The Holocaust in French FilmScarecrow Press, 1993 - 435 pages This pioneering study analyzes representations of the Holocaust in French cinema from 1940 on. Through the use of such pivotal films as Night and Fog, The Sorrow and the Pity, and Shoah, it examines the difficulties with which French cinema answers three main questions: What happened, who is responsible, and how can we be sure we will never forget? Colombat then provides detailed analyses of the most widely praised French films dealing with the Holocaust (including works by Orphuls, Losey, and Malle). The book also contains film stills, a detailed filmography, bibliography, index, and a lengthy interview with director Pierre Sauvage. |
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Page 192
... montage of the newsreel . However , the parallel was meant to illustrate the collaboration between France and Germany while , in Ophüls ' montage , it directly illustrates the extent of anti- Semitism and Franco - German propaganda in ...
... montage of the newsreel . However , the parallel was meant to illustrate the collaboration between France and Germany while , in Ophüls ' montage , it directly illustrates the extent of anti- Semitism and Franco - German propaganda in ...
Page 201
... montage : Ophüls ' fifth kind of irony occurs thanks to the montage , in the succession of divergent statements by different people . There are at least two examples of this , one in the beginning , one at the end of the second part of ...
... montage : Ophüls ' fifth kind of irony occurs thanks to the montage , in the succession of divergent statements by different people . There are at least two examples of this , one in the beginning , one at the end of the second part of ...
Page 209
... montage that reorganize , underline or change completely the effect intended by a witness during his or her testimony . As the filming itself was very spontaneous and invented progressively its own rules rather than following a pre ...
... montage that reorganize , underline or change completely the effect intended by a witness during his or her testimony . As the filming itself was very spontaneous and invented progressively its own rules rather than following a pre ...
Table des matières
Persecution in the Golden Age of French Cinema | 7 |
Deportation Resistance and Betrayal | 19 |
Nazis Collaborators and the Holocaust | 29 |
Droits d'auteur | |
7 autres sections non affichées
Expressions et termes fréquents
Alain Resnais analysis analyze anti-Semitism audience Auschwitz Barbie's black and white Cahiers du cinéma camera Cayrol Chambon character children of Izieu Claude Lanzmann Claude Lanzmann's Collaboration committed Consequently crimes death Deguy deportation directly director documentary European Jews extermination extremely feelings final France French cinema German Ghetto Goodbye Children happened hiding historical footage Holocaust Hotel Terminus images important individual Insdorf insists interpretation interview irony Izieu Jean Jewish Jews Julien Klaus Barbie Korczak Lacombe Lucien Lanzmann Le Chambon Louis Malle Malle Malle's Marcel Ophüls Memory of Justice Mendès-France Michel montage Nazis never newsreel Night and Fog Occupation Paris past persecution Pétain Pierre Sauvage's Pity played political precisely Prédal present propaganda questions reality representation Résistance responsibility reveal Robert Klein role Sauvage scene segment sequence Shoah shot showing shown Sorrow spectator story survivors tell testimonies themes throughout the film totally trial understand Vichy victims violent witnesses