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Stuart Hanson

the post-war cinema audience was arrested to an extent by the development of new kinds of cinemas in the early 1950s. The most significant was the drive-in cinema, which was in large part a reaction to the increasing numbers of car-owning suburbanites and to the high cost of building new enclosed cinemas. Some 3,500 of these cinemas were built between 1948 and 1952, which more than compensated for the loss of 900

in From silent screen to multi-screen
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Cinema saved my life
Diana Holmes and Robert Ingram

“lechée”’ 16 (Truffaut 1987 : 220) of the tradition de qualité determine conservatism of meaning; the ‘realism’ of left-wing directors such as Autant-Lara he reduces to ‘donne[r] au public sa dose habituelle de noirceur, de non-conformisme, de facile audace’ 17 (Truffaut 1987 : 221). The true ‘audacities’ of post-war cinema are performed by those ‘men of the cinema’ who experiment with the medium

in François Truffaut
The politics of performance in the Spanish sophisticated comedy of the 1940s
Stuart Green

([1943b]). Significantly, the actor most frequently associated with these qualities is the darling of official post-​war cinema and the embodiment of the values of the recently established military dictatorship: Alfredo Mayo (Mas-​Guindal [1943b] and [1943c]). Nevertheless, such calls went unheeded during this period. Neither official cultural organisations nor producers showed any interest in formalising actor training during the first half of the 1940s as Hollywood had since the mid-​1930s (Baron, 1999). The screen acting school in which A. Abad Ojuel sought to

in Performance and Spanish film
Writing the ‘tradition of quality’
Sarah Leahy and Isabelle Vanderschelden

by Noël Burch and Geneviève Sellier ( 2014 ; first published in French in 1996) focuses predominantly on mainstream, popular films, while in French National Cinema , Susan Hayward ( 2005 : 163) queries the critical rejection of mainstream post-war cinema and highlights the restrictive censorship in place at this time. In French Costume Drama of the 1950s (2010), Hayward focuses on an overlooked popular genre

in Screenwriters in French cinema
Tim Bergfelder

level of content, meanwhile, uncertainties about both national and gender identity surface in Das verlorene Gesicht ( The Lost Face , 1951), a film about a woman who assumes multiple psychological and ethnic identities. By the 1960s, the generation of the new German cinema saw the evasions and detours of post-war cinema as markers of its political and aesthetic regression. Noir as a critical discourse can be employed to

in European film noir
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Stefania Parigi

narration. 12 The impact of the oral-verbal dimension in the film appeared as documentary material even though the documentary effect was due to artifice and manipulation inherent in all artistic operations. Rossellini, with exemplary ease, took full liberties with respect to history and classical narrative. The industrial weakness of Italian post-war cinema allowed him to work as if he were a pioneer and independent, even though

in Cinema – Italy
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Jonathan Rayner

widespread adoption of a documentary film aesthetic in both British and American feature production during World War II. The recollection and reconstruction of recent events in naval wartime TNWD01 16/11/06 212 11:26 AM Page 212 Conclusion productions anticipates the documentary approach to history in nostalgic and reverential productions (The Dam Busters; Michael Anderson, 1954; The Longest Day; Ken Annakin, Andrew Marton, Bernhard Wicki, 1962) in the post-war period. However, rather than simply setting an agenda or a tone which is developed in post-war cinema

in The naval war film
Fires Were Started and The Silent Village
Keith Beattie

Beattie_01_Chps.indd 100 06/10/2009 15:14 documentary reconstruction and prognostication  101 this relation The Colditz Story (1950), The Wooden Horse (1950), and The Dam Busters (1956), among other titles. J. Chapman, ‘Our Finest Hour: The Second World War in British Feature Film since 1945’, Journal of Popular British Cinema, 1 (1998), 69. Andrew Higson argues that a conjunction of fiction and documentary elements characteristic of the story-documentary constituted a core of Britain’s contribution to wartime and immediate post-war cinema. A. Higson, ‘“Britain

in Humphrey Jennings
Sarah Leahy and Isabelle Vanderschelden

. Referring to post-war cinema, the film historian Jill Forbes (1992: 171) suggests that ‘the output of [comedy] directors and actors is often vulgar, formulaic and repetitive’ and ‘of less interest than other genres when examining how the cinema has developed’. Grassin and Sender ( 2011 : 12) also identify trends that contribute to the perception that comedy is a less cinematic genre, whose success is due to

in Screenwriters in French cinema
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Martin O’Shaughnessy

in the Second World War, while Le Petit Théâtre de Jean Renoir (1969), a consciously valedictory work, is a collection of four short pieces shot in a range of styles that evoke different aspects and periods of the director’s output. All these late films pursue a critique of the false priorities and repressive attitudes of modern technological and consumerist society. Renoir’s post-war cinema, even when in apparently

in Jean Renoir