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Vichy on Film: the Portrayal in Documentary Propaganda of Life Under Occupation, 1940-1944 by David William Lees

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Vichy on Film: the Portrayal in Documentary Propaganda of Life Under Occupation, 1940-1944 by David William Lees University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/75487 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Vichy on film: the portrayal in documentary propaganda of life under Occupation, 1940-1944 by David William Lees A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy in French University of Warwick, French Studies, School of Modern Languages & Cultures November 2014 Table of contents List of figures and illustrations 4 List of abbreviations 6 Acknowledgements 7 Declaration 8 Abstract 9 Introduction 10 i. Situating Vichy documentary film in the wider context 12 ii. Themes of Vichy documentary film 17 iii. Originality 18 iv. Research questions 19 v. Methodology 19 vi. Thesis outline 21 I: Tracing trajectories: the makers of Vichy documentary film 25 i. Making political film. The history of cinematographic propaganda in 26 France before the Occupation ii. Identifying Vichy’s filmmakers 31 iii. Exploring the interests of Vichy’s documentary filmmakers 38 iv. Conclusions: Towards an examination of the portrayal of life under 46 Occupation in Vichy documentary film II: Comfort in continuity: the moderate portrayal of the National Revolution in Vichy documentary film, 1940-1942 49 i. Taking comfort in the Empire: Dakar, 1940 56 ii. Shelter from an ‘evil wind’? Reassuring the public in 1941: 71 Mediterrannée/Niger, Jeunes de France, Le Maréchal Pétain à Montluçon et à Commentry iii. Reassurance in the values of the National Revolution in 1942: 111 Le Jardin sans fleurs, Travail and Nourrir la France 2 iv. Conclusions. Vichy documentary film 1940-1942: towards a brighter 138 future? III: Reassurance in continued French strength? Maintaining a moderate image of the National Revolution in Vichy documentary film in 1943 144 i. Maintaining and building on French strength in Vichy documentary 148 of 1943 ii. Supporting the strength of mothers to preserve France’s future: Louis 152 Merlin’s Le Culte des héros iii. Continuing the military way? The loyalty of veterans in Troisième 167 anniversaire de la Légion iv. Reassurance in service to the community: preparing France for the 181 future in Chefs de demain v. Conclusions. Vichy documentary film in 1943: a strong France for the 195 future? IV: Vive le Maréchal? Promoting French strength and asserting national autonomy in Vichy documentary film of 1944 199 i. Maintaining moderation in a collaborationist context: Vichy 200 documentary film in the final months of Occupation ii. Paris libre? A vision of French autonomy in Une Page d’histoire 205 iii. Conclusions: analysing documentary film in ‘endgame’ Vichy 226 Conclusions 230 Bibliography 243 Filmography 255 Appendix 1: Organisational structure of the Vichy Propaganda Ministry 262 Appendix 2: Details of archival holdings of French documentary film 262 3 List of figures and illustrations Figure 1: Poster, Eric Castel, ‘Trois Couleurs, un drapeau, un empire,’ 1940. Reproduced with thanks to the Bibliothèque de Documentation Internationale Contemporaine (BDIC), AFF30103(1) Figure 2: Film still, North African labourers pushing rubble up a hill, Méditerranée/Niger (Dir: Unknown, 1941) Reproduced with thanks to the Institut National de l’Audiovisuel (INA) Figure 3: Film still, French military and civilian personnel gather around the tricolore at Colomb-Béchar, from Méditerranée/Niger. Reproduced with thanks to INA Figure 4: Film still, a young girl offers some flowers to her mother, from La Fête des mères: Le Culte des héros (Dir: Louis Merlin, 1943). Reproduced with thanks to INA Figure 5: Film still, a mother carries her young son, from La Fête des mères: Le Culte des héros. Reproduced with thanks to INA Figure 6: Film still, a mother is shown working the land in her husband’s absence as a Prisoner of War, from La Fête des mères: Le Culte des héros. Reproduced with thanks to INA Figure 7: Film still, the tenderness of motherhood is emphasised with a mother kissing her daughter goodnight from La Fête des mères: Le Culte des héros. Reproduced with thanks to INA Figure 8: Poster, ‘Finis les mauvais jours: Papa travaille en Allemagne,’ 1943. Reproduced with thanks to the Imperial War Museum, IWM PST 3323 Figure 9: Film still, Pétain salutes the assembled légionnaires, from Troisième anniversaire de la Légion (Dir: Henri Clerc, 1943) Reproduced with thanks to INA 4 Figure 10: Film still, a family watches proceedings from a distance, from Troisième anniversaire de la Légion. Reproduced with thanks to INA Figure 11: Film still, soldiers from across the Empire pay homage to fallen comrades, from Troisième anniversaire de la Légion. Reproduced with thanks to INA Figure 12: Film still, soldiers from Africa, Madagascar and south-east Asia receive a torch in honour of fallen comrades, from Troisième anniversaire de la Légion. Reproduced with thanks to INA Figure 13: Film still, Pétain and his police guards salute the tricolore in Vichy. From Une Page d’Histoire (Dir: Unknown, probably Maurice Touzé, 1944). Reproduced with thanks to INA Figure 14: Film still, the armed French guard lining the streets outside the Hôtel du Parc emphasise French military strength. From Une Page d’Histoire. Reproduced with thanks to INA Figure 15: Film still, Pétain appears on the balcony of the Paris Hôtel de Ville. From Une Page d’Histoire. Reproduced with thanks to INA Figure 16: Film still, the Parisian crowd breaks into a rendition of the Marseillaise. From Une Page d’Histoire. Reproduced with thanks to INA 5 List of abbreviations ACE: Alliance Cinématographique Européenne AM: Actualités Mondiales BDIC: Bibliothèque de Documentation Internationale Contemporaine CDJC: Centre de Documentation Juive Contemporaine COIC: Comité d’Organisation de l’Industrie Cinématographique CGQJ: Commissariat Général aux Questions Juives CNC: Centre national de la cinématographie FA: France-Actualités FAPG: France-Actualités Pathé-Gaumont INA: Institut National de l’Audiovisuel LVF: Ligue des Volontaires français contre le bolchévisme ORAFF: Office de répartition de l’affichage français PPF: Parti Populaire Français SGI: Secrétariat Général à l’Information STO: Service du Travail Obligatoire 6 Acknowledgements I have been fortunate to receive the support of a huge number of people throughout the PhD process. Firstly, I would like to thank archivists and librarians in the UK and in France for their help navigating complex archival systems, especially Muriel Le Carpentier at the Centre National de la Cinématographie. I should also record my thanks to the Institut National de l’Audiovisuel and the Bibliothèque de Documentation Internationale Contemporaine for allowing me to reproduce images which are noted in the list of figures and illustrations. I am also indebted to the Warwick French ‘department’ for financial support provided throughout my PhD, to the Society for the Study of French History for a postgraduate travel bursary, and to the ASMCF for the Peter Morris PG Prize. I must also thank colleagues from the UK and overseas for their support with this project, especially Brett Bowles, who offered some helpful remarks before I conducted my research in Paris. At Warwick, I must thank Pierre-Philippe Fraiture, Jerry Ahearne, Cathy Hampton, Béatrice Julé-Keogan, Oliver Davis and Seán Hand. Sylvia Howell, Alison Cressey and Marion Imber have also provided constant support and friendship. My interest in modern France was sparked as a first-year undergraduate thanks to the inspirational teaching of Jim Shields. I then benefited from the friendship, support, commitment and loyalty of Nick Hewlett, whose warmth of personality is unrivalled. I am also hugely indebted to Jessica Wardhaugh, who has likewise been both a dedicated supervisor and a kind friend. Finally, my friends and family have been consistently supportive and loving throughout this PhD. Vicky Turner and Jonathan Durham always found time to share experiences. My parents, Sue and John Lees, have always shown their love and support, as have my brothers James and Christopher. I must acknowledge here the love, kindness and attention offered by my late aunt, Laura Nuttall OBE DL, who read earlier drafts of this thesis before her untimely and sudden passing in June 2014. I hope that this thesis does her proud. Above all, though, this thesis is dedicated to my wife, Jess, without whom none of this would have been possible. I owe her everything. 7 Declaration I declare that this thesis is my own work, and has not been submitted for a degree at another university. 8 Abstract During four years of Vichy rule and German Occupation, French cinema audiences were exposed to a multiplicity of filmed propaganda. Documentary films formed an important part of the cinema experience in the dark years, and from March 1943 were made obligatory in cinemas across the entire French nation. The documentaries produced, commissioned, funded and sanctioned by the cinema section of the Vichy propaganda ministry, the Secrétariat Général à l’Information (SGI), were, though, distinct from any other propaganda produced by the Vichy authorities. Far from promoting exclusionary and potentially divisive themes like anti-Semitism and collaboration, Vichy documentary films throughout all four years of Occupation projected an image of life under Pétain which was frequently idealised and represented a more moderate approach than that taken in radio or poster propaganda. Drawing on themes which had been the subject of popular support before the Occupation, in particular the family, the Empire and French international standing, along with popular symbols like the tricolore and the Marseillaise, these films ignored the upheavals of the defeat and exode of June 1940 and instead seemed to suggest that life continued as it had done before the creation of the Vichy regime.
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