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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
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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
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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Performance, parody, identity
Marion Schmid

’s haunted and haunting film, at once poetic and uncanny, as Reynaud remarks, is a touching attempt to respond to one of post-war cinema’s most pressing questions: ‘comment peut-on faire du cinéma – après Auschwitz?’ 38 (Reynaud 2004 : 201). References Akerman , Chantal ( 2004 ), Chantal Akerman: Autoportrait en cinéaste , Editions du Centre Pompidou

in Chantal Akerman
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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
Ben McCann

: 36) argue defined a large part of French post-​war cinema.52 This model involved an ageing woman who is no longer sexually attractive but whose ‘cupidité et […] mesquinerie sont telles qu’elles sont perçues comme pur sadisme’.53 Burch and Sellier also note that the father–​daughter relationship between Chatelin and Catherine is representative of a particular kind of affiliation in much of post-​war French cinema. When she dances with Chatelin after having just danced with Gérard, she tells him that ‘Je n’aime pas les jeunes gens’ (‘I don’t care much for young people

in Julien Duvivier