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The Pennsylvania State University the Graduate School College of The The Pennsylvania State University The Graduate School College of the Liberal Arts STRATEGIES OF THE FRENCH WAR FILM A Thesis in French by Noah McLaughlin 2007 Noah McLaughlin Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2007 The thesis of Noah McLaughlin was reviewed and approved* by the following: Allan Stoekl Professor of French and Comparative Literature Chair of Committee and Thesis Adviser Kathryn M. Grossman Professor of French Matthew Jordan Assistant Professor of Film, Video and Media Studies Sanford Schwartz Associate Professor of English Thomas A. Hale Edwin Erle Sparks Professor of African, French and Comparative Literature Head of the Department of French and Francophone Studies *Signatures are on file in the Graduate School iii ABSTRACT The relationship of French national identity to its cinema is a well-established field. Yet, most studies have so far either taken a broad historical approach or focused on a particular director or period. Using various theoretical approaches, this project seeks to investigate an area so far ill- or untreated by scholars: what is the relationship of film form to the ideas circulated by a given work, whether they be overt or hidden? To answer this question, the present study makes a close formal analysis of ten French war films from across the Twentieth century. One significant challenge is to appropriately define the area of study, for the French war film is quite different from its Anglo-American counterpart, and the current study undertakes a gradual redefinition of this sub-genre of the historical film. War films are a subject of choice because they react to, or seek to represent, particular moments of crisis for national identity, especially considering France’s troubled experiences during the past hundred years. Thus, one can examine films made under the shadow of war as well as movies made at a historical remove from their subject. This duality of temporal distance and social function allows the current study to employ a dual prism: looking at movies as both documents of social history and as increasingly legitimate historical reconstructions. The chronological breadth of this project, from Abel Gance’s 1919 J’Accuse to Jean-Pierre Jeunet’s 2004 Un long dimanche de fiançailles, permits us to suggest an evolution of strategies, ranging from literary appropriation, to allegory, to Barthesean myth and artificial myth and most recently to experiments in history. iv TABLE OF CONTENTS LIST OF FIGURES .......................................................................................................vi ACKNOWLEDGEMENTS.......................................................................................... vii Chapter 1: Introduction ...................................................................................................1 Reconnaissance ...........................................................................................................2 Theory: The Toolbox Approach ..................................................................................7 Strategies ....................................................................................................................8 Chapter 2: Literary Appropriation .................................................................................14 J’Accuse: New Uses for Old Verses ..........................................................................18 Tragédie................................................................................................................20 Les poètes: Filling the Silence ...............................................................................26 Pour les yeux: L’alchimie du Verbe.......................................................................29 Conclusion ............................................................................................................36 Une affaire de femmes: Adapting the Past for the Present ..........................................38 Adaptation.............................................................................................................39 Naturalism, Voyeurism and Surveillance...............................................................48 Social Commentary ...............................................................................................54 Conclusion ............................................................................................................62 Chapter 2 Conclusion ................................................................................................65 Chapter 3: Allegory.......................................................................................................68 La Grande Illusion: Chimeras of Equality.................................................................72 Renoir’s Interventions ...........................................................................................73 Cinematography....................................................................................................75 The Gender Paradox: Answers in Drag..................................................................85 Conclusion ............................................................................................................91 Les Visiteurs du soir: Dreaming the Occupation ........................................................92 Intradiegetic Associations......................................................................................93 Extradiegetic Associations.....................................................................................98 The Third Republic: Illness, Insularism and Torpor.............................................105 Occupation: Violence, Duplicity and Indignation ................................................110 The Possibility and Problems of Resistance.........................................................113 Chapter 3 Conclusion ..............................................................................................115 Chapter 4: Myth..........................................................................................................118 La Bataille du rail: “the mythic film of the Resistance”...........................................120 A Will Towards Authenticity...............................................................................123 Characterization ..................................................................................................128 Spectacle.............................................................................................................131 Conclusion ..........................................................................................................133 v The Battle of Algiers: History as Camouflage ..........................................................135 The Many Faces of Ali la Pointe..........................................................................142 Three Women, Three Bombs...............................................................................146 Coda Ballet..........................................................................................................149 Conclusion ..........................................................................................................152 Chapter 4 Conclusion ..............................................................................................155 Chapter 5: Artificial Myth...........................................................................................159 L’Armée des ombres: Melvillian Resistancialism.....................................................164 Critical Receptions ..............................................................................................166 Film Form ...........................................................................................................168 Hypertextuality....................................................................................................177 Conclusion ..........................................................................................................184 Le Chagrin et la pitié: Seek Your Own Truth ..........................................................187 Praises.................................................................................................................189 Criticisms............................................................................................................191 The Illusion of Objective History.........................................................................197 As Historiophotic Model .....................................................................................200 “Sweeping the Clouds Away”..............................................................................207 Chapter 5 Conclusion ..............................................................................................209 Chapter 6: Experiments in History ..............................................................................213 Laissez-passer: New History & Old Myths..............................................................217 Historiophoty at its Best ......................................................................................219 Lessons Learned..................................................................................................224 The Persistence of Myth ......................................................................................228 Conclusion ..........................................................................................................232
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