Years active 1963-1996 Books The St. Lawrence | Role Film director Name Pierre Perrault Art directed Shattered Glass | |
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Occupation Film director, screenwriter Died June 24, 1999, L'Isle-aux-Coudres, Quebec, Canada Movies For Those Who Will Follow, La bete lumineuse, Ka Ke Ki Ku Similar People Michel Brault, Marcel Carriere, Stephane‑Albert Boulais, Fernand Dansereau, Charles Perrault | ||
Music director Les Traces Du Reve | ||
Extrait du film gens d abitibi de pierre perrault
Pierre Perrault (29 June 1927 – 24 June 1999) was a Québécois documentary film director. He directed 20 films between 1963 and 1996. He was one of the most important filmmakers in Canada, although largely unknown outside of Québec. In 1994 he was awarded the Prix Albert-Tessier. Pour la suite du monde (1963), Le règne du jour (1967), and Les voitures d'eau (1968) make up his critically acclaimed L'Isle-aux-Coudres Trilogy. His film La bête lumineuse (1982) screened in the Un Certain Regard section of the 36th Cannes Film Festival.
Contents
- Extrait du film gens d abitibi de pierre perrault
- Pierre perrault les traces du r ve
- Peter Morris on Pierre Perrault
- Filmography
- References
Perrault originally studied law (and practiced for two years), before becoming a radio announcer, poet, filmmaker and dramatist. His first involvement with film was on the Au pays neufve France series, which was base on his radio program for Radio-Canada.
Pierre perrault les traces du r ve
Peter Morris on Pierre Perrault
Canadian film historian Peter Morris wrote this about Perrault in his 1984 The Film Companion: "The most famous direct cinema filmmaker in Quebec, who developed a unique 'cinema of speech' that has 'spoken' about Quebec, its land and its people, and that has been at once witness of its past and often prophecy of its future. His approach involves close collaboration with his cinematographers (Michel Brault and Bernard Gosselin, who often co-direct), direct involvement with the people or events, and later, a careful construction of scenes in the editing room. From the 1960s and early 1970s (on Pour la suite du monde, Le règne du jour, Les voitures d'eau and L'Acadie L'Acadie?!) through his later films on Abitibi and First Nations people, he expressed the concept of 'ethnic class' that some feel avoids more basic issues, even though it gave voice to long-buried cultural aspirations."