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Lucie Aubrac, Bon Voyage, Les Femmes de l’ombre and L’Armée du crime

. Papy fait de la résistance delivers a direct challenge to the resistant myth that post-war films had reinforced in the previous three decades following the war, and this challenge would continue to inform the approach of modern filmmakers in the twenty-first century as they commemorate the Occupation. Resistance on screen, 1995–2015 When contemplating the evolution of French resistance in French post-war cinema, one concludes that though resistance existed in both collective and individual spheres and across divisions of class

in Reframing remembrance
Quentin Falk

if costs were kept low enough to be recovered from the home market alone’ 6 seemed, sooner or later be bound to clash – and so it would turn out – with the increasingly ambitious, mid-Atlantic, aspirations of the Rank Organisation, of which Ealing had effectively become a satellite from 1944. ‘In looking at Ealing’s post-war films,’ Barr observed, ‘we get the impression of an animal emerging from its burrow, blinking in the sunlight, making a few excursions without ever cutting itself off from its base, then scuttling back into the familiar warm atmosphere of

in Charles Crichton
Epstein’s philosophy of the cinema
Christophe Wall-Romana

Epstein was in eclipse (1945–80). Or, to put it another way, Epstein’s cinema and his philosophy of the cinema have, according to Deleuze’s tacit proposal, become subsumed within post-war films as their latent principle of composition. Hence, when Deleuze defines the time–image of post-war cinema, his formulation appears to describe Madeline’s animated portrait in La Chute de la maison Usher (to which he refers elsewhere in the Cinema books): A two-sided image, actual and virtual is formed. It is as if an image in a mirror, a photograph, a postcard, came to life

in Jean Epstein
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Dramaturge and mauvais esprit
Sarah Leahy
Isabelle Vanderschelden

Equipe , as they have been discussed elsewhere; our aim here has been to shed light on some lesser known films, especially for English-speaking readers. One area that we would like to signal for further research into Spaak’s contribution to French cinema is the series of post-war films he wrote with Cayatte. The legal dramas of these two lawyer-cineastes, denunciations of the death penalty ( Nous

in Screenwriters in French cinema
The ‘screenplays’ of the New Wave auteurs
Sarah Leahy
Isabelle Vanderschelden

Turks’: François Truffaut, Jacques Rivette, Jean-Luc Godard, Claude Chabrol and Eric Rohmer, recruited to write for the Cahiers du cinema from 1951 and mentored by editors André Bazin and Jacques Doniol-Valcroze. In articles such as Truffaut’s ‘A certain tendency of French cinema’, they denounced the post-war film industry as a closed shop, dominated by ‘a screenwriters’ cinema’ (Truffaut 2009

in Screenwriters in French cinema
Coupland and postmodern spirituality
Andrew Tate

Stewart) is granted a vision of a world in which he had never been born, preceded by a glorious, if sentimental recreation of his small but significant life. For all of its manipulative romanticism, Capra’s first post-war film anticipates the underlying political and religious ambiguity of Girlfriend in a Coma. ‘[I]n its day It’s a Wonderful Life would have encouraged a more cynical and desperate disposition in its audience’, suggests Jonathan Munby: ‘Christmas was not good enough as a salve to the social and psychic wounds of the time; that Epiphany was a fanciful

in Douglas Coupland
From woman’s film to global melodrama
Kinga Földváry

’s Othello figure, who can thus be accepted as a perfect representative of royalty within jazz society. 15 By the time of the creation of this film, Dearden and Relph had collaborated on plenty of projects, and as Alan Burton and Tim O’Sullivan claim, ‘a consistent theme in [their] post-war films concerns male characters forced to confront painful adjustment to new circumstances and changing social norms and expectations’. 16 Many of these films observe ‘a tragic dimension, whereby the narratives result either in the death of the main male protagonist or a significant

in Cowboy Hamlets and zombie Romeos
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Mary P. Wood

sure of herself. The narratives of Magnani’s post-war films indicate difficulties in reconciling strongly assertive female characters with traditional narratives. Magnani’s emotionality is metonymic of the sufferings of women in the period of post-war chaos and the general desire for something different. She occupies as much screen space, and as many close-ups as Nazzari, in this film but her role as gangster’s moll, Lydia

in European film noir
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Robert Murphy

Dickinson’s Next of Kin (1942), Harold French’s Unpublished Story (1942) and Herbert Wilcox’s Yellow Canary (1943) are perhaps the darkest examples. More indicative of anxieties which would infect post-war films is The Night Has Eyes (1942). It tells a Wallace-like tale of young women lost on the moors who find shelter in a strange household with a sinister housekeeper (Mary Clare), her eccentric

in European film noir
Amy Helen Bell

-pie hat, a description popularized by depictions of professional gangster in post-war films.50 These shootings were reported by The Times on 11 November 1946, the second Armistice Day after the war, as ‘Two murders in the London area: man and woman shot’. The article also reported a third shooting at the Boathouse Hotel, Bush Road, Richmond, which narrowly missed a G. Dawson who was helping the barman clear up.51 These three shootings indicate the persistence of the multiple effects of the war on crime in the years which followed. Post-war policing The Metropolitan

in Murder Capital