The Impact of the Novel on French Cinema of the 30s

Andrew, Dudley

doi:10.1353/esp.1990.0046

Cited by 3 publications

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“…See Abel (1988), 34. 7 For further discussion of literary adaptations in the French cinema of the 1930s, see Andrew (1990) "The Impact of the Novel on French Cinema of the 1930s", L'Esprit Créateur vol. XXX no.…”

Section: Notes To Chapter Threementioning

confidence: 99%

City of Darkness, City of Light

Phillips¹

2004

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I am also delighted to be able to acknowledge the support given by Professor Thomas Elsaesser to this book. Thank you to the all the staff at Amsterdam University Press including Jaap Wagenaar and Magdalena Hernas.Last but by no means least, I must mention my partner and own émigré filmmaker, Mark Kurzemnieks, who has accompanied me on this and so many other journeys these last years. Thank you for everything. Oxford, Autumn 2003 8 City of Darkness, City of Light 10 City of Darkness, City of Light 12 City of Darkness, City of Light Paris and French Cinema of the 1930s By the 1930s, with the population of the intramural city stabilised at around the three million mark, and the subsequent rapid growth in the rim of suburban development encouraged by the development of tramlines and rail networks, Parisians were beginning to make use of the advent of paid holidays to view non-urban France. The fact remains though that representations of the city remained enormously popular for the French film-going public. It is still surprising, despite the centrality of the French capital in terms of cinematic production, exhibition, and representation, that there is so little sustained analytical writing about film and Paris. Art history has long privileged Paris as a site of meaning -especially in the case of French nineteenth century painting -14 City of Darkness, City of Light France and the ÉmigrésThe early years of the 1930s were marked by the transition from silent to sound film production. As many have pointed out, the "introduction of speech, dialogue, and an actor's verbal performance reframed the question of how the French cinema could differ from and challenge of the American cinema" (Abel 18

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Section: Notes To Chapter Threementioning

confidence: 99%

City of Darkness, City of Light

Phillips¹

2004

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“…The colonisation of our screens (...) is a danger as serious as that of a war" (11). From the point of view of For further discussion of literary adaptations in the French cinema of the 1930s, see Andrew (1990) "The Impact of the Novel on French Cinema of the 1930s", L'Esprit Créateur vol. XXX no.…”

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City of Darkness, City of Light : Emigré Filmmakers in Paris 1929-1939

Phillips¹

2003

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The camera goes down the streets. Dans les rues (Victor Trivas, 1933) and the Paris of the German émigrés

Phillips

2000

Modern & Contemporary France

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Marcel Carné's important clarion call to 1930s French cinema 'to take the camera down the streets' was uniquely troubled by the arrival of waves of German émigré lmmakers in the French capital. This article uses one émigré lm set in Paris, Dans les rues (Victor Trivas, 1933), as a case study to discuss both the place of the city and the place of the outsider in cinematic cultural representatio n during this decade. It argues that despite right-wing critical discourse linking Jewish culture with the ill effects of city life, a lm like Dans les rues can be seen as an important turning point in the on-screen depiction of Paris. Trivas's lm may have looked backwards to 19th-century convention, but, at the same time, it responded uniquely to Carné's concerns to produce an important, though largely neglected, early example of poetic realism.The Parisian cinema auditorium of the 1930s was a place that city-dwellers largely entered at night, attracted by the display lights of the cinema building. Off the street, the audience found themselves in darkness again for the duration of the evening's main entertainment whilst images of the city were projected in light. Traditions of Parisian representation similarly rely on a historically located continuity between light and its inevitable consequence-shadow. Discussing the work of É mile Zola and the historical depiction of social experience in the French capital, Louis Chevalier has written that 'paradoxically […] the triumph of light, for him, far from eradicated the shadow and the past which it concealed. It actually accorded it a new form of life as if light was a dazzling container for shadow.' 1 Here I will attempt to make sense of this heritage in relation to the contribution that a set of émigré lmmakers from Germany made to the lmic interpretation of the capital which was for them, also, temporarily, a beacon of light. Using the example of Victor Trivas's city lm, Dans les rues (1933) 2 , I shall examine the complex intersection between the émigrés' cinematic depiction 0963-948 9 print/1469-9869 online/00/030325-10 Ó 2000 ASM&CF

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The Impact of the Novel on French Cinema of the 30s

Cited by 3 publications

References 2 publications

City of Darkness, City of Light

City of Darkness, City of Light

City of Darkness, City of Light : Emigré Filmmakers in Paris 1929-1939

The camera goes down the streets. Dans les rues (Victor Trivas, 1933) and the Paris of the German émigrés

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