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The Spaces Between Grassroots Documentary ... - Ezra Winton

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the lens of inequity, where cultural ‘pipes’ originate within American cultural and<br />

financial institutions and flow into and through Canadian publics. This line of<br />

argumentation – the “Americanization” of cultural spaces/production in Canada – has<br />

also been rightly critiqued by Acland and others as essentialist and a dead-end<br />

investigation. As Bhabha reminds, the location of culture is a stratum in the complex<br />

inquiry into globalization, colonialism, hegemony and culture. He writes:<br />

What is theoretically innovative, and politically crucial, is the need to<br />

think beyond narratives and to focus on those moments or processes that<br />

are produced in the articulation of cultural differences. <strong>The</strong>se ‘in between’<br />

spaces provide the terrain for elaborating strategies of selfhood – singular<br />

or communal – that initiate new signs of identity, and innovative sites of<br />

collaboration, and contestation, in the act of defining the idea of society<br />

itself. (Bhabha, 1994, p.2)<br />

To find the ‘in between spaces’ concerning an inquiry into Canadian cinema, whether an<br />

attempt at defining society is embarked on or not, distribution and exhibition remain<br />

integral.<br />

To award the merit the quandary deserves as an incredibly intricate and<br />

indispensable part of the history of Canadian film, d/e needs to be woven into every text<br />

that seeks to provide a complicated and supra-textual analysis of the country’s cinema<br />

and cinema practices. This cementing of d/e as an integral element to the ‘national<br />

discussion of culture’ is akin to Miller et al. calling for the ubiquitous element of labour<br />

to be woven into every discussion of the political economy of media, including film.<br />

(Miller et al., 2005, p.7) While those authors site the need to reference what they call the<br />

New International Division of Cultural Labour (NIDCL) at every turn possible, there is a<br />

corresponding need to include the political economy and cultural implications of d/e in<br />

serious Canadian conversations on cinema. Miller, Govil, McMurria, Maxwell and<br />

69

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