Acknowledgements

Introduction: The Urban Imaginary in Canadian Cinema

The City of Faith: Navigating Piety in Arcand’s Jésus
de Montréal (1989)

The City of Dreams: The Sexual Self in Lauzon’s Léolo
(1992)

The Gendered City: Feminism in Rozema’s Desperanto
(1991), Pool’s Rispondetemi (1991), and
Villeneuve’s Maelstrom (2000)

The City Made Flesh: The Embodied Other in Lepage’s Le
Confessional (1995) and Egoyan’s Exotica (1994)

The Diasporic City: Postcolonialism, Hybridity, and Transnationality
in Virgo’s Rude (1995) and Mehta’s
Bollywood/Hollywood (2001)

The City of Transgressive Desires: Melodramatic Absurdity in
Maddin’s The Saddest Music in the World (2003) and
My Winnipeg (2006)

The City of Eternal Youth: Capitalism, Consumerism, and Generation
in Burns’s waydowntown (2000) and Radiant City
(2006)

The City of Dysfunction: Race and Relations in Vancouver from
Shum’s Double Happiness (1994) to Sweeney’s
Last Wedding (2001) and McDonald’s The Love Crimes
of Gillian Guess (2004)

Conclusion: National Identity and the Urban Imagination

Notes

Bibliography

Index