9781845197193

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The era of the German Occupation of France constituted, surprisingly, a golden age for the arts. These works of art seem to be devoid of political impact. The purpose of this book is to show that, contrary to this accepted view, some of these films were intimately linked to the political situation.

All five movies analyzed (Les Inconnus dans la maison, dir. Henri Decoin, 1942; Les Visiteurs du Soir, dir. Marcel Carné, 1942; L’Eternel retour, dir. Jean Delannoy, 1943; Les Enfants du Paradis, dir. Marcel Carné, 1943) present characters not identified as Jews but who exhibit negative “Jewish” traits, in contrast to the aristocratic characters whom they aspire to emulate. They demonstrate, implicitly, central themes of explicit anti-Semitic propaganda. Analysis of these films brings out the contradictory nature of European anti-Semitism. On one hand, the Jew is the anti-Christ, throttling the world with disgusting materialism while on the other hand, he is representative of an ancestral stifling morality, which it is time to abolish.

Yehuda (Jean-Bernard) Moraly is an associate professor at the Hebrew University, Jerusalem. His fields of research are mainly French theatre and film: Jean Genet, la vie écrite (Editions de la Différence, 1988); Claudel metteur en scène (Presses Universitaires de Franche Comté, 1998); Le Maître fou, Genet théoricien du théâtre, (Nizet, 2009). His L'œuvre impossible: Claudel, Genet, Fellini (Le Manuscrit, 2013) deals mostly with Fellini’s cinema. He is also a playwright and his plays are published and produced in France and Israel.

Contents

Acknowledgements
Introduction
Part I: Explicit and Implicit Representations of Jewish Characters in French Cinema during the German Occupation
Chapter 1. Direct Anti-Semitic Propaganda
Chapter 2. The War on Memory
Chapter 3. Le Camion blanc (The White Truck, Léo Joannon, 1943)
Chapter 4. Jean Cocteau, Hitler’s Admirer: L’Eternel retour (The Eternal Return, 1943)
Chapter 5. The Ominous Visitors at the Splendid White Castle: Les Visiteurs du Soir (The Devil’s Envoys, Marcel Carné, 1942)

Part II: Les Enfants du Paradis: A Different Perspective
The Film’s Two Parts and the Historical Background: Le Boulevard du Crime (Paris, 1828) and L'homme blanc (Paris, 1836)
Chapter 6. From Page and Stage to Screen: The Theatrical Sources of Les Enfants du Paradis
Chapter 7. From Pétain to De Gaulle: The Genesis of a European Super-Production during the Black Years
Chapter 8. The Archeology of a Vanishing Murder: The Old-Clothes Man Character
Chapter 9. The Creators against the Creator
Conclusion
Bibliography
Filmography
Index

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Revolution in Paradise Veiled Representations of Jewish Characters in the Cinema of Occupied France

Revolution in Paradise Veiled Representations of Jewish Characters in the Cinema of Occupied France

1845197194

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