By Alastair Phillips

The quantity is the first-ever book-length examine of the cinematic illustration of Paris within the movies of German ?migr? filmmakers, lots of whom fled there as a safe haven from Hitler. In coming to Paris—a privileged website by way of creation, exhibition, and picture culture—these skilled execs additionally encountered resistance: hostility towards Germans, anti-Semitism, and boycotts from a French fearful of wasting jobs to foreigners. Phillips juxtaposes the cinematic portrayal of Paris within the movies of Robert Siodmak, Billy Wilder, Fritz Lang, Max Oph?ls, Anatol Litvak, and others with the broader social and cultural debates in regards to the urban in cinema.

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Extra info for City of Darkness, City of Light: Emigre Filmmakers in Paris 1929-1939 (Film Culture in Transition)

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As Albera notes, “[t]he general attitude of the Russians concerned both the desire to integrate themselves, to be the guarantee of modernity, and the wish to meet the wishes of the society that welcomed them. In other words, to legitimate the stereotypical folkloric and exotic image that France had of Russia” (1995, 80). Although one can observe traces of the Russian traditional cultural heritage in the continuing vogue for Slavic melodramas of the 1930s, the Russian émigrés should also be remembered for their ability to adapt to contemporaneous norms of French cultural representation.

This finesse was found again in the way that he very rarely mishandled performers and technicians”, she observed. “He presented a familiar, solid impression whilst on set but this did not prevent him from being demanding. All his films were meticulously prepared. Most of the scriptwriters he worked with had been formed in the German school – they worked with extraordinary care, leaving nothing to chance, checking the script for the smallest detail. ) Litvak made his plans in collaboration, then he let his co-workers edit the dialogue.

Cer40 tain passages of the film, I find, are not really to my taste”, she noted. Patterns of Exile and Emigration in the Pre-Nazi Era: The Russians and their Relationships to Paris and Berlin Paris was a site of exile for many of the dispossessed of Europe even before the tenets of the French Revolution enshrined the notion of France as the country of human liberties. As Schor (1989) has suggested, this search for liberty involved many variations of the word ranging from the material to the moral; from the intellectual and artistic to the political.

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