DOCSLIB.ORG

Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. My main focus is on how each group defined its ideal spectator, on the tensions manifested within their pedagogical projects, and on the ways in which these projects intersected. Ultimately, the history uncovered here sheds new light on key questions about cinema’s impact that marked the twentieth century. Table of Contents List of Illustrations ......................................................................................................................... iii Acknowledgments........................................................................................................................... v Introduction ..................................................................................................................................... 1 CHAPTER 1. The Dangerous Spectator .......................................................................................... 19 Policing a New Spectacle .......................................................................................................... 23 Cinephobia ................................................................................................................................ 29 Excessive Realism ..................................................................................................................... 35 Decoding Crime Films: Who Is Who? ...................................................................................... 44 Viewing Positions ..................................................................................................................... 48 Elusive Medium, Perceptive Viewers ....................................................................................... 52 CHAPTER 2. The Republican Spectator ......................................................................................... 59 Bringing Cinema into the Classroom ........................................................................................ 62 Object Lessons .......................................................................................................................... 68 The Offices of Educational Cinema and Solidarism ................................................................. 72 A Healthy Nation ...................................................................................................................... 79 Family, Melodrama, and the Republic ...................................................................................... 86 Wholesome Entertainment ........................................................................................................ 94 CHAPTER 3. The Catholic Spectator ............................................................................................ 101 The C.C.C.’s Film-Rating System .......................................................................................... 105 Family, Melodrama, and Catholicism ..................................................................................... 115 Lourdes: Seeing the Miraculous .............................................................................................. 123 The Bible According to Hollywood ........................................................................................ 128 i The Lives of Joan of Arc ......................................................................................................... 134 CHAPTER 4. The Impressionist Spectator .................................................................................... 144 The Art of Melodrama............................................................................................................. 149 Form and Content .................................................................................................................... 154 The Filmmaker as a Public Figure .......................................................................................... 159 Avant-Garde/Commercial/Mercantile ..................................................................................... 166 A Continuing Project ............................................................................................................... 171 Impressionism and Its Others .................................................................................................. 177 CHAPTER 5. The Communist Spectator ....................................................................................... 188 Les Amis de Spartacus ............................................................................................................ 192 Revolutionary Politics and Cinephilia .................................................................................... 201 Depoliticizing Soviet Films ..................................................................................................... 211 Vertov and Eisenstein Go to Paris........................................................................................... 218 Conclusion .................................................................................................................................. 230 Bibliography ............................................................................................................................... 244 Illustrations ................................................................................................................................. 273 ii List of Illustrations Figure 1.1. Poster for Cinématographe Lumière by Marcelin Auzolle, 1896. Figure 1.2. Poster for Cinéma Pathé by Adrien Barrère, 1906. Figure 1.3. Les Mystères de New-York, adapted by Pierre Decourcelle for the French audience. Figure 1.4. Poster for Les Vampires, 1915. Figure 1.5. Prologues presenting Fantômas’s disguises in A l’ombre de la guillotine and Le Faux Magistrat. Figure 1.6. The disguises of Fantômas and Juve in Juve contre Fantômas. Figure 1.7. Irma Vep’s anagram in action. Figure 1.8. Mazamette notices that the actors in L’Assassinat du notaire are in fact Les Vampires. Figure 1.9. Fantômas: the cover of the novel (left) and the poster for the first film of the series (right). Figure 2.1. The scientist’s hands in Pasteur. Figure 2.2. Pasteur and Joseph Meister, the boy he inoculated against rabies. Figure 2.3. La Future Maman: Margot explains to Mabu, the midwife, why pacifiers are dangerous. Figure 2.4. Last scenes of La Future Maman: Virgin and Child. Figure 2.5. Last scenes of Il était une fois trois amis: the doctor/narrator summarizes the moral of the story for his son. Figure 2.6. Boby Guichard, well-known child actor. Figure 2.7. Posters for La Mort du soleil/Le Fléau. Figure 2.8. In the first part of Le Maître du Logis, the wife does all the daily chores. Figure 2.9. In the second part of Le Maître du Logis, the husband has to do all the chores after the wife leaves him. Figure 3.1. The first scene from Comment j’ai tué mon enfant: Pierre L’Ermite (playing a priest) comforts Dominique’s mother. Figure 3.2. Simone Genevois as Joan of Arc in La Merveilleuse Vie de Jeanne d’Arc. Figure 3.3. Renée Falconetti as Joan of Arc in La Passion de Jeanne d’Arc. Figure 4.1. Introducing Sibilla (Eve Francis) in El Dorado (L’Herbier). Figure 4.2. El Dorado: Final scenes, Sibilla committing suicide. Figure 4.3. Posters for La Roue (Gance): Fernand Léger's painting (left) and a more generic image (right). Figure 4.4. La Roue: Rhythmic montage. iii Figure 4.5. Dulac, L’Herbier, Epstein, and Gance on the cover of film magazines. Figure 4.6. Stills from La Souriante Madame Beudet (Dulac). Figure 4.7. Still from Cœur fidèle (Jean Epstein), superimposed close-up. Figure 4.8. Poster for Gossette (Dulac). Figure 4.9. Publicity still for Le Lion des Mogols (Jean Epstein). Figure 4.10. Napoléon (Gance), triple screen.
Load more

Recommended publications
  • Beginnings and Endings in Films, Film and Film Studies
    Beginnings and Endings in Films, Film and Film Studies Beginnings and Endings in Films, Film and Film Studies, University of Warwick, 13th June 2008 A report by Martin Zeller, University of York, UK This conference, organised by Tom Hughes and James MacDowell (both of University of Warwick), examined the beginnings and endings of individual films and structures of beginnings and endings in films more generally, as well as notions of beginning and ending in film studies as a discipline. With such a wide remit it is not surprising that links between the various presentations were sometimes difficult to establish. However, the wide variety of approaches to the topic ensured lively discussions. The tone for the day was set by the keynote paper delivered by Warwick's own V. F. Perkins. Examining beginnings and endings in the genre of 'multi-story' (or portmanteau) movies, Perkins elucidated the various methods used to make the author the focus of these multi-stranded narratives. Drawing on the literary cachet of their source texts, Quartet, Full House and Le Plaisir make Maugham, O. Henry and Maupassant the respective loci around which their stories revolve. Pointing out that authorial intrusions were, with the exception of Le Plaisir, used only at the beginnings of such films, Perkins suggested the possibility of a largely unexplored narrative technique available in returning to the author at the close of a film. However, it was Professor Perkin's call for, 'an aesthetics of the quite good, of the satisfactorily effective, as well as the extremes: the abject and the sublime,' that seemed to resonate most with the delegates and to become a touchstone for the day's later discussions.
    [Show full text]
  • Catalogo Giornate Del Cinema Muto 2011
    Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Ce Numéro Contient Deux Places De Cinéma a Tarif Réduit
    CE NUMÉRO CONTIENT DEUX PLACES DE CINÉMA A TARIF RÉDUIT IIFR.50 (Pholo Ut a) IVAN MOSJOUKINE et BRIGITTE HELM dans « Manolescu », le prochain film dans lequel nous reverrons le grand artiste russe, dont nous publions les «Souvenirs de Théâtre et de Cinéma». Le Numéro : 1 fr. 50 9E ANNÉE. — N°3 32-33 (3™° trimestre) 9-16 Août 1929 H y Pour votre maquillage, plus besoin de vous % adresser à l'étranger. * Pour le cinéma, le théâtre et la ville vous fournira Ides fards et grimes de qualité exceptionnelle à des prix inférieurs à tous autres. e cou une Un seul essai vous convaincra. * En vente dans toutes les bonnes parfu- ABONNEMENTS Directeur-Rédacteur en chef : ABONNEMENTS ÉTRANGER 99 Rue du FAUBOURG S'HONORf meries. FRANCE ET COLONIES JEAN PASCAL Un an 70 fr. Pays ayant adhéré à la Un an . .80fr. ret-ÉPHONe êirsfes 63 72 Six mois 38 fr. Convention de Stockholm. Six mois.44 fr* Les abonnements partent du 1er de chaque mois BUREAUX: 3, rue Rossini, Paris-9* cinéma depuis 6 ans Pays n'ayant m adhéré („„„„,, . dans même place, Paiement par chèque ou mandat-carte Tél. : Provence 82-45 et 83-94 90fr connaissant à fond Excellent opérateur Chèque postal Télégr. : Cinémagazi-108 ConventionVstockholm.(Silmoi,,48,r* Professionnelle d'opérateurs ci- métier, montage appareils Power, Ernemann, Gau- N° 309.08 nématographiques de France. mont, Pathé et réparations d'appireils, Ve" références, ECOLE Vente, achat de tout matériel. accepterait bonne place sérieuse province ou étranger. Écrire André GAUTHIER, fg Montmartre, PARIS (9"). Établissements Pierre POSTOLLEC 66, rue de Bondy, Paris (Nord 67-52) AVIS IMPORTANT MADIAPCC légaux, toutes situât., part, honor.
    [Show full text]
  • “Afin D'être En Pleine Possession De Ses Moyens
    Le“AFIN D’ÊTRE FORUM EN PLEINE POSSESSION DE SES MOYENS” VOLUME 38, #2 PRINTEMPS/SPRING 2016 Websites: Le Forum: http://umaine.edu/francoamerican/le-forum/ Oral History: Francoamericanarchives.org Library: francolib.francoamerican.org Occasional Papers: http://umaine.edu/francoamerican/occasional-papers/ Maine’s French Communities: http://www.francomaine.org/English/Pres/Pres_intro.html francoamericanarchives.org other pertinent websites to check out - Les Français d’Amérique / French In America Calendar Photos and Texts from 1985 to 2002 http://www.johnfishersr.net/french_in_america_calendar.html Franco-American Women’s Institute: $6.00 US http://www.fawi.net Le Forum Sommaire/Contents Lettres/Letters..............................3 Joshua Barrière....................45-47 Le Centre Franco-Américain Université du Maine L’État du NH Orono, Maine 04469-5719 .....................3, 38-41 Coin des jeunes.....................42-44 [email protected] Téléphone: 207-581-FROG (3764) L’État du ME..........................4-13 Télécopieur: 207-581-1455 REMINDER!!! Volume 38 Numéro 2 L’État du CT.........................14-23 Printemps/Spring 2016 Publishing Board Please check your mail- Don Levesque Books/Livres..........................24-26 ing labels for expiration date Paul Laflamme Virginia Sand Roy to your subscription. The Lin LaRochelle James Myall...........................27-28 Louella Rolfe year/month, for example, Diane Tinkham 11/09 means your subscrip- David Vermette......29, 30 & 37-38 Rédactrice/Gérante/Managing Editor
    [Show full text]
  • Jean Cocteau's the Typewriter
    1 A Queer Premiere: Jean Cocteau’s The Typewriter Introduction Late in April 1941, toward the close of the first Parisian theatre season fol- lowing the Defeat, Jean Cocteau’s La Machine à écrire (The Typewriter) opened, then closed, then reopened at the Théâtre Hébertot. Written in the style of a detective drama, the play starred the actor generally known—at least in the entertainment world at the time—as Cocteau’s sometime lover and perpetual companion, Jean Marais, as identical twin brothers. The re- views are curiously reticent about what exactly occurred at the Hébertot, and historians and critics offer sometimes contradictory pieces of a puzzle that, even when carefully put together, forms an incomplete picture. The fragments are, however, intriguing. Merrill Rosenberg describes how, on the evening of April 29, 1941, the dress rehearsal (répétition génerale), sponsored “as a gala” by the daily Paris-Soir and attended by various “dig- nitaries,” caused in the Hébertot’s auditorium a demonstration by members of the Parti Populaire Français (PPF). This disruption prompted Vichy’s ambas- sador to Paris, Fernand de Brinon, to order the withdrawal of the production (“Vichy’s Theatrical Venture” 136). Francis Steegmuller describes the disor- der that greeted the Typewriter premiere and the revival of Les Parents Terribles (at the Gymnase later that year): “stink bombs exploded in the theatres, and hoodlums filled the aisles and climbed onto the stage, shouting obscenities at Cocteau and Marais as a couple” (442).1 Patrick Marsh too notes that these plays “were seriously disrupted by violent scenes fomented by fascist sym- pathizers and members of the Parti Populaire Français” (“Le Théâtre 1 2 THE DRAMA OF FALLEN FRANCE Français .
    [Show full text]
  • Classic Frenchfilm Festival
    Three Colors: Blue NINTH ANNUAL ROBERT CLASSIC FRENCH FILM FESTIVAL Presented by March 10-26, 2017 Sponsored by the Jane M. & Bruce P. Robert Charitable Foundation A co-production of Cinema St. Louis and Webster University Film Series ST. LOUIS FRENCH AND FRANCOPHONE RESOURCES WANT TO SPEAK FRENCH? REFRESH YOUR FRENCH CULTURAL KNOWLEDGE? CONTACT US! This page sponsored by the Jane M. & Bruce P. Robert Charitable Foundation in support of the French groups of St. Louis. Centre Francophone at Webster University An organization dedicated to promoting Francophone culture and helping French educators. Contact info: Lionel Cuillé, Ph.D., Jane and Bruce Robert Chair in French and Francophone Studies, Webster University, 314-246-8619, [email protected], facebook.com/centrefrancophoneinstlouis, webster.edu/arts-and-sciences/affiliates-events/centre-francophone Alliance Française de St. Louis A member-supported nonprofit center engaging the St. Louis community in French language and culture. Contact info: 314-432-0734, [email protected], alliancestl.org American Association of Teachers of French The only professional association devoted exclusively to the needs of French teach- ers at all levels, with the mission of advancing the study of the French language and French-speaking literatures and cultures both in schools and in the general public. Contact info: Anna Amelung, president, Greater St. Louis Chapter, [email protected], www.frenchteachers.org Les Amis (“The Friends”) French Creole heritage preservationist group for the Mid-Mississippi River Valley. Promotes the Creole Corridor on both sides of the Mississippi River from Ca- hokia-Chester, Ill., and Ste. Genevieve-St. Louis, Mo. Parts of the Corridor are in the process of nomination for the designation of UNESCO World Heritage Site through Les Amis.
    [Show full text]
  • Jean Epstein Critical Essays and New Translations
    FILM THEORY IN MEDIA HISTORY JEAN EPSTEIN CRITICAL ESSAYS AND NEW TRANSLATIONS EDITED BY SARAH KELLER & JASON N. PAUL AMSTERDAM UNIVERSITY PRESS Jean Epstein Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a his- torical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, stu- dents, and other readers with a passion for film and theory. Series editors: Prof. Dr. Vinzenz Hediger (Frankfurt), Dr. Trond Lundemo (Stock- holm), Prof. Dr. Oliver Fahle (Bochum). Film Theory in Media History is published in cooperation with the Permanent Semi- nar for the History of Film Theories. Jean Epstein Critical Essays and New Translations Edited by Sarah Keller & Jason N. Paul Amsterdam University Press This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initia- tive to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggre- gating peer reviewed Open Access publications from across Europe.
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • The Project of Liberation and the Projection of National Identity. Calvo, Aragon, Jouhandeau, 1944-1945 by Aparna Nayak-Guercio
    The project of Liberation and the projection of national identity. Calvo, Aragon, Jouhandeau, 1944-1945 by Aparna Nayak-Guercio B.A. University of Bombay, India, 1990 M.A. University of Pittsburgh, 1993 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Aparna Nayak-Guercio It was defended on December 13, 2005 and approved by Dr. Alexander Orbach, Associate Professor, Department of Religious Studies Dr. Giuseppina Mecchia, Assistant Professor, Department of French and Italian Dr. Lina Insana, Assistant Professor, Department of French and Italian Dr. Roberta Hatcher, Assistant Professor, Department of French and Italian Dissertation Advisor: Dr. Philip Watts, Assistant Professor, Department of French and Italian ii Copyright © by Aparna Nayak-Guercio 2006 iii THE PROJECT OF LIBERATION AND THE PROJECTION OF NATIONAL IDENTITY. ARAGON, CALVO, JOUHANDEAU, 1944-45 Aparna Nayak-Guercio, PhD University of Pittsburgh, 2006 This dissertation focuses on the months of liberation of France, June 1944 to May 1945. It analyzes three under-studied works taken as samples of texts that touch upon the question of contested identities. The texts are chosen from the main divisions of the political spectrum, namely Gaullist, far right, and far left. Although the focus is on the texts themselves, I trace the arguments found in these works to the larger discourses in which they are inscribed. In particular, I address the questions of guilt and innocence, justice and vengeance, past and future in the given historical circumstances.
    [Show full text]
  • Programación Enlace Externo, Se Abre
    abril 2017 Jirí Menzel, la risa en el alambre Maya Deren, la cámara creativa Autorretratos del otro Cineastas frente a frente Cincuenta años sin Edgar Neville Louis Delluc, fiebre por el cinematógrafo 1 sábado 2 domingo 17:30 - Sala 1 • Filmoteca Junior 17:30 - Sala 1 • 3XDOC Hugo (La invención de Hugo, Martin Scor- Eich Hifsakti L’fahed V’lamadeti Las sesiones anunciadas pueden sufrir cam- sese, 2011). Int.: Asa Butterfield, Chloë Gra- L’ehov et Arik Sharon (How I Learned to bios debido a la diversidad de la procedencia ce Moretz, Ben Kingsley, Sacha Baron Cohen, Overcome My Fear and Love Arik Sharon, Avi de las películas programadas. Christopher Lee. EE. UU. 35 mm. VOSE. 126’ Mograbi, 1997). Israel. AD. VOSE*. 61’ «La portentosa secuencia de apertura de esta pe- Las copias que se exhiben son las de mejor lícula define los dos ejes sobre los que se vertebra 19:30 - Sala 1 • Jirí Menzel, la risa en el alambre calidad disponibles. Las duraciones que figu- su poderosa poética: movimiento y tiempo. O sea, Ostre sledované vlaky (Trenes riguro- ran en el programa son aproximadas. cine. Es hermoso que, en su intento de hacer cine samente vigilados, Jirí Menzel, 1966). Int.: infantil, Scorsese haya filmado una carta de amor a la Václav Neckár, Josef Somr, Vlastimil Brodský, infancia del cine, un encendido elogio a sus motores Vladimír Valenta, Alois Vachek. Checoslova- Los títulos originales de las películas y los de atávicos, demostrando que el cine de atracciones del quia. DCP. VOSE*. 93’ su distribución en España figuran en negrita.
    [Show full text]