Sommers, 360 Bloor St. West, Toronto.

8. See the amazingly prophetic and risqué proto-feminist short essay film La beauté même by the NFB editor Monique Fortier, 1964. Available for streaming on the French-language NFB site https://www.onf.ca/film/beaute_meme/.
I encourage even readers who cannot follow the French narration to explore this amazing film.

9. The bilingual Leonard Cohen (1934-2016), Jutra`s contemporary fellow habitué of Montreal bohemia, then known principally as a poet, took on the job of versioning À tout prendre in English.

10. Thanks to the Cinémathèque québécoise site for this bit of synopsis: http://www.cinematheque.qc.ca/tout-prendre

11. My translation is taken from the original French version. Leonard Cohen’s 1965 English version is abbreviated and slightly loose: “I do not say yes but I do not deny it either. With those woman’s hands of hers, Johanne unfolded my confession and I gave her that secret ancient as my first memories, without pain, without shame. And so this longing imperial and unsatisfied longing has taken at last the form of hope.”

12. In this argument, and occasionally elsewhere I am self-cannibalizing my 2006 analysis. [return to page 3]

13. I am of course using the concepts introduced by Foucault in his brief and dismissive discussions of the sexual revolution (Foucault 1979).

14. I am greatful to Toronto psychiatrist Dr. Frank Sommers for having provided an ambitious and lengthy interview he conducted in English with Jutra about his creative process in 1979, from which I have excerpted my two epigraphs. © Dr. Frank Sommers, 360 Bloor St. West, Toronto. [return to page 3]

15. The Cinematheque québécoise, the organization that holds the rights for À tout prendre offers a very rich online focus on this film (collections.cinematheque.qc.ca/en/dossiers/a-tout-prendre/) and in August 2017, 18 months after removing Jutra’s name and photo from their main screening room, penitently offered a summer screening selection of five Jutra features (À tout prendre, Mon oncle Antoine, Comment savoir…, Pour le meilleur et pour le pire, La dame en couleurs). For access to Jutra’s oeuvre consult the accompanying note to this special section.

16. Weinmann (2016) also used the term “mémoricide.”

17. Of these, one, the anonymous “Jean,” alleged continual sexual assault for a decade beginning at the age of 6, facilitated by Jutra’s friendship with his family, and causally linked this experience to his dysfunctional and troubled adulthood; the non-anonymous other, Bernard Dansereau, alleged to have received Jutra’s advances at the age of 11 or 12 but to have successfully rebuffed them, and then to have gone on to collaborate as an adult filmmaker with his erstwhile would-be abuser (Pilon-Larose 2016a, 2016b).

18. Contact the author for “advice” on accessing this film for research purposes.

19. In response to the query in solidarity of a friend/colleague as to whether the word “genocidal” here might be “misplaced,” I offered a tirade about “concentration camps, permanent sex offender registries, civil commitments with no time limit, chemical castrations, erasure of history and identity, destruction of archives, vigilante mobs, forced clandestinity and exile, violation of rights of freedom of assembly and speech etc.” This footnote was spawned to justify my word choice. In contrast to the ample archives of genocide kept by the Nazis, the Turks and the Canadian Indian Residential School system, documentation of this genocide is de facto and de jure largely absent because it is illegal. However, readers seeking further information may begin by consulting Thomas K Hubbard and Beert Verstraete, eds., Censoring Sex Research: The Debate over Male Intergenerational Relations (Routledge 2013). For accounts of the destruction of archives and U.S. resistance to sex offender legal abuse, see these online clippings:
https://www.ipce.info/ipceweb/Library/guide_brong_01feb_eng.htm
and https://en.wikipedia.org/wiki/Reform_Sex_Offender_Laws,_Inc.

References

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———. 2003. “Shame, Theatricality, and Queer Performativity: Henry James's The Art of the Novel.” In Touching Feeling: Affect, Pedagogy, Performativity, 35-65. Durham: Duke University Press.

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