By Evelyn Ehrlich
Finds the tough process French filmmaking from the statement of conflict in 1939 via 4 years of distress to France's liberation in 1944. This e-book examines the stipulations of filmmaking as they mirrored the bigger political, cultural, and social context inside occupied France. it truly is appropriate for movie historians.
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Additional info for Cinema of paradox : french filmmaking under the german occupation
It is certain, however, that one major reason for the delay in allowing new French production was the desire of one man to see his own interests in France served. Although he had no official position in either the German government or the military command, Alfred Greven had considerable power over German film policy in France.
83–84). His broadcasts over the BBC so infuriated the Germans that they banned all of his films. By the time the German film office succeeded in centralizing all production in Paris in May 1942, few filmmakers were left in the South except for the apologists for Vichy propaganda. The dream of Hollywood on the Côte d'Azur was never to be realized. The formation of the COIC not only provided a badly needed structure for the film industry, but it also served to counterbalance the demands of the German film offices.
The dream of Hollywood on the Côte d'Azur was never to be realized. The formation of the COIC not only provided a badly needed structure for the film industry, but it also served to counterbalance the demands of the German film offices. If the Vichy government accomplished nothing else, it set in motion a force that assured the continued survival of a strong and independent film industry. The COIC, directed by France's film community, had the unified support of the film industry in its dealings with both Vichy and the occupiers.