The Occupation, colonial conflicts, and national identity
in Contemporary French cinema
Abstract only
Log-in for full text

In May 1968 French students, workers and professionals united briefly in a wave of demonstrations, strikes and sit-ins - known as 'the events of May '68'. Documentary film-making in France in the 1960s had been dominated by cinéma-vérité - the recording of everyday life and events. Tout va bien was an attempt to consider the legacy of 1968 from within mainstream cinema, a strategy facilitated by the box-office power of the two stars. The film that resulted has been described as 'perhaps the single best cinematic description of France in the aftermath of '68'. The question of cinematic form is a particularly fraught one for films on the Holocaust and the Occupation; these subjects are conventionally considered susceptible either to a documentary approach or to classical realism. By the late nineties, French history under the Occupation seemed to have been exhausted, and the Vichy syndrome was at an end.

Contemporary French cinema

An introduction

Metrics

All Time Past Year Past 30 Days
Abstract Views 285 58 4
Full Text Views 74 23 0
PDF Downloads 42 29 0