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ePub Cinema of Paradox: French Filmmaking Under the German Occupation download

by Evelyn Ehrlich

ePub Cinema of Paradox: French Filmmaking Under the German Occupation download
Author:
Evelyn Ehrlich
ISBN13:
978-0231059268
ISBN:
0231059264
Language:
Publisher:
Columbia University Press; 1st edition (October 15, 1985)
Category:
Subcategory:
Humanities
ePub file:
1266 kb
Fb2 file:
1251 kb
Other formats:
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Rating:
4.7
Votes:
305

in Cinema Studies from New York University. She has taught at the University of Vermont, the City University of New York, and New York University. 7 people found this helpful.

Cinema of Paradox: French Filmmaking Under the German Occupation by Evelyn Ehrlich (1985-10-15) Hardcover – 1750.

Cinema of Paradox book. From 1940 to 1944 the French cinema thrived both economically and artistically under the Nazi occupation. Despite the harsh and grim conditions of defeat, the French film industry produced many good films and a few enduring classics, including Carne's Children of Paradise, one of the most beloved of all French films. Cinema of Paradox reveals, for the first time in English, From 1940 to 1944 the French cinema thrived both economically and artistically under the Nazi occupation.

Cinema of Paradox: French Filmmaking under the German Occupation (New York: Columbia University Press, 1985). Georges Méliès: the Birth of the Auteur (Manchester: Manchester University Press:, 2000). The New Wave: Critical Landmarks (Garden City, . Landscapes of Loss: the National Past in Postwar French Cinema (Princeton, . Princeton University Press, 1999). Marvelous Méliès (New York: St. Martin’s, 1975).

From 1940 to 1944 the French cinema thrived both economically and artistically under the Nazi occupation.

EHRLICH, EVELYN (Author) Columbia University Press (Publisher). Their job was to man and maintain the vast fleets of aircraft needed to attack German cities and industry. Imperial War Museums home Connect with IWM. Cinema of Paradox reveals, for the first time in English, the difficult course of French filmmaking from the declaration of war in 1939 through four years of misery to France's liberation in 1944.

Ehrlich, Evelyn Cinema of paradox : French filmmaking under the German occupation New York : Columbia university press, 1985 8°108. Une des nombreuses études sur le cinéma français sous l’Occupation, le livre de l’Américaine E. Ehrlich contient entre autres une analyse détaillée du célèbre film d’. G. Clouzot, "Le corbeau" (1943), censuré à la Libération comme film "anti-Français". One of many studies of French cinema during German occupation, E. Ehrlich’s book contains a detailed analysis of . Clouzot’s 1943 film The Raven

French Filmmaking Under the German Occupation.

French Filmmaking Under the German Occupation. This is the first of the paradoxes that Evelyn Ehrlich sets out to examine in her study of film making during the Occupation. A second, related paradox is that most of the films produced, and virtually all the ones of any note, were made in the occupied zone, under direct Nazi rule. In unoccupied Vichy France, by contrast, attempts to establish a major new production center - ''Hollywood on the Cote d'Azur'' - ended in failure.

From 1940 to 1944 the French cinema thrived both economically and artistically under the Nazi occupation. Despite the harsh and grim conditions of defeat, the French film industry produced many good films and a few enduring classics, including Carne's Children of Paradise, one of the most beloved of all French films.Cinema of Paradox reveals, for the first time in English, the difficult course of French filmmaking from the declaration of war in 1939 through four years of misery to France's liberation in 1944. Evelyn Ehrlich examines the conditions of filmmaking as they reflected the larger political, cultural, and social context within occupied France. And, using previously unexamined German documents, she also looks at the French film business from the occupier's perspective, showing how the Nazis actually encouraged the French to maintain their high cinematic standards to achieve German economic and propaganda goals. Cinema of Paradox goes beyond the old cliches about resistance films versus collaborationist films and in doing so is very much in line with new sophisticated methods of viewing the French experience in World War II.The book is filled with the famous names of the French cinema: performers such as Jean-Louis Barrault, Simone Signoret, and Harry Baur; directors including Bresson, Carne, and Clouzot; and the films themselves, including Les Dames du Bois de Boulogne and Le Corbeau.Based on interviews with French filmmakers of the period and on considerable research into French and German sources, Cinema of Paradox will be of interest not only to film historians but to those interested in the history of modern French and Jewish studies as well.