May 68 in French Fiction and Film

Atack, Margaret

doi:10.1093/acprof:oso/9780198715153.001.0001

Cited by 102 publications

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“…Marker's films in retrospect “documented the changing times” and “helped shape those changing times” (Merrifield, 2021: 55). Such innovations fed into ‘68, and the new politics of gauchisme, an imprecise, clumsy, left political orientation that blurred the boundaries between public and private life, as women on the streets demanded participation in the new structures of life that were emerging in French society, where the struggle struggle with the old order over gender and class resulted in French women gaining some roles in national culture (Atack, 1999: 5). Whatever Happened to My Revolution references this transition in power relations, framing it as a feminist text within the history of “feminist film activism,” where the main character and her female friends lead the exploration of their personal and material desires to overcome the oppression of masculinist French traditions (Mulvey et al, 2015: np).…”

Section: Context Setting Socialist-feminist Cinemamentioning

confidence: 99%

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Feminist psychogeography long after May 1968: Whatever Happened to My Revolution

Breen

2021

French Cultural Studies

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Whatever Happened to My Revolution offers a French feminist perspective on the impact today of the uprising by the left in Paris in May 1968. The continuing appeal of the events of ‘68 are considered to be in decline, yet the film suggests that the energy of 50 years ago continues to mobilize cultural politics through cinematic appeals that amount to the radical recuperation of some of the ambitions of the day, a continuation of the past in the present. Whatever Happened to My Revolution is explored with reference to Guy Debord's concept of psychogeography, which suggested new phases of discovery in social life for remaking urban life, cross-referencing aspects of Jacques Lacan's psychoanalytical approach that appear in the film, especially the concept of desire, informing its feminist psychogeography. The challenges facing the current generation can be described as a desire by the French left, in this film defined and described by women, for the realization of May ‘68s cultural transformations in public and private culture.

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Section: Context Setting Socialist-feminist Cinemamentioning

confidence: 99%

“…Which together make up a constantly shifting but ever present text . The relationship between the real and the imaginary is that of the mobius strip, or recursive loop, of seamless join and self-inflecting movement” (1999, 2. Italics added).…”

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confidence: 99%

Feminist psychogeography long after May 1968: Whatever Happened to My Revolution

Breen

2021

French Cultural Studies

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“…As Atack has suggested, the film, while highly effective in destroying inherited myths of World War Two, voiced the soixante-huitards' own political myths and agenda, notably the idea of national liberation (as connected to 1960s anti-imperialism) and a less than critical portrayal of the (communist and non-communist) left. 35 I would argue that its limitations lie elsewhere too, and that the seeds of a new consensus were present in immediate reactions to the film and to some extent in the film itself. Despite the provocative and often-noted absence of de Gaulle in the film, the General's claims to have represented and indeed saved the nation during the War were in no way questioned.…”

Section: May '68mentioning

confidence: 99%

From Politics to Nostalgia: The Transformation of War Memories in France during the 1960s-1970s

Bracke

2011

European History Quarterly

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This article discusses changes in collective memory of World War Two in France during the 1960s-1970s on the basis of a contextualized discussion of three films, all of which adopt, it is argued, a self-conscious politics of memory. The films are taken as examples of a particular relationship to World War Two that was historically possible in a given political context. As in most of the literature, 'the 1968 years' are taken as a moment of change, but it is argued here that they constituted the end rather than the start of political challenges to collective memory of World War Two. During the 1970s representations of World War Two in cinema as well as public discourse more generally were increasingly historicized and disconnected from contemporary society, and thus de-politicized.

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“… 4. For a discussion of the memories of 17 October, Charonne and the Occupation before and during May 68, see the section ‘Ni fleurs ni Charonne’ in Atack (1999: 111–15). …”

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confidence: 99%

From Meurtres pour mémoire to Missak: Literature and historiography in dialogue

Atack

2014

French Cultural Studies

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Didier Daeninckx has devoted many novels to the history and memory of the Occupation. This article explores the relationship between his fiction and historiographical frameworks with reference to Meurtres pour mémoire, contrasted with Missak published 25 years later. After discussion of 1980s historiography of the Occupation and the Algerian War, it looks particularly at narrative structure and the thematics of order (both obedience and orderly documentation), seeking to establish the differences in the ways these two novels historicise the past, and the historiographical differences in their approach to guilt, knowledge and interpretation.

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May 68 in French Fiction and Film

Cited by 102 publications

References 0 publications

Feminist psychogeography long after May 1968: Whatever Happened to My Revolution

Feminist psychogeography long after May 1968: Whatever Happened to My Revolution

From Politics to Nostalgia: The Transformation of War Memories in France during the 1960s-1970s

From Meurtres pour mémoire to Missak: Literature and historiography in dialogue

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