DOCSLIB.ORG

Zkg2.Pdf (1.377Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zkg2.Pdf (1.377Mb) DARK YEARS, DARK FILMS, LONG SHADOWS: THE OCCUPATION, NOIR, AND NATIONAL IDENTITY IN FRENCH FILM AND CRITICISM A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zachary Kendell Gooch January 2014 © 2014 Zachary Kendell Gooch DARK YEARS, DARK FILMS, LONG SHADOWS: THE OCCUPATION, NOIR, AND NATIONAL IDENTITY IN FRENCH FILM AND CRITICISM Zachary Kendell Gooch, Ph.D. Cornell University 2014 Although the term arises in French film criticism, “noir” has long been associated with American cinema and a certain, recognizable type of visual and thematic style. Through a return to the French critics of the late 1930s, 1940s, and 1950s this dissertation defamiliarizes and redefines noir’s value to film and French studies by demonstrating its negatively constitutive role in the negotiation of French national identity and the central place of the Occupation in any discussion of French noir. By locating noir within criticism and performing close readings of the critical archive, which includes figures as diverse as Georges Sadoul and André Bazin, Lucien Rebatet and François Truffaut, I argue that noir critical discourse is defined by a tension between the category’s ever-changing value and the efforts of those who deploy it to fix the meaning of the nation before, during, and after the Occupation through careful omissions of the historical, collective memory. Because noir is central to debates on how the nation should and, more precisely, should not be represented, I also resist conventional, generic approaches to advance that individual films noirs are secondary to noir critical discourse. Particular films, such as those by Julien Duvivier, Jean-Pierre Melville, and also Henri Decoin’s lesser-known Non coupable (Not Guilty [1947]) may thus only be viewed as “noir” insofar as they bring into frame aspects of recent French history and sociocultural identity left out of dominant narratives of the national imaginary. Ultimately, through a focus on the critical and filmic archives and the dynamic value of noir during an era marked by the Occupation, I wrest noir scholarship from the hegemony of Hollywood and the rigidity of conventionally generic readings to restage it as the beginning of a new conversation. Film noir, that is to say, French film noir as I articulate it here brings together questions of not only national cinema, but of the larger obstacles facing any articulation of national identity related to the era that shares noir’s name: the Occupation, the dark years, les années noires. BIOGRAPHICAL SKETCH Zachary Gooch earned his Bachelor of Arts in French, with Honors and Distinction, and his Bachelor of Arts in English, with Honors, from The Ohio State University in 2005. He was admitted to the doctoral program in French in the Department of Romance Studies at Cornell University in 2006, where he earned his Master of Arts in Romance Studies in 2010. Dr. Gooch received a Graduate Student Humanities Travel Grant in 2010 from the Society for the Humanities, which aided the development of this dissertation, and he presented an early version of the second chapter at the 2010 annual meeting of the American Comparative Literature Association in New Orleans. While working toward the degree, Dr. Gooch worked as a graduate teaching assistant at Cornell University in the Department of Romance Studies and the Department of Performing and Media Arts. He also spent one year working at the University of Paris VIII as a Lecteur de langue while performing research for this dissertation at the Bibliothèque nationale de France and the Bibliothèque du film at the Cinémathèque française in Paris. Dr. Gooch’s dissertation, Dark Years, Dark Films, Long Shadows: The Occupation, Noir, and National Identity in French Film and Criticism, was supervised by Dr. Timothy Murray, with Drs. Tracy McNulty and Amy Villarejo also on his dissertation committee. iii To my family, friends, mentors, and of course to Yoon iv ACKNOWLEDGMENTS I would like to thank my dissertation committee chair, Professor Timothy Murray, and the other members of my committee, Professors Tracy McNulty and Amy Villarejo for their helpful comments, professional guidance, moral encouragement, and especially their extreme patience. The endless love and strength of my wife, family, and friends have been equally invaluable. I am also grateful to the Department of Romance Studies at Cornell University, the Society for the Humanities, and Cornell’s Graduate School for their support, as well as to the staff at the Bibliothèque nationale de France and the Bibliothèque du film for their help during my year of research in Paris. Thanks also to the students of my film courses for the refreshing enthusiasm they bring to French cinema. Finally, I must thank Professor Judith Mayne, who introduced me to French film studies when I was an undergraduate at The Ohio State University and whose influence will not be forgotten. v TABLE OF CONTENTS Introduction - What is French Film Noir? Criticism, Occupation, National Cinema 1 Breaking Away from the “Cinematic Ready-Made” 1 Darkness Never Looked So Refreshing: Shades of Noir in French Film Criticism 9 Noir, National Cinema, and Genre 15 Chapter 1 - Noir and the Nation 22 Prewar French Noir and (Inter)National Anxieties: Projected Positions of Spectatorship 24 A Franco-German Cinema: The Scandal of Le Corbeau 40 Divided Against Itself: Postwar Perspectives on Prewar Cinema 55 Images of Postwar France through American Cinema: The Reception of American Noir 62 Chapter 2 - A Certain Paradox of Postwar French Noir Criticism 75 Resistances of Postwar Criticism 78 A Certain Paradox of “Une certaine tendance du cinéma français” 90 Noir and Critical Shifts: The Case of Julien Duvivier 106 Chapter 3 - Myth and Jean-Pierre Melville’s Cinema of Process: Narratives of Resistance 125 Toward a Cinema of Process 128 The Cinema of Process and Myth 134 Répétition 135 Mise-en-scène 138 Melville’s Cinema of Process and Les Années noires 142 Le Silence de la mer (1949) 146 vi L’Armée des ombres (1969) 151 Cinemas of Process and Jean-Pierre Melville 157 Chapter 4 - From Postwar National Imaginaries to Narrative Form and the Offscreen: Henri Decoin, Marcel Petiot, and Non coupable (Decoin 1947) 160 The Reach of Postwar Manichaeism and National Identity: Henri Decoin, Marcel Petiot 165 From Popular Imaginaries to Narrative Imaginaries: Non coupable 173 At the Limits if the Diegetic and Historical 184 Conclusion - Noir and the “Long Occupation” 196 Bibliography 210 Filmography 222 vii LIST OF TABLES 1. Table of Onscreen and Offscreen Events in Non coupable 194 viii INTRODUCTION WHAT IS FRENCH FILM NOIR? CRITICISM, OCCUPATION, NATIONAL CINEMA At the beginning of the first monograph on noir cinema, Panoramique du film noir américain (Panorama of American Film Noir [1955]), Raymond Borde and Étienne Chaumeton contend that “Le film noir est noir pour nous, c’est-à-dire pour le public occidental et américain des années 50” ‘Film noir is noir for us, that is to say, for the Western and American audience of the 1950s’ (5).1 Their opening statement should be accompanied by a couple qualifications. “Film noir” has been a category in French film criticism since at least the late 1930s and was unknown or unrecognized as such in the United States until the late 1960s. In other words, these films may have been “dark” for Western audiences on either side of the Atlantic, but just as the Occupation is only known as “les années noires,” or the dark years, in France, film noir was first “noir” only for the French. Taking this fact as its starting point, this study sets out to discover what film noir meant for a specific audience, in a specific space, and at specific times: spectators and critics in France immediately before, during, and after les années noires. It will show that noir is central to mid- twentieth century French national identity and collective memory because noir in film and criticism points to what the nation is by indicating what one does not want the nation to be. From the eve of war to the long shadow of the Occupation, film noir is negatively integral to how an entire nation represents itself to itself. Breaking Away from the Cinematic “Readymade ” 1 All translations are my own unless otherwise documented. 1 The official story of noir, which can be read in the first pages of any book on the subject published since Borde and Chaumeton’s Panorama, consists in a series of lists and goes something like this. Noir emerges in America in the early 1940s, influenced by American hard- boiled fiction (e.g. Dashiell Hammett, Raymond Chandler, Cornell Woolrich); American horror and gangster films of the 1930s; German film expressionism of the 1920s; and European directors and technicians working in Hollywood after having fled political strife and the war abroad (e.g. Fritz Lang and Billy Wilder, to name a few). Noir films feature high contrast lighting and off-center compositions; labyrinthine and unpredictable narratives that unfold in urban settings and are punctuated by sex and violence; tough guys (read: anti-heroes) and even tougher dames (read: femmes fatales), both with ambiguous morals, motivations, relationships to law, and psychological profiles; and finally themes of alienation, paranoia, desire, sadism, perversion, and revenge (Spicer 1-18).2 Although noir, the story continues, reflects the cumulative American experience of the Prohibition, Great Depression, and World War Two, the term was first coined and applied to Hollywood films in articles by French film critics. The three most frequently and often exclusively cited are Nino Frank’s “Un nouveau genre ‘policier’” ‘A New “Detective” Genre,’ Jean-Pierre Chartier’s “Les Américains font aussi des films ‘noirs’” ‘Americans also make films “noirs,”’ both published in 1946, with Borde and Chaumeton’s text following a decade later in 1955.
Load more

Recommended publications
  • Dossier De Presse ECLAIR
    ECLAIR 1907 - 2007 du 6 au 25 juin 2007 Créés en 1907, les Studios Eclair ont constitué une des plus importantes compagnies de production du cinéma français des années 10. Des serials trépidants, des courts-métrages burlesques, d’étonnants films scientifiques y furent réalisés. Le développement de la société Eclair et le succès de leurs productions furent tels qu’ils implantèrent des filiales dans le monde, notamment aux Etats-Unis. Devenu une des principales industries techniques du cinéma français, Eclair reste un studio prisé pour le tournage de nombreux films. La rétrospective permettra de découvrir ou de redécouvrir tout un moment essentiel du cinéma français. En partenariat avec et Remerciements Les Archives Françaises du Film du CNC, Filmoteca Espa ňola, MoMA, National Film and Television Archive/BFI, Nederlands Filmmuseum, Library of Congress, La Cineteca del Friuli, Lobster films, Marc Sandberg, Les Films de la Pléiade, René Chateau, StudioCanal, Tamasa, TF1 International, Pathé. SOMMAIRE « Eclair, fleuron de l’industrie cinématographique française » p2-4 « 1907-2007 » par Marc Sandberg Autour des films : p5-6 SEANCE « LES FILMS D’A.-F. PARNALAND » Jeudi 7 juin 19h30 salle GF JOURNEE D’ETUDES ECLAIR Jeudi 14 juin, Entrée libre Programmation Eclair p7-18 Renseignements pratiques p19 La Kermesse héroïque de Jacques Feyder (1935) / Coll. CF, DR Contact presse Cinémathèque française Elodie Dufour - Tél. : 01 71 19 33 65 - [email protected] « Eclair, fleuron de l’industrie cinématographique française » « 1907-2007 » par Marc Sandberg Eclair, c’est l’histoire d’une remarquable ténacité industrielle innovante au service des films et de leurs auteurs, grâce à une double activité de studio et de laboratoire, s’enrichissant mutuellement depuis un siècle.
    [Show full text]
  • Photography and Cinema
    Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion.
    [Show full text]
  • BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
    « BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret.
    [Show full text]
  • Film Film Film Film
    City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.
    [Show full text]
  • 43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
    43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine.
    [Show full text]
  • Interior Freedom in the French-Language Poetry Written in the Concentration Camps (1943-45)
    Interior Freedom in the French-language Poetry Written in the Concentration Camps (1943-45) Belle Marie Joseph A thesis submitted for the degree of Doctor of Philosophy of the Australian National University January 2017 © Copyright by Belle Marie Joseph 2017 All Rights Reserved This thesis presents my own original research. All sources have been duly acknowledged. Except where acknowledged in the customary manner, the material presented in this thesis is, to the best of my knowledge, original and has not been submitted in whole or part for a degree in any university. Belle Joseph 27 January 2017 ii Acknowledgements I would like to extend my thanks, first of all, to my supervisors. I am deeply grateful to Peter Brown, who supervised this project from its beginnings and whose expertise and encouragement throughout the project were invaluable. Gillian Russell provided helpful input at the beginning of my research. Ned Curthoys gave invaluable feedback at each stage of my project; I am grateful for his insightful and constructive comments. Sincere thanks to Ash Collins, who provided thoughtful commentary on the completed thesis draft. I would also like to thank my many wonderful colleagues in the School of Literature, Language and Linguistics (SLLL) at ANU, who often provided useful suggestions in informal discussions about my research, and in particular Kate Flaherty, who kindly read drafts of the thesis introduction and the first chapter and gave me helpful comments on them. I would also like to acknowledge that this research was supported by an Australian Government Research Training Program (RTP) Scholarship. My warmest thanks go to the directors and staff of the various associations for former déportés , who gave me invaluable assistance with my research.
    [Show full text]
  • Geheime Feldpolizei from Wikipedia, the Free Encyclopedia
    Create account Log in Article Talk Read Edit View history Geheime Feldpolizei From Wikipedia, the free encyclopedia Not to be confused with the Feldgendarmerie, the ordinary military police. Navigation The Geheime Feldpolizei (help·info) (Secret Field Police) or GFP, was the secret Main page Geheime Feldpolizei military police of the German Wehrmacht until the end of the Second World War. Contents Active 1939 - 1945 These units were used to carry out plain-clothed security work in the field such as Featured content Country counter-espionage, counter sabotage, detection of treasonable activities, counter- Nazi Germany Current events propaganda and to provide assistance to the German Army in courts-martial Branch Heer Random article investigations. GFP personnel, who were also classed as Abwehrpolizei, operated as Type Military Police Donate to Wikipedia an executive branch of German military intelligence detecting resistance activity in Role Security, counterinsurgency and Germany and occupied France. counter-espionage Interaction Nickname Gestapo der Wehrmacht The need for a secret military police developed after the annexations of the Disbanded 8 May 1945 Help Sudetenland in 1938 and Czechoslovakia in 1939. Although security einsatzgruppen (or About Wikipedia security task forces) belonging to the Nazi Security Services had been used during Commanders Community portal these operations, the German High Command felt it needed a specialist intelligence Heerespolizeichef SS and Police Leader William Recent changes agency with police functions that could operate with the military but act like a security Krichbaum Contact page service to arrest potential opponents and eliminate any resistance. After studying data collected in Spain, Austria and Czechoslovakia, Generaloberst Wilhelm Keitel, commander in chief of the OKW, issued the "Dienstvorschrift für die Geheime Feldpolizei" (Regulations for the secret police).
    [Show full text]
  • CANNES 2014 Press Report
    CANNES 2014 THE BLUE ROOM by Mathieu Amalric Press report Quotes Selected Reviews Trades reviews Positive reviews Interviews Press & Twitter reactions Quotes “Mathieu Amalric has simultaneously carved out a career as an accomplished filmmaker with a handful of features that are as idiosyncratic as they are intriguing” THE HOLLYWOOD REPORTER “Based on the Georges Simenon novel, this brilliantly controlled movie tracks a love affair gone wrong with wit, heat, cool and economy. Each edit is as sharp as the blade of a guillotine, and as unforgiving” THE NEW YORK TIMES “Cannes favourite - and former Bond villain - Mathieu Amalric follows the success of burlesque On Tour with a slightly anti-climatic adult crime drama based on a Georges Simenon book” THE GUARDIAN “Novel The Blue Room, which director-star Mathieu Amalric has made into a film that is splendidly taut, forcefully understated and, at just 76 minutes, blessedly concise. It earns admiration both for the mood it creates and for the melodramatic excesses it avoids” TIME Selected Reviews Trades reviews THE HOLLYWOOD REPORTER - POSITIVE review by Jordan Mintzer http://www.hollywoodreporter.com/review/blue-room-la-chambre-bleue- 699849 SCREEN INTERNATIONAL – POSITIVE review by Jonathan Romney http://www.screendaily.com/reviews/the-latest/the-blue- room/5071933.article Selected Reviews Positive reviews HUFFINGTON POST (USA) - P0SITIVE review (+ interview of Mathieu Amalric) by Karin Badt http://www.huffingtonpost.com/karin-badt/mathieu-amalrics-the- blue_b_5343442.html INDIEWIRE (USA)
    [Show full text]
  • Chicken with Plums
    CHICKEN WITH PLUMS a film by Marjane Satrapi and Vincent Paronnaud Adapted from the graphic novel Chicken with Plums by Marjane Satrapi Venice International Film Festival 2011 Toronto International Film Festival 2011 Tribeca Film Festival 2012 91 min | Language: French (with English subtitles) East Coast Publicity West Coast Publicity Distributor Hook Publicity Block Korenbrot Sony Pictures Classics Jessica Uzzan Ziggy Kozlowski Carmelo Pirrone Mary Ann Hult Tami Kim Lindsay Macik 419 Lafayette St, 2nd Fl 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10003 Los Angeles, CA 90036 New York, NY 10022 [email protected] 323-634-7001 tel 212-833-8833 tel [email protected] 323-634-7030 fax 212-833-8844 fax 646-867-3818 tel SYNOPSIS Teheran, 1958. Since his beloved violin was broken, Nasser Ali Khan, one of the most renowned musicians of his day, has lost all taste for life. Finding no instrument worthy of replacing it, he decides to confine himself to bed to await death. As he hopes for its arrival, he plunges into deep reveries, with dreams as melancholic as they are joyous, taking him back to his youth and even to a conversation with Azraël, the Angel of Death, who reveals the future of his children... As pieces of the puzzle gradually fit together, the poignant secret of his life comes to light: a wonderful story of love which inspired his genius and his music... DIRECTORS’ STATEMENT By Marjane Satrapi & Vincent Paronnaud Chicken with Plums is the story of a famous musician whose prized instrument has been ruined.
    [Show full text]
  • Speaking Through the Body
    DE LA DOULEUR À L’IVRESSE: VISIONS OF WAR AND RESISTANCE Corina Dueñas A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (French). Chapel Hill 2007 Approved by: Advisor: Dominique Fisher Reader: Martine Antle Reader: Hassan Melehy Reader: José M. Polo de Bernabé Reader: Donald Reid © 2007 Corina Dueñas ALL RIGHTS RESERVED ii ABSTRACT CORINA DUEÑAS: De la douleur à l’ivresse: Visions of War and Resistance (Under the direction of Dominique Fisher) This dissertation explores the notion of gendered resistance acts and writing through close readings of the personal narratives of three French women who experienced life in France during the Second World War. The works of Claire Chevrillon (Code Name Christiane Clouet: A Woman in the French Resistance), Marguerite Duras (La Douleur), and Lucie Aubrac (Ils partiront dans l’ivresse) challenge traditional definitions of resistance, as well as the notion that war, resistance and the writing of such can be systematically categorized according to the male/female dichotomy. These authors depict the day-to-day struggle of ordinary people caught in war, their daily resistance, and their ordinary as well as extraordinary heroism. In doing so, they debunk the stereotypes of war, resistance and heroism that are based on traditional military models of masculinity. Their narratives offer a more comprehensive view of wartime France than was previously depicted by Charles de Gaulle and post-war historians, thereby adding to the present debate of what constitutes history and historiography.
    [Show full text]
  • French Connection 1 French Connection
    French Connection 1 French Connection The French Connection was a scheme through which heroin was smuggled from Turkey to France and then to the United States. The operation reached its peak in the late 1960s and early 1970s, and was responsible for providing the vast majority of the illicit heroin used in the United States. It was headed by the Corsican criminals Paul Carbone (and his associate François Spirito) and Antoine Guérini, and also involved Auguste Ricord, Paul Mondoloni, Salvatore Greco,[citation needed] and Meyer Lansky.[citation needed] Most of its starting capital came from assets that Ricord had stolen during World War II when he worked for Henri Lafont, one of the heads of the Carlingue (French Gestapo) during the German occupation in World War II.[citation needed] From the 1930s to the 1950s Illegal heroin labs were first discovered near Marseille, France, in 1937. These labs were run by the notorious Corsican gang leader Paul Carbone. For years, the Corsican underworld had been involved in the manufacturing and trafficking of illegal heroin abroad, primarily to the United States.[1] It was this heroin network that eventually became known as the "French Connection". The Corsican Gang was closely allied with the Central Intelligence Agency (CIA) and the SDECE after World War II in order to prevent French communists from bringing the Old Port of Marseille under their control. [2] Historically, the raw material for most of the heroin consumed in the United States came from Indochina, then Turkey. Turkish farmers were licensed to grow opium poppies for sale to legal drug companies, but many sold their excess to the underworld market, where it was manufactured into heroin and transported to the United States.
    [Show full text]
  • Le Cinéma De Jean Anouilh Christophe Mercier
    Document generated on 09/28/2021 11:54 p.m. Études littéraires Le cinéma de Jean Anouilh Christophe Mercier Anouilh aujourd’hui Article abstract Volume 41, Number 1, printemps 2010 Jean Anouilh’s cinematic output is not easy to figure out. In addition to those movies he scripted in full and whose text one would love to see published, URI: https://id.erudit.org/iderudit/044577ar much like Giraudoux’s, he was involved in adapting or contributing some or DOI: https://doi.org/10.7202/044577ar many scenes or dialogues to a number of other movies. While these other productions were not his, he still manages to shine through. Let us not forget See table of contents La citadelle du silence (Lherbier, 1937), which involved Anouilh’s participation, nor Piège pour Cendrillon or the haunting Temps de l’amour. These will probably resurface in a few years, and yield their share of discoveries. Indeed, there remains much to explore in Jean Anouilh’ cinema. Publisher(s) Département des littératures de l'Université Laval ISSN 0014-214X (print) 1708-9069 (digital) Explore this journal Cite this document Mercier, C. (2010). Le cinéma de Jean Anouilh. Études littéraires, 41(1), 157–170. https://doi.org/10.7202/044577ar Tous droits réservés © Université Laval, 2010 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal.
    [Show full text]